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Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc., 1609 Northwest Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year $20, two years $36, three years $50. Add $8 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine mailing label and your new address to: Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con­ sidered for publication. A booklet describing procedures for the preparation and submis­ sion of a manuscript is available upon re­ quest. Send manuscripts and correspondence about them to: Ceramics Monthly, The Ed­ itor, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap­ ple Macintosh computer system. Indexing: An index of each year’s articles appears in the December issue. Additionally, articles in each issue of Ceramics Monthly are indexed in the Art Index; on-line (com­ puter) indexing is available through Wilson- line, 950 University Ave., Bronx, New York 10452. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, Suggestions and Questions columns, is avail­ able 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 re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Rd., Ann Arbor, Michigan 48106. Back Issues: Back issues, when available, are $4 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Form 3579 requested. Copyright © 1988 Professional Publications, Inc. All rights reserved 2 Ceramics Monthly September 1988 3 4 Ceramics Monthly Clay RevisionsJust as “rectangularity is rarely invoked as the crucial key to under­ standing oil painting,” clay artists “should be examined for their visions, not their re­ visions of pre-existing forms,” points out Matthew Kangas in his review of this tour­ ing invitational; see page 35. Volume 36, Number 7 • September 1988 Feature Articles Stephen De Staebler’s Archaic Figures by Donald Kuspit...... 27 Thirty Ceramic Sculptors...... 31 Soup Tureensa review by Victoria Donohoe...... 32 Clay Revisions a review by Matthew Kangas...... 35 Contemporary British Lusterware...... 43 Thomas Hubert...... 47 Eclectic Vessels by Jimmy Clark ...... 48 Don Sprague ...... 52 The Empirical Strikes Back Color and the Ceramic Surface: Alchemy or Science? by Robin Hopper...... 57

Soup Tureens, reinterpreted, sometimes even transmogrified, are found in the Departments Campbell Museum’s third exhibition of contemporary tureens; page 32. Shown above Letters...... 6 Comment: from the exhibition is “Triassic Totem,” 26½ Where to Show ...... 10 Too Long at the Fair inches high, terra cotta, by Elyse Saper- by Timothy Gallucci...... 21 stein, Elkins Park, Pennsylvania. Questions...... 12 Suggestions...... 62 Itinerary...... 14 Classified Advertising...... 94 New Books...... 18 Index to Advertisers ...... 96

News & Retrospect Deduction Drought...... 61 Early Greek Figures...... 78 Patricia Fay ...... 61 Swedish Designers in New York...... 80 National Arts Survey...... 61 Indiana Invitational...... 80 Southwest Threesome...... 61 Viviana Halpern ...... 82 NCECA Members’ Show...... 63 Images in Clay Irene Eilers...... 63 by Amy DeLap...... 82 Mary Visser Susan and Steven Kemenyffy...... 82 by Janice McCullagh ...... 64 Kevin Hanna...... 65 Roy Strassberg...... 84 Application Slides Dennis Tobin by Adrian Hoff...... 65 by Mary Seyfarth ...... 84 Bill Stewart ...... 70 Pat Saab...... 84 Makoto Yabe ...... 70 Termite Mound Kiln The coverStephen De Staebler with Laney Oxman...... 72 by Ken Hobday...... 86 works in progress. Is De Staebler a new Grady Kimsey...... 72 Winnie Owens-Hart Rodin? Do we believe in any contemporary by Monifa Atungaye ...... 88 artist that much? In a challenging essay, America House Anniversary...... 72 Crafts at the Armory...... 88 critic Donald Kuspit analyzes De Stae­ Mid-Atlantic States Biennial...... 72 bler’s clay and bronze figures; page 27. Catching Up Christine Federighi ...... 94 Photos: Scott McCue. by R. J. Washington...... 74 Real, Fake or Masterpiece?...... 95 September 1988 5 metry, the project might have been a success. dimensional artists organize and present pro­ As things stand, one wonders how the crea­ posals for group and individual exhibits that tures recognize each other when approaching gain them an entirely three-dimensional ex­ from various angles. Perhaps a bit of tidying hibition. 3) When the individual artist, gal­ Letters up will do. lery and/or exhibition presents the three-di- “It is not clear whether blame for this ca­ mensional work in a setting that shows the tastrophe should be laid at the feet of the potential purchasers what the work may look For the Collector planners or the builders. But it does not mat­ like in their own environments (a form of As a collector, I find that one of the most ter; we fired them all. The problem now is unspoken education, if you will—the reality frustrating aspects of collecting in the dec­ how to correct the situation before He is ready being that galleries and exhibits don’t often orative arts is the lack of printed material. to have a look. look like living, usable, occupied space). Although magazines such as Ceramics “A thorough search of Heaven for the nec­ Georgeanne Carlisle Gass Monthly fill a vital need, books on various essary personnel left us in despair until we Manchester, Mo. artists and exhibition catalogs are hard to realized that there are potters here. And, of come by. One of the services that CM could course, only potters who appreciate the im­ Critical Craftsmanship provide is a list of exhibition catalogs that portance of perfectly symmetrical and iden­ I want to thank Everette Busbee for his can be purchased, along with the publisher’s tical designs have been admitted. The others fine commentary on craftsmanship [May address and the amount to be paid. This would are elsewhere. 1988]. He wrote with a vibrancy and rhythm certainly help me and other collectors inter­ “Only the most modest recruitment effort which pulled me along despite my initial re­ ested in building a library, especially [of pub­ was necessary since, strange to say, most of luctance to accept his main thrust. In words, lications from] smaller museums and uni­ these craftspeople do not seem to feel that as in art, the union of craft and heart makes versities which normally do not have wide they had an adequate opportunity to display for an eloquence that is hard to resist. distribution of their materials. their dazzling skills in one lifetime. In fact, It is precisely because of this union that I Aaron M. Milrad we had to turn volunteers away. feel the need to qualify his conclusion that Toronto “The potters understand the committee’s craftsmanship is overemphasized in clay. I requirements. Perfectly symmetrical shapes. agree wholeheartedly with the sentiment that Report of the Improvement Committee No variation among individuals. A severe limit tyranny in any form should be deposed. Alas, The enclosed document was discovered re­ on variety. Really, what we’re looking for is if you commence to describe as “valuable” cently on the set of the television show, a complete remake. any common person, place or thing in our “Highway to Heaven.” Apparently, the per­ “The potters say they can do the whole job imperfect universe, the engines of escalation sonal celestial advisor to actor/producer Mi­ in a week with an unlimited supply of pre­ are primed. It takes very little for the cre­ chael Landon was on location for a consul­ mixed clay, some graph paper, a potter’s wheel scendo of “important,” “very important,” tation and left his briefcase behind. An and a jiggering machine. God knows, they “more important” and “most important” to enterprising stagehand retrieved the brief­ may be right. reach the thundering climax of “without Me, case and did the best he could with its con­ “When the project has been completed, the you arenothing !” tents. I do not begrudge the fellow his pound Beautification Committee will do something In my own Comment (March 1987), I tried of silver, and hope the fact that this document about smoothing out the surface.” to present the pitfalls of making “the Idea” was obtained at some expense will not cast Timothy R. Gallucci the primary value in ceramics. Busbee’s ar­ an unfortunate light on its authenticity. CM Mechanicsburg, Pa. ticle does the same vis-a-vis technique. For readers may judge for themselves whether that I am thankful—we are certainly not at the following brief is a likely forgery or con­ Don't Let Figures Fool You opposing ends of some philosophical taffy pull. tains the ring of truth: Today brought news that average sales in But I feel strongly that craftsmanship is more “In anticipation of the Master’s first thor­ ceramics at American Craft Enterprises’ than a “mere tool.” ough inspection of Earth since its creation, winter craft fair in Baltimore were 113,671 I liken craftsmanship to breathing: By the Improvement Committee has decided to per exhibitor. To all those hard-working pot­ simply breathing, you sustain existence but check for symmetry. We are not pleased. ters out there getting big-eyed and making are by no means guaranteed Life. Only an “To begin with, we ordered a sphere. What plans to apply, don’t let these figures fool informed awareness of this universe’s splen­ we got is, well, neither here nor there. Even you. It’s easy to get lost in the crowd when dors (what I would call “soul”) can infuse the inhabitants of the unfortunate planet seem there are 785 other exhibitors competing for that existence with meaning. You can make to sense that something is amiss and always sales, despite the fact that your work is beau­ all you want of breathing, but without that depict their home as the perfect globe He tifully crafted and you have a fine new dis­ soul, that essential heart, you’re just huffing had in mind. This situation must be cor­ play. There’s a reason why a third of the and puffing. rected. exhibitors did not report their sales figures Busbee’s argument corresponds to this “The features of the planet are no better. at the end of the show. analogy. But it is here that I want to em­ Mountains, rivers, volcanoes, oceans—all One more thing. If you enjoy making one- phasize craftsmanship, like breath, is in fact seem to have been built by someone with no of-a-kind pots, you may want to consider a critical. Without breath, you will cease to knowledge of the straight line, the perfect retail-only show instead of a wholesale/retail function (oops—I’ve got to be careful with curve, or the proper geometric shape. The show. It’s maddening and restrictive to come that word!). It can be argued that you will, degree of disarray borders on anarchy. home and try to recreate that exact pot for of course, continue to breathe whether you “And speaking of anarchy, the tangle of a wholesale buyer. give it any thought or not; in fact, you can’t plant life is almost beyond believing. The David Beumee keep yourself from breathing should you try! system is without restraint. The trees, bushes Lafayette, Colo. The same can be said of craftsmanship. Once and vines grow in a helter-skelter pattern of a thing’s been made, some sort of crafts­ shapes and sizes, and they are crooked! What’s Greater 3-D Representation manship—good, bad or indifferent—has au­ worse, the individual examples of the species A greater representation of three-dimen- tomatically occurred. are not all alike! Even the school children sional work in exhibition and gallery space But even though breath is so inextricably see the error in this and try to make the is possible on several levels: 1) When exhi­ bound to life that it can be taken for granted, necessary corrections in their artwork. Their bition organizers make certain to research poor breathing stunts development. If we ne­ instincts are sound. jurors to ascertain whether they have a fa­ glect or abuse the fundamentals of correct “In fairness, it must be acknowledged that miliarity with dimensional works, traditional breathing, the quality of life suffers. We would the animals are a noble failure—a near miss. and contemporary materials and the forms all benefit if we occasionally pay conscious But for a lamentable absence of perfect sym­ that represent high quality. 2) When three­ attention to the quality of our unconscious 6 Ceramics Monthly September 1988 7 broadly faceted shapes. Indeed, the wide a teapot having a spout, lid and handle in ... Letters planes of deep glaze are defined dramatically the first place. And secondly, its high gallery by graceful lines formed where red-black price makes it too precious to use even if it acts. And for all its humdrum regularity, don’tbreaks to rust-gold over the sharp edges. Jeff did work. Granted, the time-consuming ac­ forget that the very act of breathing serves uses a softer, textured glaze, such as Shino, tivity of making one-of-a-kind pots should be as the source for our word “inspiration.” on forms with more numerous and not so reflected in their price. However, a buyer Likewise, craftsmanship is critical to the sharply defined facets. This creates a pot that who invests hundreds of dollars in a teapot health and soundness of art. If it is over­ is less austere and more inviting to touch. which looks as though it works, but does not, emphasized or is being equated strictly with The difference between these two types of is only getting half of his or her money’s technique, fine; return it to its proper place work is well illustrated in the two photo­ worth. To draw a parallel, who would buy in the general context of art. It is all too graphs of compound vases on page 45 in the a Ferrari without a motor, put it on a ped­ tempting to handle this or any potential ty­ CM article. estal, invite their friends in to view it, and rant by casting the despot down and tossing My next question in our interview re­ pretend that they do not want to feel the wind him or her out entirely. In this case, I sin­ garded function. Jeff had made his stance in their hair while driving it? cerely doubt that is Busbee’s intention. clear at a workshop he gave in Saint Louis, After thinking about this long and hard, When we recognize the need for a union and he also wrote: “My original commitment there appear to be four choices for the potter of craftsmanship (control) and conception to utility is still strong; the challenge of mak­ on the fence. The first is to jump into the (creation), each act in life becomes an at­ ing work that functions on both a visual and art field—use the utilitarian form as a basis tempt at striking some sort of balance. Each physical level remains a consuming interest.” for three-dimensional improvisation, unfet­ choice causes a shift in the complex rela­ (same article, page 42). I asked him whether tered by utility, being clear that it is not for tionships which forms the fabric of life, so his teapots poured well, anticipating that he use. The second choice is to jump into the the next choice is seldom any easier than the would take one of those beauties over to the pottery field—play with the infinite orches­ last. Instead of lamenting the difficulty of sink to demonstrate, that he would talk about trations of sight, sound, touch and use, being that union or somehow trying to “solve” it, how he balances utility and design, that I clear that utility is an integral and essential art should absolutely revel in its complexity. would finally be able to report about the aes­ part to the experience of the pot. The third If we can simply accept life’s intricacy and thetic experience of actually using a fine choice is to stay on the fence—spend a lot of consciously choose to work with it, rather functional pot. But to my amazement, Jeff time trying to not fall off. The fourth is to than against it, I think we will all breathe said that he had not tried them, mainly be­ stop making pottery—find other ways to con­ easier. cause most of his customers did not use them tribute to the ceramics profession, or find Randall Alford anyway! I swallowed hard, paused to regain another profession. Evergreen, Colo. composure, then asked more about the changes Linda Mosley he has made in the teapot form. My goal was Florissant, Mo. Tough Choices to understand what seemed to be a serious Jeff Oestreich’s article (“Change,” CM, digression from his stated intent to be a func­ Lose Those Words May ’88) is an example of how many potters tional potter. Jeff said that in the past he had Gimme a break. Now, I appreciate sim­ play it safe—they make a “statement.” That disliked making teapots because they took too plicity—even minimalism. But to gush ec­ word implies a justification or summary of much time and fussing around, but that late­ static over extruded pipe and slab-rolled what is already resolved; there is no mystery, ly he has become intrigued by the puzzle of “buttresses,” as Michele Moutashar did drama or interest in it. What makes inter­ composing the separately thrown parts. I then [March 1988, page 36], is a bit much. esting reading, and interesting ceramics, too, asked him why, if he did not intend the tea­ Granted, they are a nice blue—but “ ... the is the drama of change, yin and yang in pro­ pots to be used, did he do things like cut bottom of the sea . . . movement of the cess, the risk of looking foolish for the gain steam escape-holes in the lids. He shrugged stars . . . anchored on the terrace”? of understanding. Jeff must be commended, and said that the hole is traditionally part of Moutashar would doubtless be lost for however, for at least hiding it between the a teapot, and once in a while, people do buy words (one can only hope) at the sight of the lines. It is time to talk about the tough choices them to use. little clay camels our Hofuf cave potter makes. that ceramic artists face in their work. I believe that intelligent, artistic potters K. Guidry Jeff Oestreich is making a much more sig­ feel compelled to experiment with form, and Ras Tanura, Saudi Arabia nificant, underlying “change” in his work than should do so. As Jeff said on page 46 of his the relatively mundane shift in glaze and fir­ CM article: “My pots were slowly changing, ing techniques that he described in his ar­ becoming more formal and in need of more The photos of Robin Hopper’s work (June/ ticle. I feel qualified to say this based on the formal surfaces.” However, there seems to July/August 1988) showed a wonderfully interview he granted me recently. Also in be an important hidden message in what he exciting artist’s work, and I really would have preface, I would like to say that I think Jeff’s went on to say: “As my time became increas­ liked to learn something about him, rather work has a very appealing, quiet strength ingly occupied with workshops and exhibi­ than the intellectual posturing of the text by that comes from his skill and sensitivity to tions, the large, wood-fired kiln became a Matthew Kangas. the materials—the very best part of the [Ber­ burden to fill. The commitment to wood fir­ Margaret Gunn nard] Leach tradition. ing was in question.” Jeff may not even be Atwater, Calif. During his show at Pro Art in Saint Louis, fully aware that what might really have been I questioned Jeff about what aesthetic de­ in question was his commitment, not to wood Super Useful cisions he makes while working. This seemed firing, but to making large numbers of sim­ The summer issue was super! It contained an appropriate question since we were stand­ ilar pots and therefore to the lifestyle of the more useful information than the whole past ing in an art gallery—pots carefully ar­ “unknown potter” who sells at art fairs and year of issues. ranged on pedestals, his name on the wall, craft shops (which he is evidently leaving be­ More information on photographing our price lists discretely laying in wait—all the hind in favor of a lifestyle of the “artist pot­ works and how to approach galleries and proper accoutrements were in place. Jeff an­ ter” who sells at gallery exhibitions). shops would be appreciated. swered with a good command of the art vo­ Sitting on the fence between the “unknown Marge King cabulary. He is attentive to the nuances of potter” and the “artist potter” is a precarious Mount Vernon, Wis. traditional pottery form, and experiments with place. It seems to me that the alteration of Share your thoughts with other readers. All the interplay of proportion, volume and tex­ utilitarian forms which renders them suit­ letters must be signed, but names will be ture in his compound vases and teapots. For able only for exhibition, not for use, has two withheld on request. Address: The Editor, example, Jeff explained that he finds the re­ major pitfalls. First, it sacrifices the physical Ceramics Monthly, Box 12448, Columbus, flective temmoku glaze more suited to the possibility of utility, the ultimate reason for Ohio 43212. 8 Ceramics Monthly September 1988 9 juried from 1 slide per entry of up to 4 entries. Harrisburg, Pennsylvania “America’s Masters” Jurors: Eva Kwong and Kirk Mangus. $1000 in (November 25-27) is juried from 4 slides. Booth awards. Entry fee: $5 per entry. Contact Bill Tour- fee: $150 for a lOx10-foot space. Contact I.M.K. tillotte, Moreau Gallery, Saint Mary’s College, Productions, Kay Kishbaugh, Box 3279, Shire- Notre Dame 46556; or phone (219) 284-4655. manstown, Pennsylvania 17011; or phone (717) ^raes, Iowa The “20th Anniversary Exhibition: 697-8288. Where to Show Clay, Fiber, Glass, Wood and Paper—as Medium” September 25 entry deadline Exhibitions; Fairs, Festivals and Sales (December 4-January 22, 1989) is open to all Brookline, Massachusetts “Crafts Showcase” artists over 18 years of age and living within the (December 8-11) is juried from slides. Contact continental U.S. Juried from 1-3 slides. Entry fee: Brookline Art Center, 86 Monmouth St., Brook­ $20. Send SASE to 20th Anniversary Craft Exhi­ line 02146; or phone (617) 566-5715. International Exhibitions bition, the Octagon Center for the Arts, 427 Doug­ October 1 entry deadline November 9 entry deadline las Ave., Ames 50010. Miami Beach, Florida “Miami Beach Lincoln New York, New York “Art Horizons, New York— October 28 entry deadline Road Second Annual Fine Arts and Crafts Fes­ 1988” (November 29-December 18) is juried from Warrensburg, Missouri “Greater Midwest In­ tival” (October 22-23) is juried from 3 slides (in­ slides. $4000 in cash and purchase awards. Con­ ternational IV” (January 16-February 17, 1989)cluding 1 of display). Booth fee:$75 for a 10X 10- tact Art Horizons, Dept. CM09, Box 1091, Larch- is open to all artists over 21 years old. Juried from foot space. Cash awards. Contact Howard Alan mont, New York 10538; or phone (914) 633-6661. slides. Entry fee: $12 for up to 3 entries. $1000 Promotions, 1 N. University Dr. A-313, Planta­ in awards. For prospectus send business-sizeSASE tion, Florida 33324; or phone (305) 472-3755. to Billi Rothove, Central Missouri State, Art Cen­ Palm Harbor, Florida The “14th Annual Palm National Exhibitions ter Gallery, Warrensburg 64093; or phone (816) Harbor Arts, Crafts and Music Festival” (Decem­ September 15 entry deadline 429-4481. ber 3-4) is juried from 4 slides (including 1 of Ann Arbor, Michigan “National Juried Art October 31 entry deadline display). Entry fee: $75. $8750 in cash and pur­ Competition” (October 15-November 15) is juried Mesa, Arizona “Hats, Chaps, Buckles and Boots” chase awards. Send SASE to Karyn Johnson-Ma- from slides of up to 3 entries. Jurors: Susannah (February 24-March 25, 1989) is juried from slides horney, Palm Harbor Chamber of Commerce, 1000 Keith, Ronald Farrington Sharp and Clare Spitler. of cowboy-paraphernalia-themed works. $700 in U.S. 19 N., Suite 300, Palm Harbor 34684; or Entry fee: $10 for first entry; $5 per additional awards. Contact Hats, Chaps, Buckles and Boots, phone (813) 784-4287. entry. Medallions, cash and purchase awards. Send Galeria Mesa, Box 1466, Mesa 85211; or phone Baltimore, Maryland “The Winter Market of SASE to the Farrington-Keith Creative Arts Cen­ (602) 834-2242. Crafts” (February 14-19,1989) is juried from slides. ter, National Juried Art Competition, Box 8418, December 2 entry deadline Send SASE to American Craft Enterprises, Inc., Ann Arbor 48107; or phone (313) 761-8846. Murfreesboro, Tennessee “Tenth Annual Cur­ Box 10, New Paltz, New York 12561. Corvallis, Oregon “Fine Craft Holiday Show” rents Crafts Exhibition” (March 6-31, 1989) is Minneapolis, Minnesota “American Craft Expo” (November 18-December 28) is juried from 5 slides. open to artists over 18 years of age. Juried from (March 29-April 2, 1989) is juried from slides. Send SASE to Christina Porter, Fine Craft Holiday 1 slide per entry of up to 3 entries. Entry fee: $15. Send SASE to American Craft Enterprises, Inc., Show, Corvallis Arts Center, 700 S.W. Madison, Contact Currents ’89, Middle Tennessee State Box 10, New Paltz, New York 12561. Corvallis 97333; or phone (503) 754-1552. University, Box 25, Murfreesboro 37132. October 15 entry deadline September 19 entry deadline December 30 entry deadline San Francisco, California “The Pacific States Guilford, Connecticut “Tenth Annual Holiday Gatlinburg, Tennessee “Animal Imagery: New Craft Fair” (August 9-13, 1989) is juried from Exposition of Crafts and Fine Art” (November Forms, New Functions” (February 24-May 20, slides. Send SASE to American Craft Enterprises, 5-December 24) is juried from slides and a re­ 1989) is juried from slides of up to 3 entries of Inc., Box 10, New Paltz, New York 12561. sume. Send SASE to Patricia Seekamp, Guilford animal-themed works. Juror: Leonard Koscianski. Washington, D.C. The “1989 Washington Craft Handcrafts, Box 589, Guilford 06437. Entry fee: $15. Cash awards. For prospectus con­ Show” (April 20-23, 1989) is juried from 5 slides. September 20 entry deadline tact Arrowmont School for Arts and Crafts, Box Jurors: Jamie Bennett, Judy McKie and Ken Kansas City, Missouri “Raku: Transforming the 567, Gatlinburg 37738; or phone (615) 436-5860. Trapp. Entry fee: $20. Send SASE to the Smith­ Tradition” (March 1-31, 1989), sponsored by the sonian Associates Women’s Committee, Arts & In­ National Council on Education for the Ceramic dustries Building, Room 2475, Smithsonian In­ Arts (NCECA), is juried from 10 slides, a resume, Regional Exhibitions stitution, Washington, D.C. 20560; or phone (202) a statement on personal philosophy of working in October 28 entry deadline 357-4000. raku and a technical description of entered work. Pueblo, Colorado “The 27th Annual Own Your West Springfield, Massachusetts “The Original Jurors: Rick Hirsch and Jay Lacouture. Shown Own Art Exhibition and Sale” (November 4-12) Rhinebeck Craft Fair” (June 20-25, 1989) is ju­ concurrently with the raku exhibition will be a is open to artists from Arizona, Colorado, Idaho, ried from slides. For further information send SASE juried photographic show of kilns, equipment, fir­ Kansas, Montana, Nevada, New Mexico and Wy­ to American Craft Enterprises, Inc., Box 10, New ings and raku happenings from the 1960s-1980s. oming. Juried from actual works. Juror: David Paltz, New York 12561. Those interested in participating should send 8x 10- Wagner. Entry fee: $12. $2500 in awards. Contact Philadelphia, Pennsylvania “Germantown inch, black-and-white photographs for consider­ Tallie Koncilja, Sangre De Cristo Arts and Con­ Friends School Craft Show” (March 3-5, 1989) ation. Send SASE to: Jay Lacouture, NCECA Ex­ ference Center, 210 N. Santa Fe Ave., Pueblo 81003; is juried from slides. Booth fee: $125. Contact Craft hibitions, Art Department, Salve Regina College, or phone (719) 543-0130. Show, Germantown Friends School, 31 W. Coulter Newport, Rhode Island 02840. December 9 entry deadline St., Philadelphia 19144; or phone (215) 438-5714. September 23 entry deadline Tucson, Arizona “Fired Up” (February 15- October 26 entry deadline Farmington, Connecticut “The 53rd Annual March 9, 1989) is open to past and present res­ New Smyrna Beach, Florida The 13th annual Exhibition of the Society of Connecticut Crafts­ idents of Arizona. Juried from 3 slides (different “Images ’89—A Festival of the Arts” (March 11-12, men” (October 22-November 20) is juried from views) per entry of up to 3 entries of traditional 1989) is juried from 3 slides. Entry fee: $10. Booth 10 slides of up to 5 entries. Jurors: Sosse Baker, and experimental ceramics. Juror: Don Reitz. En­ fee: $50. $17,250 in cash and purchase awards. Betty Friedman and Paul Perres. Cash awards. try fee: $15. Send SASE to Sean McGinnis, South­ Contact Images ’89, 1414 Art Center Ave., New Contact the Society of Connecticut Craftsmen, Box ern Arizona Clay Artists, 3401 N. Columbus Blvd., Smyrna Beach 32059. 615, Hartford, Connecticut 06142; or phone Tru­ #11 D, Tucson 85712; or phone (602) 882-8297. October 28 entry deadline dy Martin (203) 263-3908. ^ Norman, Oklahoma “A Christmas Fair” (No­ September 26 entry deadline vember 26-27) is juried from slides and a resume. Mesa, Arizona “The 11th Annual Vahki Ex­ Fairs, Festivals and Sales Entry fee: $40. Contact Firehouse Art Center, 444 hibition” (January 20-February 18, 1989) is jur­ September 10 entry deadline S. Flood, Norman 73069; or phone (405) 329- ied from slides. $1000 in awards. Contact the Vah­ Dillon, Colorado “Tenth Annual Colorfest” 4523. ki Exhibition, Galeria Mesa, Box 1466, Mesa (September 24-25) is juried from 3 slides or pho­ November 1 entry deadline 85211; or phone (602) 834-2242. tographs. Booth fee: $40 for a 10x10-foot space. Boca Raton, Florida “Royal Palm Festival of September 30 entry deadline Contact Lake Dillon Arts Guild, Box 1047, Dillon the Arts” (November 19-20) is juried from 3 slides Highland Park, Illinois “The Evocative Place- 80435; or phone (303) 468-0035. (including 1 of display). Booth fee:$95 for a 10X 10- setting” (February 4-March 11, 1989) is juried Saint Petersburg, Florida “Saint Petersburg Beach foot space. Cash awards. Contact Howard Alan from 1 slide per entry of up to 5 entries. SendSASE Arts and Crafts Festival” (September 17-18) is Promotions, 1 N. University Dr. A-313, Planta­ to Martha Schneider Gallery, 2055 Green Bay juried from 3 slides (including 1 of display). Booth tion, Florida 33324; or phone (305) 472-3755. Rd., Highland Park 60035; or phone (312) 433- fee: $75 for a 10X 10-foot space. Contact Howard Naples, Florida “Fantasy in Flight Arts and 4420. Alan Promotions, 1 N. University Dr. A-313, Crafts Festival” (November 25-27) is juried from October 1 entry deadline Plantation, Florida 33324; or phone (305) 472- 3 slides (including 1 of display). Booth fee: $125 Notre Dame, Indiana “National Juried Teapot 3755. for a 1 Ox10-foot space. Cash awards. Contact and Cup Show” (November 18-December 16) is September 15 entry deadline Howard Alan Promotions, 1 N. University Dr. A- Coconut Grove, Florida The “26th Annual Co­ 313, Plantation, Florida 33324; or phone (305) Send announcements of juried exhibitions, fairs,conut Grove Arts Festival” (February 18-20, 1989)472-3755. festivals and sales at least four months before the is juried from 5 slides (including 1 of display). Highland Park, Illinois “The 29th Festival of entry deadline to The Editor, Ceramics Monthly, Entry fee: $10. Booth fee: $200. $50,000 in cash the Arts” (March 11-12, 1989) is juried from 5 Box 12448, Columbus, Ohio 43212; or phone (614) and purchase awards. Contact Terril Stone-Ke- slides. Send SASE to Art Selection Committee, 461 488-8236. Add one month for listings in July andtover, Coconut Grove Arts Festival, Box 330757, Hillside, Highland Park 60035. two months for those in August. Coconut Grove 33233; or phone (305) 447-0401. Please Turn to Page 96 10 CERAMICS MONTHLY September 1988 11 TAN WOOD ASH SLIP EARTH GREEN GLAZE (Cone 04-7, oxidation or reduction) (Cone 8-10) Dolomite...... 10% Dolomite...... 6.6% Unwashed Wood Ash...... 25 Gerstley Borate...... 12.4 Cornwall Stone...... 25 Talc...... 14.3 Questions Frit 3819 (Ferro)...... 15 Kingman Feldspar...... 42.8 Answered by the CM Technical Staff Kentucky Ball Clay (OM 4)...... 25 Kaolin...... 4.9 100% Flint...... 19.0 Add: Rutile...... 15% 100.0% Q 1 fire oxidation, and seek a formulary ofSurface appearance depends on firing tem­ Add: Red Iron Oxide...... 5.0% successful rutile slips and glazes for study, perature. Rutile...... 4.0% testing and alteration. Could you provide a RUTILE SLIP Bentonite...... 2.0% selection of such recipes (throughout the range (Cone 6) An opaque semimatt. of firing temperatures) and give some infor­Whiting...... 23.08% CUSTER RUTILE GLAZE mation about rutile? Also, are there any spe­ Kona F-4 Feldspar ...... 15.38 (Cone 9) cial effects with rutile in reduction?—T.D. Cedar Heights Redart Clay...... 53.85 Talc...... 15.6% Rutile, an impure, iron-contaminated Kentucky Ball Clay (OM ...... 4) 7.69 Whiting...... 15.9 crystalline form of TiO, is one of the most 100.00% Custer Feldspar...... 39.1 amazing materials in 2 ceramics, rendering Add: Rutile...... 7.69% Kaolin...... 27.3 many ordinary glazes much more lively with TAN GLAZE Flint...... 2.1 additions typically up to 10% (slips/color- (Cone 6) 100.0% ants range to 100% rutile). While mostly as­ Wollastonite...... 35.3% Add: Rutile...... 4.0% sociated with oxidation firing and boron glazes Kona F-4 Feldspar ...... 35.3 NEPHELINE SYENITE GLAZE (which have been widely exploited by com­ Kentucky Ball Clay (OM 4)...... 29.4 (Cone 9) mercial art potteries and tile manufacturers), 100.0% Talc...... 34.2% rutile also has a lesser but interesting place Add: Rutile...... 5.9% Whiting...... 11.8 in reduction firing. Reduction-fired rutile with Nepheline Syenite...... 24.2 iron, for example, may produce a unique STONY WHITE MATT GLAZE Kaolin ...... 19.3 blue color. [See “Rutile Blue” in the Feb­ (Cone 8) Flint...... 10.5 ruary 1981 CM.] In oxidation, rutile glazes Barium Carbonate...... 5.62% often possess a handsome mottling and a nat­ Bone Ash...... 28.09 100.0% ural micro-crystalline texture which rival the Cornwall Stone...... 28.09 Add: Rutile...... 6.0% best of reduction glazes. No wonder so many Spodumene...... 28.09 YELLOW GLAZE oxidation recipes use rutile for visual ex­ Edgar Plastic Kaolin...... 10.11 (Cone 9, reduction) citement. When rutile, a colorant/opacifier, 100.00% Dolomite...... 24.0% dominates the glaze or slip, it often produces Add: Zinc Oxide...... 11.24% Whiting...... 4.0 its characteristic tan-to-brown color depend­ Rutile...... 6.74% Custer Feldspar...... 44.0 ing on the quantity present. In smaller Vanadium Pentoxide...... 3.37% Ball Clay...... 28.0 amounts to approximately 3% in glazes, ru­ TEXTURED TAN MATT GLAZE 100.0% tile will influence other colorants, causing (Cone 8-9) Add: Rutile...... 6.0% any of a range of glaze hues. Here are some Talc...... 38.4% GRAY MATT GLAZE examples of the array of rutile effects from Whiting...... 13.1 (Cone 9, reduction) recipes previously published in CM: Nepheline Syenite...... 26.9 Whiting...... 25.45% TAN/BROWN RUTILE SLIP Kaolin...... 21.6 Feldspar...... 39.76 (Broad range firing) 100.0% Kaolin ...... 34.79 Nepheline Syenite...... 18.36% Add: Rutile...... 11.7% 100.00% Ball Clay...... 40.82 Bentonite...... 2.2% Grolleg Kaolin...... 40.82 Add: Rutile...... 4.97% Adding 2.2% nickel oxide and 0.6% cobalt TEA-SE BUTTERY GLAZE 100.00% carbonate yields iridescent celery green on (Cone 9, reduction) Add: Rutile...... 12.24% porcelain; darker green on stoneware. Bone Ash...... 8.75% Apply thinly. BUTTER MATT GLAZE Fluorspar...... 5.70 YELLOW WOOD ASH SLIP (Cone 8-9) Kona F-4 Feldspar ...... 57.80 (Cone 04-7, oxidation or reduction) Colemanite...... 20.74% Tennessee Ball Clay...... 5.70 Dolomite...... 10.0% Dolomite ...... 10.89 Flint...... 22.05 Unwashed Wood Ash...... 25.0 Talc ...... 23.33 100.00% Cornwall Stone...... 25.0 Kona F-4 Feldspar ...... 6.16 Add: Zinc Oxide...... 15.59% Frit 3819 (Ferro)...... 15.0 Kaolin ...... 7.78 Rutile...... 5.70% Kentucky Ball Clay (OM 4) ...... 25.0 Flint...... 31.10 Semimatt, bluish orange where thin. 100.0% 100.00% SHANER RUTILE RED GLAZE Add: Rutile...... 1.5%Add: Zinc Oxide...... 7.78% (Cone 9-11, reduction) Vanadium Pentoxide...... 4.0% Rutile...... 3.12% Bone Ash...... 8.94% Surface appearance depends on firing tem­ SEMIMATT YELLOW GLAZE Talc ...... 8.94 perature. (Cone 8-10, reduction) Whiting...... 16.26 CREAM YELLOW SLIP Magnesium Carbonate...... 15.33% Custer Feldspar...... 41.46 (Cone 3) Whiting...... 18.25 Edgar Plastic Kaolin...... 24.40 Gerstley Borate...... 43.5% Cornwall Stone...... 28.47 100.00% Plastic Vitrox Clay...... 43.5 Kaolin ...... 31.38 Add: Red Iron Oxide ...... 3.25% Flint...... 13.0 Flint...... 6.57 Rutile (milled)...... 1.22% 100.0% 100.00% Thin application yields red brown; thick, Add: Rutile...... 20.0% Add: Rutile...... 6.57% medium green. 12 CERAMICS MONTHLY

guerite Brennan; at Indianapolis Museum of Art, Pennsylvania, Philadelphia September 11-Octo­ 1200 W. 38 St. ber 1 Works by members of the Pacific Northwest’s Massachusetts, NorthamptonSeptember 10-0cto- Washington Potters Association; at the Clay Stu­ ber 2 George W. Peterson III, wood-fired vessels; dio, 49 N. Second St. at Pinch Pottery, 179 Main St. Rhode Island, KingstonSeptember 30-0ctober Michigan, Detroit September 9-October 8 Mary 14 John Cardin and Yoka Witham; at South County Itinerary Roehm, sculpture and wood-fired porcelain ves­ Art Association, Kingstown Rd. Conferences, Tours, Exhibitions, /fozrc; sels; at Pewabic Pottery, 10125 E. Jefferson. Virginia, Alexandria through September 25 “In­ New York, Harrisonthrough September 30 Har­ novations,” works by members of the Kiln Club Workshops and Other Events to Attend old Lewis, abstract stoneware sculpture; at Har­ of Washington, D.C.; at Scope Gallery, Torpedo rison Public Library Gallery, Bruce Ave. Factory Art Center, 105 N. Union St. New York, Purchasethrough September 11 “Ste­ Washington, Bellingham through September 24 Conferences phen De Staebler: The Figure,” 40 clay and bronze “Northwest Ceramics Today,” works by 35 artists Illinois, ChicagoOctober 28-29 The National works; at the Neuberger Museum, State Univer­ from Montana, Idaho, Oregon and Washington. Association for the Cottage Industry’s (NACI) sity of New York. September 3-October 30 “Shattered Self: North­ symposium “Home Business Show” will include North Carolina, Winston-Salemthrough Octo­ west Figurative Ceramics,” works by Ann Gard­ seminars on legal issues, marketing, publicity and ber 4 James Herring, “Tokens,” human and an­ ner, Howard Kottler, Anne Perrigo, Debra Sher­ creating a business plan; tours of home-based busi­ imal sculpture; at Southeastern Center for Con­ wood and Patti Warashina; at the Whatcom nesses in Chicago; and “The Home Business Expo” temporary Art, 750 Marguerite Ave. Museum of History & Art, 121 Prospect St. on products and services for the home-based Washington, Seattle October 4-30 Jan Mc­ Washington, Seattle September 8-November 6 “In craftsperson. Location: Conrad Hilton Hotel. Send Gregor, porcelain with inlaid cobalt and slip over­ Pursuit of the Dragon: Traditions and Transitions SASE to NACI, Box 14850, Chicago 60614; or phone lay; at the Frye Arts Museum, 705 Ferry Ave. in Ming Ceramics,” 90 works from the mid-14th (312) 472-8116. Wisconsin, Milwaukee September 24-October 19 to mid-17th centuries (Yuan to Ming dynasties); New York, New YorkOctober 28 “The Art of Thomas Feyrer, “New Works”; at Metropolitan at the Seattle Art Museum, Volunteer Park. Collecting 2” symposium will include discussions Gallery, 2572 N. Breman. and lectures by art collectors, dealers, curators, critics and journalists. Preregistration fee: $85 ($100 Ceramics in Multimedia Exhibitions day of event); includes cocktail reception. Loca­ Group Ceramics Exhibitions Alabama, Huntsville October 2-November 27 “The tion: Equitable Life Assurance Center. Contact California, San Franciscothrough September 25 Red Clay Survey: A Biennial Exhibition of Con­ American Ceramics Magazine, 15 W. 44 St., New “Italian Majolica from the Arthur M. Sackler Col­ temporary Southern Art”; at Huntsville Museum York 10036; or phone (212) 944-2180. lection”; at the Fine Arts Museum of San Fran­ of Art, 700 Monroe St. Utah, Salt Lake City October 13-16 The Na­ cisco, California Palace of the Legion of Honor, Alabama, Mobile September 18-October 30 tional Art Education Association (NAEA) region­ Lincoln Park. “Scandinavian Craft Today”; at the Fine Arts Mu­ al Four Corners conference “ . . . Starts with Art” D.C., Washington through October 23 “American seum of the South, Museum Dr. will include lectures, workshops, and discussions Art Pottery 1880-1930,” 75 works from the Mar­ Arizona, Mesa September 9-October 1 “Ego Ami­ with art educators from the NAEA Pacific region. cia and William Goodman Collection; at Renwick go,” juried self-portraits; at Galeria Mesa, 155 N. Preregistration fee: $35 ($45 day of event). Lo­ Gallery, National Museum of American History, Center. cation: Red Lion Inn. Contact Charles Stubbs, Smithsonian Institution, Pennsylvania Ave. at 17 Arizona, Tucsonthrough October 2 “Crafts Utah State Office of Education, 250 E. 500 S., St., NW. Showcase,” two-person exhibition including clay­ Salt Lake City 84111; or phone (801) 533-5431. through December 31 “Terra Cottas from South works by Marcy Wrenn; at Tucson Museum of Virginia, Richmond September 16-17 “State of India,” large sculpture representing Hindu deities Art Museum Shop, 140 N. Main Ave. the Craft, a Call to Conference” will feature open and animals; at Arthur M. Sackler Gallery, Smith­ California, Los Angelesthrough September 21 discussions, lectures and keynote speeches by Mi­ sonian Institution, 1050 Independence Ave., SW. The third annual “Artists’ Liaison Exhibition”; at chael Scott and William Grenewald. Coincides Florida, Tampa September 4-November 13 “Fired del Mano Gallery, 11981 San Vincente Blvd. with presentation of the exhibitions “Craft Today: with Enthusiasm,” contemporary soup tureens; at California, Pasadena through September 21 The Poetry of the Physical” and “New Art Forms: Vir­ Tampa Museum, 601 Doyle Carlton Dr. third annual “Artists’ Liaison Exhibition”; at del ginia.” Location: Virginia Museum of Fine Arts. Illinois, Chicagothrough October 6 Works by 50 Mano Gallery, 33 E. Colorado Blvd. Registration fee: $20. Contact the Hand Work­ gallery artists; at Creative Claythings, 3412 N. California, Sacramentothrough October 1 Two- shop, 1812 W. Main St., Richmond 23220; or phone Southport Ave. person exhibition including sculpture by Glenn (804) 353-0094. Or contact Virginia Museum of through December 31 “Tang Dynasty (A.D. Takai; at Jennifer Pauls Gallery, 1020 Tenth St. Fine Arts, Ticket Desk, Boulevard and Grove Ave., 618-907) Tomb Figures and Vessels,” lead-glazed California, San Diegothrough October 9 “Fiestas Richmond 23221; or phone (804) 367-8148. earthenware; at the Art Institute of Chicago, of San Juan Nuevo”; at San Diego Museum of Michigan Ave. at Adams St. Man, 1350 El Prado, Balboa Park. September 23-October 21 “Chicago Fire 2,” tra­ October 5-29 Two-person show including “Hyp- ditional and experimental works by past and pres­ nopompic Translations” by Cathra-Anne Barker, Solo Exhibitions ent Illinois residents; at the Chicago Building, North handbuilt and wheel-thrown vessels; at Spectrum Alabama, Montgomerythrough September 28 Pier. Gallery, 744 G St. Judy Hiramoto, low-fire sculpture; at TullibodyIndiana, Elkhart September 2-October 16 “Fac­ California, San Franciscothrough March 5, 1989 Fine Arts Center, Alabama State University. ing It,” selections from the Ross Turk collection “Myths and Rebuses in Chinese Art,” decorative California, Los AngelesSeptember 17-October 2 of works by California ceramists; at the Midwest works with symbols of happiness, longevity, peace Rudy Fleck, “Recent Works”; at Little Tokyo Museum of American Art, 429 S. Main St. and prosperity; at Asian Art Museum, Golden Clay works, 106 N. San Pedro St. Kansas, Hays September 9-October 6 “Second Gate Park. California, San FranciscoOctober 4-29 Jun Ka- Annual Ceramic Invitational”; at Hays Arts Cen­ September 3-October 30 “Sun and Moon: Tra­ neko, “New Ceramic Sculpture”; at Dorothy Weiss ter Gallery, 112 E. 11 St. ditional Arts of Yi Dynasty Korea”; at San Fran­ Gallery, 256 Sutter St. Louisiana, New Orleans September 10-0ctober cisco Craft and Folk Art Museum, Landmark California, Stinson Beachthrough September 9 30 “Eleven Pre-Columbian Cultures of Ecuador:Building A, Fort Mason. Gail Caulfield; and Beverly Mayeri; at Claudia4000 Years of History,” over 60 works; at New D.C., Washington through September 30 “No­ Chapline Gallery, 3445 Shoreline Hwy. Orleans Museum of Art, City Park, Lelong Ave. mads and Nobility: Art from the Ancient Near California, West Hollywoodthrough September Maryland, Baltimore September 16-October 1 East.” through December 31 “Art of India: Paint­ 17 Dora De Larios, pottery, sculpture and wall Works by members of the Pacific Northwest’s ing and Decorative Objects”; at Arthur M. Sackler reliefs; at MOA Art Gallery, 8552 Melrose Ave. Washington Potters Association; at Baltimore Gallery, Smithsonian Institution, 1050 Indepen­ Connecticut, South Norwalkthrough September Clayworks Gallery, 5706 Smith Ave. dence Ave., SW. 6 Jeanne Bessett, porcelain vessels and platters; Michigan, Detroit September 13-December 11 Illinois, Chicagothrough September 26 “Masked/ at Brookfield/SoNo Craft Center, Brookfield Al­ “Seldom Seen Ceramics”; at the Detroit Institute Faces,” two-person show including masks by James ley, 127-129 Washington St. of Arts, 5200 Woodward Ave. Kouretas; at Lill Street, 1021 W. Lill. Florida, Jacksonvillethrough September 27 Don Michigan, Kalamazoo September 6-October 16 through October 2 “Traditions in Japanese Art,” Reitz; at South Gallery, Florida Community Col­ “Power over the Clay: American Studio Potters”; works from the Edo through the Meiji periods; at lege, 11901 Beach Blvd. at Kalamazoo Institute of Arts, 314 S. Park St. the Field Museum of Natural History, Roosevelt Georgia, Atlanta October 1-8 Rick Berman, Missouri, Saint LouisSeptember 1-30 “Five Rd. at Lake Shore Dr. “Twenty Years,” pottery; at Berman Gallery, 1131 Minnesota Potters,” works by Wayne Branum, September 24-December 30 “The Eloquent Ob­ Euclid Ave., NE. Linda Christianson, Tim Crane, Randy and Jan ject: The Evolution of American Art in Craft Me­ Indiana, Indianapolis September 1-30 Mar- McKeachie-Johnston; at Pro Art, 5595 Pershing. dia Since 1945”; at the Chicago Public Library New Mexico, Santa Fethrough September 7 Two- Cultural Center, 78 E. Washington St. Send announcements of conferences, tours, exhi­person show with broken then reassembled coil- Illinois, EvanstonSeptember 16-October 12 bitions, juried fairs, workshops and other events at and slab-built pottery by Rick Dillingham; and Winners of the 1988 “Artists’ Liaison” competi­ least two months before the month of opening tocoil-built stoneware vessels by Avra Leodas; at Linda tion; at Evanston Art Center, 2603 Sheridan Rd. The Editor, Ceramics Monthly, Box 12448, Co­ Durham Gallery, 400 Canyon Rd. Illinois, Normalthrough September 18 “The 12th lumbus, Ohio 43212; or phone (614) 488-8236. Ohio, Oxfordthrough September 23 Stoneware Biennial Invitational Crafts Exhibition”; at Center Add one month for listings in fuly and two months by Chris Gustin; and porcelain by Chris Staley; for the Visual Arts, Illinois State University. for those in August. at Hiestand Hall Gallery, Miami University. Kansas, Wichita September 11-October 9 “Wich- 14 CERAMICS MONTHLY September 1988 15 gional Selections,” works by 12 Southern artists; Louisiana, Baton RougeSeptember 21-23 “The ... Itinerary at Arrowmont School of Arts and Crafts, 4320 13th Annual Fall Crafts Festival”; at North Blvd., Parkway. downtown1. Texas, AmarilloSeptember 10-0ctober 22 “Fig­ Massachusetts, Lincoln September 11 “The Sixth ita National All Media Crafts Competition”; at ure as Subject: The Revival of Figuration since Annual Artisans’ Fair of Traditional Crafts”; at Wichita Art Association, 9112 E. Central. 1975,” selections from the permanent collection of Codman House, Codman Rd. Louisiana, Alexandria September 10-30 “Sev­ the Whitney Museum of American Art, includes Michigan, Detroit September 23-25 “Detroit Arts enth Annual September Competition”; at Alex­ works by Robert Arneson, Mary Frank, Viola Frey Festival”; at the University Cultural Center, 4735 andria Museum Visual Art Center, 933 Main St. and Richard Shaw; at Amarillo Art Center, 2200 Cass. Massachusetts, Bostonthrough October 30 “John Van Buren. Nevada, Boulder CityOctober 1-2 “The 26th P. Axelrod Collection of Memphis: The Contem­ Texas, DentonSeptember 18-October 28 “Ma­ Annual Art in the Park”; ai Municipal Park Com­ porary Design Group,” works dating from 1980 terials: Hard and Soft,” juried craft national; at plex, off Hwy. 93. by members of this Italy-based group; at Museum Center for the Visual Arts, 400 E. Hickory. Nevada, Las Vegas September 24-25 “Seventh of Fine Arts, 465 Huntington Ave. Utah, Salt Lake City September 9-October 7 Two- Annual KNPR Craftworks Market”; at the Las Massachusetts, Pittsfield through September 18 person exhibition including airbrushed stoneware Vegas Art Festival, Jaycee Park, Saint Louis at “The Craft of Containment: Vessels in All Media”; by John Burt; at Utah Designer Craftsmen Gal­ Eastern. at the Berkshire Museum, 39 South St. lery, 38 W. 200 S. New Jersey, Jersey CitySeptember 24 New Jer­ Missouri, Kansas Citythrough September 25 “The Vermont, Middleburythrough September 22 “Back sey State Council on the Arts “First Annual Lib­ Chinese Scholar’s Studio: Artistic Life in the Ming to Naturals,” four-person exhibition, includes erty State Park Crafts Celebration”; at the historic Dynasty,” 130 objects from the Shanghai Mu­ sawdust-smoked, carved and etched vessels by train station, Liberty State Park. seum. through October 2 “The Human Figure in Nancee Meeker. September 24-October 27 “The New Jersey, StocktonOctober 1-16 “The Fourth Early Greek Art,” 67 works from the ninth through Cow Jumped Over the Moon,” five-person exhi­ Annual Decorative Arts Show: Design ’88”; at the the fifth centuries B.C., includes terra-cotta sculp­ bition, includes bowl and spoon interpretations by Prallsville Mills, along the Delaware River and ture and vessels; at Nelson-Atkins Museum of Art, Roger Roberge; at Vermont State Craft Center at Raritan Canal. 4525 Oak St. Frog Hollow, Mill St. New York, BinghamtonSeptember 10-11 “Hol­ Missouri, # Saint LouisSeptember 1-30 “5/10/ Vermont, Shelburne October 1-9 “Envisioned in iday & Arts Festival”; at Roberson Center for the 15,” juried exhibition of works not exceeding 15 a Pastoral Setting,” invitational and juried exhi­ Arts and Sciences, 30 Front St. inches or less than 5 inches in height, nor ex­ bition; at Shelburne Farms. New York, New YorkSeptember 23-26 “The New ceeding 10 inches in diameter; at the Craft Alli­ Virginia, Alexandria September 28-October 23 York International Fine Art Exhibition: Fine Art ance, 6640 Delmar Blvd. “Collaborations,” decorative and functional works 88”; at the Jacob K. Javits Convention Center, Nebraska, Omaha through September 25 “New by clay and fiber artists; at Scope Gallery, Torpedo 655 W. 34 St. Work,” a three-person exhibition; at the Artists’ Factory Art Center, 101 N. Union St. New York, Setauket September 17-18 “The 1988 Cooperative Gallery, 405 S. 11 St. Virginia, Richmond through October 2 “Craft Annual Outdoor Art Show”; at Gallery North, 90 September 17-October 14 “Paintings and Con­ Today: Poetry of the Physical”; at Virginia Mu­ N. Country Rd. structions,” two-person show including works by seum of Fine Arts, Boulevard and Grove Ave. North Carolina, GreensboroOctober 1-2 “City Margie Schimenti; at Creighton University Gal­ Washington, Seattle through September 30 “School Stage Celebration ’88”; downtown. lery, 2500 California St. of Art 1975-1988,” works by faculty and students North Carolina, MatthewsOctober 1-2 “Third New Jersey, MoorestownSeptember 18-October of the University of Washington School of Art, Annual Artfest”; downtown. 9 “Contemporary Containers 88”; at Perkins Cen­ includes a concentration on ceramics; at Safeco Ohio, DaytonSeptember 23-25 “Oktoberfest”; at ter for the Arts, Camden Ave. at Kings Hwy. Insurance, 4333 Brooklyn Ave., NE. Dayton Art Institute, Forest and Riverview Aves. New Mexico, Santa Fethrough October 31 through December 31 “Son of Heaven: Imperial Ohio, Marietta September 16-18 “Indian Sum­ “Splendid Forms 88,” includes thin-walled stone­ Arts of China,” 225 Chinese works spanning the mer Festival”; at Washington County Fairgrounds, ware vessels by Richard DeVore; and a mural, 26 centuries of the Pre-Imperial (seventh century Front St. sculpture and porcelain vessels by Ruth Duck­B.C.-221 B.C.) and Imperial periods (221 B.C. Ohio, Richfield September 23-25 “Last Rose of worth; at Bellas Artes, 301 Garcia at Canyon Rd. -1800 A.D.); at Seattle Center Flag Pavilion, Summer Art Show”; at Blossom Music Center, New York, Brooklynthrough November 14 “Pro­ downtown. Riverview at Rte. 303. gressive Taste: Decorative Arts 1885-1985”; at the Wyoming, JacksonSeptember 2-28 “The 1988 Oklahoma, Oklahoma CitySeptember 9-11 The Brooklyn Museum, 200 Eastern Pkwy. Artwest Open Competition and Tour,” juried na­ 13th annual “1988 Festifall”; at Kerr Park, down­ New York, New YorkSeptember 15-October 28 tional; at Artwest Gallery, Jackson Hole Art Cen­ town. “Young Americans 14th National Competition,” ter, 105 E. Broadway. Pennsylvania, PittsburghSeptember 9-11 The juried exhibition of craftworks by residents of the Craftsmen’s Guild of Pittsburgh’s 18th annual “A United States between the ages of 18 and 30 (born Fair in the Park”; at Mellon Park. between January 1, 1958 and December 31, 1970); Fairs, Festivals and Sales Pennsylvania, RichboroSeptember 23-25 “State at American Craft Museum, 40 W. 53 St. Alabama, MobileSeptember 24-25 “The 24th Craft Festival”; at Tyler State Park, Rte. 332. North Carolina, Ashevillethrough September 12 Annual Outdoor Arts and Crafts Fair”; at the Fine Rhode Island, East ProvidenceSeptember 10-11 “4x8,” includes thrown and altered pottery by Talle Arts Museum of the South, Langan Park. “City Arts Festival”; at City Hall Plaza, down­ Johnson; at the Folk Art Center, Southern High­ California, Sacramento September 17-18 Sac­ town. land Handicraft Guild, Blue Ridge Pkwy. ramento Potter’s Group “12th Annual Pot Show”; South Carolina, FlorenceOctober 2 “Eighth An­ North Carolina, CharlotteOctober 1-January 31, at Country Club Plaza, Watt at El Camino. nual Fall Festival”; at the Florence Museum, 558 1989 “Ramesses the Great: The Pharoah and His Florida, Saint Petersburg BeachSeptember 17-18 Spruce St. Time,” includes pottery; at Mint Museum, 2730“The Saint Petersburg Beach Fine Arts and Crafts South Carolina, GreenvilleSeptember 8-11 “The Randolph Rd. Festival”; at the Don Cesar, 3400 Gulf Blvd. Southern Women’s Show”; at Southern Highland Ohio, CantonSeptember 17-October 30 “1988 Georgia, AtlantaSeptember 10-18 “The 1988 Arts Handicraft Guild, Milepost 382, Blue Ridge Pkwy. All Ohio Show”; at the Canton Art Institute, 1001 Festival of Atlanta Artist Market.”September Texas, Austin October 1-2 “The 15th Annual Market Ave., N. 24-October 2 “The 35th Annual Arts Festival of Winedale Oktoberfest”; at the Winedale Histor­ Ohio, Clevelandthrough October 9 “American Atlanta”; at Piedmont Park. ical Center, University of Texas. Arts & Crafts 1890-1920”; at the Cleveland In­ Georgia, Augusta September 23-25 The Greater Texas, EdomSeptember 24-25 “The 16th Annual stitute of Art, 11141 East Blvd. Augusta Arts Council’s “Eighth Annual Arts in Edom Arts Fair,” works by artists from Colorado, through November 27 “Art Nouveau in France,” the Heart of Augusta”; along Telfair St., down­ Louisiana, New Mexico and Texas; at Potter works by 20 artists from Paris and Nanfay (1890- town. Brown’s Studio, Hwy. 279. 1910); at Cleveland Museum of Art, 11150 East Georgia, CantonSeptember 24-25 “Riverfest ’88”; Vermont, StrattonSeptember 11-October 16 “The Blvd. at Bowling Park, off Hwy. 5. 25th Annual Stratton Arts Festival”; at Base Lodge, Ohio, Columbusthrough September 15 “Sculp­ Idaho, PocatelloSeptember 17-18 Eastern Idaho Stratton Mountain, Rte. 30. ture at Heritage Village,” juried outdoor exhibi­ Ceramic Association’s 26th annual “Doing Great Virginia, Manassas September 23-25 The eighth tion; at Heritage Village, 1151 College Ave. in 88”; at Quality Inn, 1555 Pocatello Creek Rd. annual “Virginia Crafts Festival”; at Prince Wil­ September 11-16 “Arts Expressions,” juried ex­ Illinois, ChicagoSeptember 23-26 “Chicago In­ liam County Fairgrounds. hibition of works by disabled Ohioans; at Reha­ ternational New Art Forms Exposition: 20th Cen­ Virginia, Williamsburg October 2 The 20th an­ bilitation Services Commission, 400 E. Campus tury Decorative & Applied Arts”; at Navy Pier. nual “An Occasion for the Arts”; at Merchants View Blvd., Crosswoods Center at Rte. 23. Illinois, EvanstonSeptember 8-11 “Fourth An­ Square. Pennsylvania, BethlehemOctober 1-30 “Juried nual Evanston/Glenbrook Hospital’s American Wisconsin, Wausau September 10-11 “Arts Week­ Exhibition of Contemporary Crafts”; at Lucken- Craft Exposition”; at Henry Crown Sports Pa­ end in Wausua,” includes the “24th Annual Wau­ bach Mill Gallery, 459 Old York Rd. vilion, Northwestern University. sau Festival of Arts”; downtown. Pennsylvania, Philadelphia September 15-Octo­ Illinois, Mount VernonSeptember 10-11 “The ber 15 “ArtQuest ’88: The Fourth Annual Com­ 12th Annual Cedarhurst Craft Fair”; at the grounds petition”; at Beaver College Art Gallery, Glenside. of the Mitchell Museum, Richview Rd. Workshops Pennsylvania, PittsburghSeptember 16-Novem- Indiana, Madison September 24-25 “Chautau­ California, DavisOctober 1 “Techniques and Ap­ ber 6 “Pennsylvania Council on the Arts 1987 Craft qua of the Arts”; at Vine St. along the Ohio River. plications of Colored Clays, Neriage, Agate Ware, Fellowship Recipients”; at the Society for Art in Iowa, Spencer September 10-11 and 13-17 Spen­ Slip Casting and More,” demonstration and slide Crafts, 2100 Smallman St. cer Area Arts Council’s “Second Annual Tent for presentation with Carol Aoki. Fee: $25; senior cit- Tennessee, Gatlinburg through October 11 “Re­ the Arts”; at the Clay County Fairgrounds. Please Turn to Page 58 16 Ceramics Monthly September 1988 17 oped during the 13th century when Italian niques, materials, combinations, etc., and keep potters began experimenting with the Islamic careful records. Along with many useful rec­ technique of decorating ware coated with white ipes, charts and graphs, the manual has a tin glaze. They soon began developing a va­ number of blank record-keeping forms suit­ New Books riety of colors to add to medieval greens and able for photocopying. $25 (softcover), post­ manganese: blue or lilac-gray from cobalt; paid. 278 pages, including appendix of anal­ green from copper; yellows and oranges from ysis charts, weights and measures, conversion antimony and iron; purple and brown from tables; glossary; bibliography; mineral mines/ manganese; opaque white from tin; and red distributor names and addresses; and index. derived from an iron-rich clay called Ar­ 101 black-and-white photographs; 55 charts, menian bole. graphs and lists. Falcon Company, Box 22569, By 1500, the potters had fused Renais­ San Diego, California 92122. Ceramic Form sance ornamental techniques with the subject by Peter Lane matter of ancient Rome. This istoriato (sto­ Given our 29,000-year ceramic history, “it is ry-painted) pottery was treated as a form of The Technique of Modelling virtually impossible to be totally original in pure painting with a narrative style, and be­ in Clay making pottery vessels,” notes the author of came an up-market product commissioned by Eric Griffiths this “index of forms” featuring works by 150 by powerful men of Europe, from the King To appreciate or even read this book, one contemporary ceramists from Africa, Aus­ of Spain to the Duke of Bavaria. However, needs to unload some of the negative aesthetic tralia, Europe and North America. “Nu­ majolica was for the most part a middlebrow baggage associated with the figurine—its ances of shape, combinations of color, styles art with classical themes, albeit an unintel­ principal subject. of decoration, and the relationship between lectual classicism derived from mythology, The substantial public interest in and these elements are the principal areas that Roman history and Biblical stories. market for figurines is easily documented at offer the greatest scope for innovation. It is “Distinctions can also be seen in the forms any department store or “fine” china shop, hardly surprising, therefore, that certain fa­ that were tin-glazed. In south Italy and along yet quality ceramic artists of almost every miliar shapes continue to be explored by the coasts, areas more susceptible to Medi­ variety have continually shunned working in modern studio potters around the world.” terranean influence, bowls were commoner, this art form. The figurine has been and re­ Focusing on the two vessel forms the au­ whereas inland the transalpine European jug mains tainted by the countless hundreds of thor recognizes as the bases for all others— tradition predominated. Only towards the end thousands of sweet, trite, disgusting or pat­ the bowl and the bottle—the text examines of the Middle Ages did tin-glazed bowls be­ ently offensive figures usually made else­ visual and physical considerations in deter­ come commoner in north-central Italy. The where around the world and shipped to mining balance and proportion; volume and wide variety of vessel shapes found in mu­ America for sale to the culturally uncaring capacity; working methods and processes; seum collections reflects the curatorial wish or uninformed. Yet the intelligent observer design sources and sculptural developments;to have at least one of everything rather than in a quiet, emotionless moment knows that and decoration through color, pattern, ma­ the proportions used by medieval Italians,” there is nothing inherently wrong with the nipulation of form and texturing. Blake points out. figurine. In fact, if quality artists again began “Fashions come and go in all things, but The catalog section, which composes the to take up the form with serious intent, per­ the underlying geometry of pottery vessels bulk of the book, includes extensive notes on haps no more charitable deed of art could be remains clear,” the author observes. “It can decoration, design sources (e.g., stories from done to bring light to the deepest corners of be seen that the ‘vocabulary’ of pottery form the classics), as well as construction and glaz­ the abyss of American day-to-day aesthetics. and decoration, with its materials, processes ing materials and techniques. $20.95, soft- What’s more, here is a bottomless gift and and techniques, can be translated in an in­ cover. 216 pages, including glossary, bibli­ collectors’ market being siphoned off to for­ finite number of ways for truly personal ography, index and a list of lenders to the eign corporate interests; such dollars could expression.” 224 pages including bibliog­ exhibition. 24 color and 242 black-and-white otherwise help build college tuition funds for raphy and index. 150 color plates; 250 black- photographs. The University of Texas Press, tb't growing children of baby-boom potters. and-white photographs and illustrations. $35. Box 7819, Austin, Texas 78713. Written by the art director of ceramic Rizzoli International Publications, Inc., 597 sculpture at Royal Doulton, this book de­ Fifth Avenue, New York, New York 10017. scribes basic principles of modelling small Advanced Ceramic Manual figures. The text begins by suggesting some Technical Data for the Studio Potter preparatory steps before starting to work with Ceramic Art of the Italian by fohn W. Conrad clay: thumbnail sketches, saving and refer­ Renaissance Intended as a comprehensive reference source ring to photos, magazine illustrations, etc., by Timothy Wilson for studio potters, instructors and students, and researching human and animal anatomy. “It should be impossible to be interested in this typed (as opposed to type-set) text begins The next chapter focuses on clay’s qualities the outburst of artistic energy that we call with an overview of ceramic history, then and limitations; brief advice on tools, drying the Italian Renaissance without being inter­ discusses properties of clays and the prepa­ and firing is also given. The remainder of ested in its painted pottery,” states the author ration of various clay bodies. The next sec­ the book is devoted to eight modelling proj­ of this catalog/book on tin-glazed earthen­ tion is devoted primarily to glazes (chemistry, ects, illustrated by drawings and photos from ware of 15th- and 16th-century Italy. “As composition, calculation, preparation and the initial sketched idea through the pro­ painting, majolica is the principal branch of application concerns); it includes charts gressive working stages. Methods for pro­ Renaissance art which has consistently pre­ identifying the characteristics of basic glaze ducing correct anatomical proportions, the served all the vividness of its original col­ ingredients and colorants, sample percent bend of limbs and the fold of fabrics are dem­ oring; as an index of taste, it offers an in­ recipes and even cup-and-spoon measure­ onstrated step-by-step. Facial expressions and comparable corpus of non-religious subject ments for stains and for coloring commer­ hands, sometimes the most difficult aspects matter; and as a form of ceramics, this so- cially prepared glazes. Firing processes, kilns, of figure modelling, are discussed in separate called ‘minor-art’ came perhaps closer to the fuels, health and safety precautions, and chapters. The final chapter covers the re­ ‘major-arts’ than at any other point in the business practices are also discussed. production of small sculpture with plaster long history of world ceramics.” While meaning remains clear for the most molds. 128 pages, including a list of sup­ Following an essay by Hugo Blake on the part, there are typographical and grammat­ pliers, bibliography and index. 60 black-and- contribution of majolica ware to archaeology, ical errors throughout the text. Noting this white photographs, 4 color images and 20 the book focuses on documenting the British possibility in the introduction, the author line illustrations. $19.95, softcover.David & Museum’s collection. Majolica was devel­ suggests that the reader test all recipes, tech­ Charles, Inc., North Pomfret, Vermont 05053. 18 CERAMICS MONTHLY September 1988 19

rary studio ethics and aesthetics that one ing hanging in cool detachment upon the can only be amazed by the uproar it has wall came to symbolize the failure of art created. We hold up machinelike sym­ to interact meaningfully with those for metry and “perfection” as lofty goals and whom the art was presumably intended. Comment then cry foul when people show us they At the same time, there was a feeling can achieve these goals with machines. that the march of technological “prog­ Too Long at the Fair We say, “As long as it sells, I’ll keep on ress” was imbuing people’s daily lives making it,” and then resent it when with a desensitizing and deadening mo­ by Timothy Gallucci someone makes lots of things that really notony. Not only people’s “little boxes,” sell well. We say, “I hate all this phi­ but also their content seemed to be “made losophizing about crafts,” and then ob­ out of ticky-tacky.” The idea of elevating ject to quasi-factory operations on philo­ the aesthetic consciousness of the masses sophical grounds. We devalue our workwhile fighting the good fight against false by lowering our prices to compete with progress was irresistible to many artists each other and department store gift reacting against the elitism of modern shops, and then moan when we are un­ painting and in search of a new mission. The truth is we’ve all had a juicy bite dersold by the local jiggering genius. We But, of course, they too had tasted the of the apple, and anyone who claims in­ pander to our dealers’ desire for uni­ apple. To think that a bunch of painters nocence is either an ostrich or a fool— formity, then act surprised when they (and nearly all the potters of that era or perhaps a serpent. The current crisis show a preference for real uniformity. were converted painters) could just in studio ceramics, namely, what to do Worst of all, we use public taste as the abandon their previous formal art train­ about the quasi-factory operations that yardstick of success when things are going ing and instincts in favor of a new “craft” are horning in on the “handmade” crafts well and as a scapegoat for failure when aesthetic is utterly naive. Consciously or market, is the perfectly natural and log­ fashion changes. not, these potters brought to their work ical outcome of the sins we’ve all been When the founders of the contem­ a complex mix of artistic and social mo­ committing for quite some time. What’s porary studio movement rejected “art” tives that produced a new studio craft more, those of us who are protesting most in favor of “craft,” what did they have approach which was neither aestheti­ loudly are most clearly to blame for the in mind? I recently had the opportunity cally innocent nor intellectually bank­ predicament in which we find ourselves. to take an aptitude test and was sur­ rupt, and which is only parodied by to­ There is one question which must be prised to learn that I had no affinity for day’s empty-headed, anti-art, anti­ squarely faced in any honest discussion crafts at all. But I was somewhat re­ intellectual notions about what consti­ of this crisis: How is it possible for jig­ lieved to discover that by “craftspeople” tutes “good craftsmanship.” gered, hydraulically pressed, and slip- the creators of the test meant plumbers, If (at least by example) these founders cast pots to masquerade so successfullywelders, tool and die makers, and the of the craft movement showed the way as handmade objects in the contempo­ like. Is that how we are to think of our­ to a workable studio aesthetic, they did rary crafts scene? For the current sit­ selves? Are we skillful welders, proud little to resolve the question of how best uation to have developed, the standards of the quality of our joints, but withoutto show and sell one’s work. The idea of both potters and the buying public interest in, or vision to see, the larger that it was best to show handcrafted pot­ have had to sink pretty low. structure on which we’re working? I hope tery in commercial shops, rather than Modern studio potting is founded on not. Still the guy who writes in to ear­ galleries, contained a hint of artistic two beguiling and even noble-sounding nestly proclaim that his craft is his art slumming and more than a hint of sour- ideas. The first is that good craftsman­ and don’t philosophize to him about grapes reaction to the failure of the art ship is “art” enough and that if crafts­ creativity and that’s that, sounds so much world powers-that-be to recognize the manlike excellence is pursued, artistic like a mud-slinging Archie Bunker that importance of the new crafts. The concerns will take care of themselves. it would be funny if it weren’t killing makeshift solution for most potters was The second is that potters have a social something I care about. to maintain a dual existence. “Produc­ mission to raise the aesthetic conscious­ It is hardly more comforting to think tion” work was intended for the world ness of the masses and that therefore of us as the bazaar (and bizarre) mer­ of commerce, while one-of-a-kind pieces prices of handmade pots should be kept chants and court jesters of our day. The were produced for exhibition. Thus did within reach of “average” people. Un­ show scene today is so obscenely de­ potters maintain their tenuous hold on fortunately, the former idea has been so structive to meaningful aesthetic valuesthe lowest rung of the fine arts ladder; shallowly interpreted and so trivialized that it’s difficult for me to conjure up and thus, like it or not, did commercial as to have lost all real meaning, and the enough contempt for the organizers, ju­ crafts maintain an artistic conscience in latter is just plain naive. rors and promoters of these events and the form of a nearly universal ongoing Artistic and aesthetic questions are still have some left over for that jerk who interest in showing crafts, at least oc­ extremely difficult to resolve in the con­ writes articles about how to use slick casionally, in a noncommercial, art-ori- text of modern living, but the decision sales tactics to succeed at them. How sad ented environment. to evade the issue by joining the art- that display, presentation and salesman­ If all of this seems like a quick aban­ rejectionist, antiphilosophy, technical- ship have all but taken the place of doing donment of the principals that got the competence-as-excellence camp is cre­ good work. movement started, one can only say that ative abdication; and it should come as Insight into the original intent of the such are the fortunes of idealism. Before no surprise that the pots which grow out craft-versus-art argument requires a lit­anyone had much of a chance to worry of such an approach can be made as well tle historical perspective. After the sec­ about it, though, along came the decade by machines as by people. The current ond World War, the painting scene struck of the sixties and fixed up everything. crop of pseudo-handmade pots so per­ many artists as aesthetically tired and Pottery became fashionable in art gal­ fectly embodies prevailing contempo­ irrelevant. To many, the idea of a paint­ leries, craft shops and outdoor shows, September 1988 21 ... Comment are only tools, and that real creativity must come from individuals. If your work is so lacking in individ­ and there was room and tolerance for uality that it can be reproduced by a almost everyone. “Straight” potters looked machine, you’d better get used to the with a certain benign bemusement at idea that it will be. You’d also better get Peter Voulkos and his followers who adjusted to the idea of camping next to seemed to take some sort of perverse a factory potter at your favorite craft pleasure in messing up “good” pots, but shows. The shows’ organizers never have even they were credited with enlivening and never will feel any loyalty to you, the general atmosphere and having a your craft, or the aesthetic well-being of loosening influence on a craft that even the world at large. If your work fails to then showed signs of getting “tight.” attract public patronage in that envi­ (Would that we could have seen sown ronment, there’s little point in blaming in that patronizing attitude the seeds of either the public or the factory potter. the insufferable smugness of those cur­ For those who have become accus­ rently worshiping, apparently in dead tomed to my eagerness to offer solutions earnest, at the altar of Good Crafts­ to the problems confronting the contem­ manship.) The crafts market appeared porary craftsperson, I am about to be­ to be getting more sophisticated, and the come a disappointment. It is not merely hunger for handmade pots seemed in­ glib to suggest that what to do about the satiable. current dilemma is your problem. It falls Alas, this drunkard’s dream of uni­ to each potter, in each generation, to find versal acceptance could not last. In the a way of distinguishing his/her work from eighties, handmade pots are no more the clutter of undistinguished objects in fashionable than folk music, and much the world, and of finding a public to of the current upheaval derives from a support the effort. That is the nature of simple failure to acknowledge that fact. leading a creative life, and it matters lit­ Current fashion favors consumer goods tle whether you call yourself an artist that proudly proclaim their technolog­ or a craftsperson. The fact that the pub­ ical origins. The argument against not- lic and the competition are more coop­ quite-handmade pottery in the crafts erative at some times than others is ir­ marketplace stumbles on the fact that relevant. few buyers care how pots are made. If All this whining is unseemly. There changing economic, aesthetic and envi­ is no reason to grow faint in the presence ronmental circumstances played a role of a hydraulic press. Mass production in creating this attitude of indifference, of domestic utensils is hardly something we potters played a larger and more cen­ new. Make something a press can’t make, tral role. and you’ll have a start. Create some­ What makes some handmade objects thing no one else can make, and you may superior to machine-made ones is not a even make a contribution. Take up the subtle thing. The idea that customers ancient and honorable tradition of em­ should sense and appreciate an inher­ ulating the best of your time. Do you ently greater value in a thrown pot than really think that, say, Tom Turner, Jack in a jiggered one is patently absurd. If Troy or Jeff Oestreich is in danger of the objects are identical, or even nearly being replaced by a machine? so, only a fool would pay a premium for When Malvina Reynolds wrote “Lit­ the idea that one was actually made by tle Boxes,” she chose as her object of hand. In that situation, the buyer does scorn the anonymous and lifeless tract no special service to anyone by making housing that sprang up in the fifties. The a distinction. And certainly those who song should be revised for the eighties. operate machines have no obligation to Sing along if you know the tune. avoid making things that look hand­ made. The fact is that the only way a Little oil lamps at the crafts fair; handmade object obtains any real dis­ Little oil lamps made of ticky-tacky, tinction is to be unique, unreproducible Little oil lamps, little oil lamps, either by machines or other craftspeople. Little oil lamps, all the same. Take a look at a catalog from any There's a green one and a pink one “Ceramics National” exhibition of the And a blue one and a yellow one} sixties and ask yourself whether those And they're all made out of ticky-tacky objects need patent or copyright protec­ And they all look just the same. tion. Among the craftspeople you’ll see One thing seems certain. People who represented there is an easygoing flow find grappling with philosophical ideas of ideas and information which derives a burden might do well to conjure up from the confident knowledge that firing the idea of spending the rest of their days schedules, glaze recipes and clay bodies pulling on a jigger machine handle. 22 CERAMICS MONTHLY September 1988 23

26 CERAMICS MONTHLY PHOTOS: SCOTT MCCUE

De Staebler, his kiln and three fired clay steles, from left “Seated Woman with Quartered Abdomen,” “Standing Woman urith Open Heart” and “Standing Woman with Missing Hip. ” Stephen De Staebler’s Archaic Figures by Donald Kuspit

Editor’s Note:The exhibition, “Stephen De Stae­ sense of its flesh as morbidly immediate if to the walls of Christian cathedrals in an­ bler: The Figure,” opened at the San Francisco also cosmic in import, linked to the strange other kind of religious sculpture—reappears Museum of Modern Art and is now on view at tumult of raw matter in formation. All this in De Staebler’s figures, with the same re­ the Neuberger Museum, Purchase, New York. is conveyed by the archaism of De Staebler’s ligious import. figures—their regressive character, all the The elongated character of many of De Stephen De Staebler once described a more peculiar in that his figures retain a cer­ Staebler’s statues innovatively extends the Spanish colonial church in Mexico as “a tain ironic individuality. Even when they are tradition of modern figural archaism evident straightforward abstraction of the female fig­ pointedly elemental, they remain personages. in the sculpture of Wilhelm Lehmbruck and ure with knees up, the pubic hair articulated Art historically, De Staebler’s figures are Alberto Giacometti, not to speak of their re­ by the statuary over the entrance, and the archaic because they are full of recollections, lationship to the archaic, “broken” figures in dome the breast”—an almost straightfor­ almost saturated with them. His numerous such paintings as Pablo Picasso’s “Les De­ ward translation of “mother church.” Such embedded figures recall the giant figures moiselles d’Avignon” (1907). There is a com­ “almost simplistic imagery,” De Staebler said, carved in the living rock of the temple of memorative, religious dimension to the fig­ commenting on his own visionary descrip­ Rameses II at Abu Simbel (circa 1257 B.C.). ures of Lehmbruck and Giacometti and,I tion, on the peculiar feeling the church gave Like these figures, De Staebler’s seem to be would venture to say, to Picasso’s confron­ him, “is at the heart of art.” De Staebler’s in a niche of their own making. They are tational female figures who block our path own art, it seems to me, is an attempt to strip buried in earth but stand in transcendent like the “bewitching” Mothers Goethe al­ the human figure down to its most elemental, outline against its mass, imbued with, but ludes to in the second part of Faust. De Stae­ “almost simplistic,” terms, revealing it in all peculiarly distinct from, its gravity. There’s bler’s figures are also found in the bowels of its archaic bodiliness. He wants to disinter antiquity for you, an Egyptian antiquity thatthe underworld, guarding the path to its it from its modernity—the sense of its purely was already old when the Greeks conceived deepest secret. functional significance, of its ideal existence their archaic statuary. The static sublimity And of course the commemorative stele— as that of a happy machine—and recover a of the Egyptian figures—and those attached virtually all of De Staebler’s figures are stele- September 1988 27 like in function if not in form—is an ancient De Staebler’s figures verge on the inarti­ is exactly why De Staebler’s archaic figures form, boldly asserting the presence of the culate and inchoate—seem full of nonhuman are archaic—because clay is the ultimate dead, usually presented in generalized form, natural forms—in order to express the root­ “archaic” material. De Staebler’s archaic fig­ in collective memory. The stele is a memo­ edness of being human in nature’s apparent ure can never be fixed in form, however fa­ rable form—a form that can easily be fixed randomness. For De Staebler, this random­ miliar its form is—but never so familiar as in memory—articulating a memorable ex­ ness is occult in import, for, like the frag­ to seem everyday—for it seems always to be perience, which one hopes would endure and ment, it is a point of access to primitive being, breaking the boundaries of form in the very be repeated. (The human figure is already a kind of spontaneously given source throughact of articulating them. In a sense, this is fixed in memory, being ourselves, so that to which it seeps up. why De Staebler must wedge the figure in: make it stelelike is to make its primitive Here we come, inescapably, to De Stae­ to get a hold on it. His figure always seems memorableness emphatic.) The stele ad­ bler’s sense of clay, the clay out of which his forced into shape, and to spill out of it spon­ dresses the suffering of loss of the beloved, figures are made. Clay for him is the im­ taneously. Its clay substance naturally merges, who is resurrected in primitive form. (De mediate form of nature. Clay is prehistoric, as it were, with the comparatively formless Staebler, I am going to argue, addresses the prehuman. The human is one more “land­ primitive nature that encompasses it, that loss of our primitive sense of being human, scape” that has emerged from clay, a land­ gives it “body.” in effect our primitive sense of ourselves.) It scape that seems as random in character as What are we to make of De Staebler’s use is a religious art form. De Staebler has said any other. The human is random in ap­ of bronze? I think it represents a residue of that “religion . . . addresses suffering,” and pearance—for all its definiteness, De Stae­ the perfectionism De Staebler once felt him­ that art tries “to restructure reality so that bler’s figure still conveys the indefiniteness self to be tyrannized by—a new way of han­ we can live with the suffering.” He wants to of the clay out of which it is made—and it dling, of making peace with, that still-op­ create a modern religious art, utilizing ar­ is, as De Staebler wants to suggest, randomly erational perfectionism. De Staebler turned chaic forms for an “archaic” purpose: the put together, not as fixed an order as it seems. to clay because of his great sensitivity to the articulation and remediation of suffering. Thus, he “randomly” alters its proportions “secret processes” that he feels are at work Rodin, of course, is not forgotten in De and emphasizes certain parts at the expense in it. He is fascinated with the fact that there Staebler’s sculpture, with his sense of the of others. De Staebler’s figures are randomly is no other medium “that has so many in­ infinite malleability and expressivity of clay, metamorphic, as randomly metamorphic as dividual states,” beginning “with slip, then and his ability to generate a sense of the clay. It is hard to determine whether his fig­ slop, then sludge, and very gradually ranges figure as simultaneously molded and carved,ures are still in the process of being formed, into whatever you want to call it.” All the fusing what the critic-philosopher Adrian or malformed, or formed piecemeal—differ­ “s’s” convey the inherent sensuality of the Stokes regards as the traditional opposites of ent parts at different rates—or in the process process of change from state to state—the sculpture making. Inseparable from this Ro- of disintegrating into formless fragments. They directly libidinous quality of clay that makes dinesque aspect, there is a baroque com­ are absolutely ambiguous in character, in­ it so ultimately interesting for De Staebler. plexity to De Staebler’s statues. The human habiting no one condition stably. For all the Working in clay is a sensual liberation from figure is worked and reworked by De Stae­ residual heroic aura they muster, his figuralhis perfectionism, as well as sensually en­ bler until it becomes emblematically vibrant bodies are incoherent, almost to the point of joyable in itself. Clay represents pure im­ with mysterious being, greater than itself yet monstrousness. They seem to symbolize the pulse for De Staebler. But the repressive, unexpectedly inseparable from it. What be­ “abnormality” of the human figure; that is, egoistic perfectionism would not go away, and gan as a schematically fetishized figure ends the lack of any norm of the proper human is indeed evident in De Staebler’s meticulous as a transcendentalized physical plenitude, body. Certainly compared to the wholeness control of detail. He says that we ought to conveying a sense of being bursting the order and nobility of classical ancient figures, De have at least as many words for clay as the of the body, but needing the body as its flex­ Staebler’s archaic figures seem not only far Eskimos have for snow—about 20. De Stae­ ible expression, as the ironic access to it. from ideal but outright pathological, dys­ bler is fascinated with the change that occurs De Staebler has expressed admiration of functional—anti-functional. De Staebler’s in clay as it is shaped when, becoming less baroque “daring” for playing so “tenaciously “ill-formed” archaic figures pose a threat to “soft, plastic” and a “little stiffer and leather with the idea of underlying order over­ the mature figures of antiquity, which have hard,” it “starts to resist shaping and... begins powered by a kind of multiplicity of form become a symbol of authentic, model hu­ to gain structure.” Even waiting on the clay— that camouflages that order.” One intuits the manity—indeed, De Staebler’s seem to dis­ as it dries, as it is fired—is part of the unique latent order through the manifest play of forms miss them as a big lie. process of the medium. The unpredictable, within the figural context, as though the The root of De Staebler’s peculiarly abor­ seemingly miraculous result of firing—De sculptural figure is a dream to be interpreted. tive figures—randomized (almost to the point Staebler speaks of it with awe—is the an­ De Staebler wants this same “theatrical” ef­ of being impulsive) and fragmented (in part tithesis of the control that he wanted with fect: “It’s that quality of having an order which a strategy of randomization)—is in clay. “The his perfectionism. So why should De Staebler is very unapparent—which is submerged in thing that I responded to mostly in clay,” De return to the obvious perfectionism of bronze— the form—that really satisfies me. And that’s Staebler has said, “was its power to perform a seemingly changeless, and so implicitly what the experience of nature is.” (I think randomly. You could let it do what it wanted perfect, material, fixing eternally whatever De Staebler’s often disconcertingly bright to do. It had this great power to receive order, form it embodies? I think it is because he is paint serves his baroque purpose particu­ but also to persist in its randomness. In that now mature enough to acknowledge the role larly well. Its free play on the body suggests sense, it’s landscape, because landscape itself of his perfectionist tendency in sculpture the “alternate” primitive order the body has.) is randomness being acted upon by over­ making, to the extent of hypostatizing it. It De Staebler transposes that quality to his art: whelming forces which have only recently is also a baroque necessity, for his perfec­ a secret sense of permanent primitive order been discovered or understood. You think of tionism is responsible for the sense of order in a sophisticated cocoon of formal manip­ earth crust movement, plate tectonics and so underlying the impulsive play with the clay, ulations, a mysterious deep order under aforth. This is very much like the experience and must be given its independent due. hyperactive surface tending towards revela­ you have when you work with clay but let De Staebler’s use of bronze suggests that tory formlessness. The effect of being un­ the clay have its head, let it do what it wants he is ready to acknowledge that there is no formed—chaotic, the ultimate primitive- to do.” One feels this randomness coming complete liberation of impulse—randomness ness—is all the more vivid for having been through in De Staebler’s figures, both gen­ is itself an incomplete liberation of im­ achieved by harrowing passage through a erating and degenerating them, that is, shap­ pulse—and that the desire for and regressive multitude of forms. ing yet regressing them to shapelessness. This ideal of such liberation is false to the com­ 28 Ceramics Monthly plete truth of being human, which also in­ for the truth of being with his hands and in the 20th century, the death of humanity volves being civilized, that is, controlled, or brain. The animality of the relationship to is. De Staebler’s figures and fragments of channeling—censoring and “criticizing”— the clay is crucial, for only through the pas­ figures deliberately refuse, as it were, the impulse. Regression to impulse may be nec­ sionateness it represents can the “truth”— streamlining or efficiency demanded of hu­ essary at a certain youthful moment in de­ the “hard bottom,” as Thoreau called it, that man beings in today’s administered world. velopment—De Staebler has spoken of the we come to after we “work and wedge our De Staebler’s figures are a critique of the need of young artists to free themselves from feet downward through the mud and slush false ideality of efficient functionality which the tyranny of the apparent perfectionism of of opinion, and prejudice, and tradition, and plays into the hands of the collective death old masterpieces, even to deliberately seek delusion, and appearance”—be reached. instinct. In their return to nature, they forfeit out their impulsive root, their “imperfec­ Thoreau names this hard bottom, all of whose all modernistic streamlining, and as such are tion”—but it cannot carry development for­ rocks are in place, “reality”—what unmis­ not only implicitly “skeptical of progress and ward, however much it may initially liberate takably is. Clay here does double duty, as a technology,” like De Staebler’s hero Tho­ it. Bronze is a civilized material, and to hy- symbol of the delusion that is the obstacle to reau, but a reminder that technologically in­ postatize bronze, and spired efficiency does use it to hypostatize not guarantee human­ clay, is to accept the idea ity’s survival. One might of a necessarily civi­ even say that De Stae­ lized development of bler works in clay be­ art—rather than sim­ cause it is not a tech­ ply self-indulgently nologically advanced or primitive, infantile new material, although art—and of clay. In­ ceramic material has deed, giving form to clay recently played a major was one of the first signs role in the development of being civilized, and of superconductivity— is already a criticism which suggests how and censorship of the much life and use there raw state of nature. still is in the old earth. Where working with De Staebler articu­ clay was once libera­ lates the secretly sur­ tion from the repres­ viving rawly human sion represented by being within the perfectionism for De streamlined, efficient Staebler, casting in functionary demanded bronze involves the rec­ by society in its pursuit ognition of the neces­ of progress and tech­ sity of what has been nology. His archaic fig­ called the repression ure represents the alive barrier for civilization. but devastated self Bronze monumental­ Works in progress in De Staebler's Berkeley studio. “[These] figures are within the efficient izes that barrier as a randomly metamorphic, as randomly metamorphic as clay. They seem to technocrat that is the virtue, and in doing so symbolize the \abnormality * of the human figure; that is, the lack of any norm of ideal modern person. confirms clay’s mean- the proper human body. Compared to the wholeness and nobility of classical De Staebler’s archaic ingfulness beyond its ancient figures, [they] seem . .. outright pathological, figures are wounded randomness. De Stae­ dysfunctional—anti-functional. ” survivors of the stream­ bler has not given up lining process that ro­ the impulsiveness that clay is so conducive recognition of reality, and of bedrock reali­ botizes human beings into efficient operators. to. Rather, he has realized that it is only half ty—so flexible is it, so symbolically useful Their archaicism conveys their wounded- its story. By bronzing, he acknowledges his its various forms. It is this same sense of basic ness—their eroded, fragmented character. total mastery of the states of clay. He has contact with bedrock reality after working Monumentally isolated—grandly antiso­ achieved autonomy. through clay that De Staebler wants in his cial—as they are, and partially confined, as De Staebler, as might be guessed from what final sculptural product. many of them are, in the earth, they reveal has been said before, is interested not only There is a paradox here: soft clay hard­ their social misfitness all the more. The path­ in creating an archaic figure but an archaic ened into ceramic art becomes emblematic of ological, inefficient state of their bodies sug­ surface, what he calls “a surface of land­ bedrock reality. There is a further paradox gests that they symbolize the alter ego or scape.” Landscape has as complex a meaning in the fact that bedrock reality takes the form shadow side of modern technocratic man. as life. The key point in De Staebler’s un­ of the archaic figure. Why is the archaic fig­ Jung—De Staebler said that he liked Jung’s derstanding of landscape is that it is not ure particularly relevant now, in our moderntheory of the psyche—described the shadow something distant, out there, which he pas­ society of instrumental reason? It is a ques­ as “the ‘negative’ side of the personality, the sively contemplates, but something close up, tion of postmodern expressionism, which De sum of all those unpleasant qualities we like in which he can immerse himself. It repre­ Staebler’s art can be said to be a branch of. to hide, together with the insufficiently de­ sents intimacy with elemental substance and The usual answer—that the irrational figure veloped functions and the contents of the per­ the sense of discovery of fundamental reality is a reminder of our buried roots and a re­ sonal unconscious.” De Staebler’s figures through that intimacy, as his reference to a sponse to a false rationality—is only par­ symbolize the unconscious, decadent, injured famous passage in Thoreau’s Walden sug­ tially true. The truth of De Staebler’s figure condition of modern man. All the hopeful gests. Thoreau, writes De Staebler, “wanted is deeper. It articulates not simply human becoming in clay is used to negative purpose to burrow like a mole, to mine with his fore- irrationality—a defiant primitivism—but in De Staebler’s archaic figures. Their prim- paws and brain, and cut to the truth.” De engages the necrophilia of the age. If, in the itiveness is an end, not a beginning. They Staebler wants to burrow into clay, mine it 19th century, the death of God was at stake; are regressive ruins, yet they articulate the September 1988 29 subjective complexity of being human. They Etruscan sarcophagi (circa 520 B.C.), one Staebler’s art as well as understanding of re­ show the human at wit’s end. But the shad­ realizes how De Staebler’s man and woman ligion, as he acknowledges when he states, ow, as Jung said, contains the germ of “good have abandoned each other—how separate immediately afterwards, “You sensed that in qualities.” They exist in the figure: they are from each other they are in comparison to my work there is a tension between sepa­ the impulsive rather than eroded part of its the ancient loving couples—how the primi­ rateness and fusion,” an effort “to keep them primitiveness. They are part of its uncon­ tive, ageless intimacy of these archaic couples in an equilibrium” and show them “working scious—its character as clay. The uncon­ has degenerated in the modern world. De simultaneously.” scious is clearly claylike, so that as long as Staebler can make the archaic look freshly De Staebler establishes a female relation­ De Staebler’s figures retain an obvious clay- fascinating and sophisticated, but there is no ship with clay—archaic psychic absorption like malleability, there is hope for and in way he can appropriate the tender spirit be­ in it—while keeping it separate by a male them. tween these couples. De Staebler’s figures act of shaping it. He wants a completely un­ Jung’s theory of archetypes is also relevant are too panicked structurally to be intimate. conscious and completely conscious relation­ for an understanding of De Staebler’s fig­ De Staebler has said that “for years” he ship with clay, with a breathless simultaneity ures, which are quintessentially archetypal. has been involved “with the male-female po­ that is the measure of his extraordinary am­ Jung described archetypes as “a priori cat­ larity and [its influence on] the form of the bition. It is worth noting that, in his mystical egories of possible functioning,” and once used body. All of my figures are either androgy­ dialectical feeling towards clay—his female, the metaphor of a deeply cut riverbed to de­ nous or nonsexual. Often, you do not knowEastern desire to surrender himself com­ scribe the archetype. Such channels, shaping whether the figure is a male or a female. Or, pletely to or disappear in its process but also, and containing the flow of our mental activ­ if you see that it is a male figure, you seein a Western, masculine way, to stand back ity, exist in every psyche. They are bedrock that it is also female.” He is aware that “peo­ from it and see it in the final sculptural prod­ inner reality, not unrelated to Thoreau’s sense ple who are insecure about their own sexual uct he has made of it—he describes his am­ of bedrock reality underlying the river of false orientation, or who like things clear-cut, do bivalent relationship to it in the language opinion. De Staebler’s figures are personi­ not like this kind of ambiguity.” De Stae­ such psychoanalysts as Margaret Mahler and fying rather than transforming archetypes. bler’s attempt to integrate these fundamental D. W. Winnicott use to describe the child’s Where the latter symbolize—often through human opposites is also Jungian, for Jung psyche. He “must continually reconcile his abstract means—changes underway in the held that the psyche is predicated on a “prin­ longing for independent autonomous exis­ psyche, particularly changes to bring it into ciple of opposites.” It is inherently ambiva­ tence with an equally powerful urge to sur­ balance, the former are projections of un­ lent or contrapuntal, and it is to De Stae­ render and reimmerse himself in the envel­ conscious collective experience. They natu­ bler’s credit that he can articulate this fact oping [maternal] fusion from which he has rally take on a human-looking appearance, without losing the sense of its subtlety. come.” This longing for independent auton­ the act of personification being the most di­ The male-female polarity is not just an omous existence can be connected with Jung’s rect expression of the unconscious’s influence issue of the articulation of body for De Stae­ idea of individuation as the “process of dif­ on us. The most prominent personifying ar­ bler. He studied religion in college—his sense ferentiating the self’ from the other aspects chetypes are the anima in man, representing of “organized religion” as a “straightjacket” of the personality, including the collective his collective experiences with woman, and rather than a “creative vehicle” is reflected unconscious. In De Staebler’s figural sculp­ the animus in woman, representing her col­ in his artistic rebellion against perfectionism ture we are witness to the still incomplete lective experiences with man. De Staebler’s (ceramics became a kind of “disorganized” process of individuation, in which a self archaic figures—this is another reason they or “creative” religion for him)—where he emerges from a symbiotic union with all- are necessarily archaic—are representations “became aware of the two distinctive paths absorbing Mother Earth and comes into its of the anima and animus in the narcissisti- that religion has followed. One is a very male- own in and through its autonomous products. cally injured condition in which they exist in oriented quest and the other is very female- De Staebler’s figures seem to be simultane­ the efficient modern world. At their most so­ oriented. . .. The male approach is to see God, ously differentiated from yet fused with clay— cially consequential—which may seem a and the female approach is to be absorbed another example of his equilibration of op­ strange way to speak of such symbols of in- in God. And this has everything to do with posites. There is spiritual pain in this equi­ teriority—De Staebler’s figures articulate the the question of individuation [another Jung­ librium, for it implies De Staebler’s self is wreck woman is to man and man is to wom­ ian concept] of each human being who comes trapped at a crossroads. Nonetheless, the an, psychically speaking. That is, each is a from a mother and a father. I had a teacher equivocal character of De Staebler’s figure— wreck to the other, implying that neither can who referred to the quest of seeing the face which is part of its archaism—makes clear save the other from the efficient world. At of God as positive mysticism, and the quest the eschatological character of his art. In the the same time, each is potentially full of in­ of being absorbed in God as negative mys­ stroke of a single figure it articulates the first tegrity, as its majestic appearance suggests. ticism. The Eastern orientation is essentially and last things of human being, the mystery But it must realize this integrity by itself. female: Hinduism and Buddhism are in­ of a being who remains bound to its regres­ This is not to reduce De Staebler’s frag­ volved with the nothingness of absorption, sive origin in primal matter while asserting mentary figures and fragments of figures to the drop of water into the ocean. In Chris­ its spiritual pride, if in a fragmentary way. a message but to comprehend them as out­ tianity, with both Hebraic and Greek thought cries, stylistically holding their own in the behind it, individuality is not obliterated but The author A professor of art history at the State great expressionistic tradition of the suffer­ is consciously in relationship with God. That University of New York at Stony Brook and editor ing figure. If one compares De Staebler’s kind of relationship with ultimate reality leads of Art Criticism, Donald Kuspit has received the couples to such Egyptian figures as Rahotep to a different understanding of life and re­ Frank Jewett Mather award for distinction in art and Nofret from Medum (circa 2580 B.C.) quires a different type of personality from criticism. His books include Clement Greenberg: and the brother of Ramose and his wife at the one that is seeking absorption.” This is Art Critic; Critic Is Artist: The Intentionality of Thebes (circa 1370 B.C.), or the couples on clearly an important statement about De Art; and Leon Golub: Existential/Activist Painter. aClay represents pure impulse for De Staebler. He says that we ought to have at least as many words for clay as the Eskimos have for snow—about 20:”

30 CERAMICS MONTHLY Thirty Ceramic Sculptors

In CELEBRATION of its first anniversary, Natsoulas/Novelozo Gallery in Davis, California, presented an exhibition fea­ turing sculpture by 30 clay artists. “This is 1988 and the influence of Peter Voul- kos and the spirit and the freedom he invested in ceramic sculpture in the 1960s continues,” remarked codirectors John Natsoulas and Tony Novelozo. “This show represents the evolution—both the historical and the continual changing process—that ceramic sculpture is un­ dergoing.” With “Thirty Ceramic Sculptors,” the gallery brought together three genera­ tions of artists “who have brought new ideas and energy to ceramic sculpture. Some work is abstract, some expres- sionistic, some realistic, some just sits ",Standing Figure, ” stoneware wall tableau, 22 inches in there and remains a mystery. All are height, by Manuel Neri, Darns, California; price undisclosed in legitimate in this medium.”A a three-way deal between artist, gallery and collector.

“Golden Byron, ”17 inches in height, glazed “Torch of Freedom, ”33 inches in height, earthenware, by Robert Arne son, Benicia, painted clay on cement base, by Stephen California; $7500. Kaltenbach, Davis; $4000. September 1988 31 Soup Tureens a review by Victoria Donohoe

Some say the art of tureen making is a museum initiated a series of contem­ important than the insistent way they thing apart from all other daywork. And, porary soup tureen shows. The first two exist in the round. in a way, it is. Certainly the designs and combined invitational works with com­ Like soup tureens of old, this work decorations of many early tureens pro­ petitive entries; while the current show, operates from a central core, depending vide us with precise documentation of which premiered at the Campbell Mu­ on the physical equilibrium of a massive the styles, customs and personalities of seum and will be at the Tampa Museum shape. The stance varies from low-slung the cultures that produced them. September 4-November 6, is entirely and ponderously rooted to rakish and Tureen making flared into exception­ invitational. “Fired with Enthusiasm” precarious. Occasional pieces have an al quality, virtuosity and high-spirited includes some 60 tureens selected by guestexplosive, irregular radial symmetry. The expression during the 17th and 18th curator Catherine Wilford. artists, especially those who produce hefty centuries, when ceremony in the daily Evidence of Campbell Museum’s in­ soup tureens, have various ways of rec­ life of royalty and the aristocracy was terest in giving a showcase to radical onciling the traditional formal tureen and at its peak. This art carried on success­ contemporary work is readily apparent. the current attitude that expects surfaces fully until superseded by mass-produc-And because of this emphasis on fresh to appear casually and informally done. tion both in the shaping and the orna­ faces, the show tends to be provocative Sometimes the weighty monumentality mentation. rather than presenting a conclusive view. of the piece is replaced by an obvious Yet historical soup tureens never real­ Such a welter of concepts and formal concern for interior spacing and/or ly achieved high visibility as display ob­ manifestations is bound to look confus­ rhythmic movement. At other times, the jects in museums. The regrettable fact ing and, despite the soup tureen theme, technical demands of the process may that such little attention was paid to them only certain features are shared, some­ have overridden sculptural concerns, and as an art form eventually prompted, some times marginally. such pieces seem very planar, like an two decades ago, the establishment of the Quite a few of the tureens are pro­ open, two-sided relief. Campbell Museum at the Campbell Soup fusely large. Traditional looking or not, Quite a few of the ceramists repre­ Company’s corporate headquarters in these are the ones that reassert the ex­ sented in the show comment, without Camden, New Jersey. pansive commanding shape of some of clutter, on the recent past, conjuring up Then, realizing that the history of lat­ the 18th and 19th centuries’ best tur­ unexpected images. Some of the subjects er work, particularly that of today’s pot­ eens. In such new pieces that bulge with are very specific; while others use the ters, was untold for the most part, the convex muscular energy, nuances are lesstactics of collage, composing a tureen from

32 CERAMICS MONTHLY “found objects.” Often the effect is one of richness and humorous surprises, though they never break the rules of the traditional shape of a lidded container. There are even direct answers to the impending arrival of the “designer” soup tureens that take their cue from up-to- the-minute Italian design concepts prac­ ticed mainly abroad by the Memphis group, with its casual attitude toward function and its overriding aim of ex­ pression. And let it be said that at least some of the recent work is a reminder, if nec­ essary, that a good soup tureen need not be innovative or risky. It simply requires a measure of positive characteristics, which may include strength, wit, ele­ gance and sensitivity, and having its parts come together in a convincing way. To succeed requires fresh vision and intel­ ligence, and the avoidance of work done mechanically or handled so as to turn the subject or approach into something academic. The author Victoria Donohoe is art critic for the Philadelphia Inquirer.

left “Tureen with Leaping Hare Handles,” 10 inches in height, residual- salt-glazed black stoneware, by Ken Ferguson, Shawnee Mission, Kansas.

ABOVE RIGHT “Dog Tunes in for Prime Time,” 10½ inches in height, whiteware with underglazes, acrylics and mixed media, by Beth Fein, Oakland.

RIGHT Glazed stoneware tureen, 8 inches in diameter, by John Glick, Farmington, Michigan. September 1988 33 34 CERAMICS MONTHLY in length, slip-cast stoneware, fromthe in length,slip-cast Kozlow, Graton,California. Myrtle Point on woodwithacrylics,byBillandMaureen TOP on rakubase,IIV Schuuenksxnlle, Pennsylvania. ABOVE LEFT ABOVE CENTER by AdrianSaxe,LosAngeles. LEFT wood andacrylics,byGailGosser, Ellis, SanRafael,California. stoneware withunderglazesandglazes, 12 ¾inchesinheight,porcelainwith length, glazedearthenware,byKaren “Hukilau Tureen,” 11 ¾ inches high, “Hukilau Tureen,”11¾inches “Yixing Series,”byRichardT.Notkin, " Lustered porcelaintureen Heart SoupTureen,”9inches “Where’s theSoup?” , Oregon “The Crab,”47inchesin 2 inchesinheight, .

PHOTOS: COURTESY OF THE CAMPBELL MUSEUM Clay Revisions a review by Matthew Kangas

A t A TIME when every facet of Amer­ hibition revolving around the changes in ican ceramics is undergoing renewal and the forms themselves, the “clay revi­ re-evaluation, the Seattle Art Museum- sions.” The reason is that the rectan­ organized touring exhibition of clay- gularly of painting is rarely invoked any works by 32 American artists is a wel­ longer as the crucial key to understand­ come attempt to state in more serious ing oil painting. Similarly, for the pur­ museological terms some of the current poses of approaching a widely seen ex­ themes and strains within the field to­ hibition in a different and possibly more day. While “Clay Revisions” [on view insightful way, an analysis of the image next at Potsdam College, New York] does paths and chains, or iconography, of “Clay not set forth a new idea, it treats in depth Revisions” may reveal subtler truths about one of the recent assumptions of con­ this particularly contemporary art temporary ceramics: the centrality of the practice than reiteration of func­ symbolic vessel as an overriding influ­ tion versus nonfunction, or art ence in artistic directions. I would like versus craft arguments. These to suggest that there are other ways artists should be examined for of viewing the situation and that, even their visions, not their revisions remaining within the confines of the of pre-existing forms. Stretching objects in “Clay Revisions,” a case this critical template even more acute­ can be made for a way of looking ly, I suggest that one begin by concen­ at any art, in this case clay, that trating on an image repeated a remark­ does not exclusively fixate itself able number of times throughout the 73 on the object’s form and attendant objects on view, the figure. “heritage.” What can we learn by observing that On the most profound level asso­ 31 out of 73 objects may be considered ciated with the “vessel as metaphor,” or directly figurative? Could it be that the “symbolic vessel theory” as I prefer the influence of figurative ceramic to call it, the work of Richard DeVore sculpture is far more relevant to un­ is paramount and representative of the derstanding contemporary clay than heritage, tradition or lineage, spurred on any connoisseur-derived preference to by dealer Alice Westphal, coiner of the the art-historical shapes themselves? term “vessel as metaphor.” However, American ceramics has truly been in­ DeVore is not included in “Clay Re­ tegrated into American art as a whole visions.” A glaring omission. His bowls, because it has felt the same impact of a admittedly, are not plates, cups or vas­ general return to figuration over the past es, but his many layers of glazes decade. Taking this tack, an excursion and multiple firings go farthest back through the cups, vases and plates ac­ in time in their evocation of ancient tually reveals an alternate, more perti­ ceramics and, as such, should have root­ nent subtitle for “Clay Revisions”: head, ed and grounded the otherwise stylish and often superficial examinations of LEFT Untitled vase form, 9 feet clay’s essential functional shapes. in height, stoneware, by Arnold Thus, as with DeVore and others, the Zimmerman, New York; 1985. “It's hard to imagery or content is more important take sexless, monster aliens seriously in than the form. This may seem a startling art even when they are so impressively the or obtuse manner to approach an ex­ result of a technical tour de force. ” September 1988 35 body, torso. From A to Z, Arneson to Regardless of such digressions, it is the “rocks” lend a note of dirt and degra­ Zimmerman, the vigorous expression and meaning of Arneson’s self-portraits that dation, too, covering both Kottler’s fig­ expressionistic vigor of the human figure occupies critics of his art. The Leonardo ures with a literally earthy attire. as image or icon comes through loud and drawing (“Proportions of Man,” circa Lucero (formerly Kottler’s student at strong. Given this hidden skein of mean­ 1490) appropriated for each plate also the University of Washington and Arne­ ing, the figure, cloaked in symbolic ves­ ironically alludes to the first Renais­ son’s at University of California, Davis) sel theory, an unraveling of curator Vicki sance man who placed the fine arts above also screams for an outright figurative Halper’s thesis must follow. the artisan arts. Perhaps that oblique analysis. “Untitled,” (1981) has a mock Before undertaking the journey that revenge 500 years later is the deeper, Indian pot at its top, to be sure, but the reveals how American clay artists are more resonant content of both works. entire object is a full-length, suspended predominantly concerned with com­ Kottler’s works on display span both figure. Neither plate nor cup and barely menting on the human condition through symbolic vessels (“Paisley Cup,” 1966) vase, “Untitled” (1981) is haunting ef­ the use of the figure, one must rapidly and figurative works which include ref­ figy, personal incubus, statuary for an note the existence of the other, more erences to traditional containers (“Por­ as-yet unfounded religion. Lucero’s openly vessel-oriented chain of images. trait of a Vase,” 1979). Whereas Arne­ ability to convey line in clay and his re­ The vessel makers, who make vessels son’s double nude self-portraits hang side ductive, minimal figuration are un­ about vesselness, or container status, or by side to set up the dialogue of male matched today. The sly use of technol­ the history of fashioned functional ob­ narcissism, Kottler obliges us by placing ogy in the form of telephone wire is as jects, do not all omit the figurative ele­ both images within the same piece. Play- important as any ceramic shard, and the ment. As later discussion about these extraordinary evocation of mythic power artists will show, even their concentra­ and 3-D petroglyphic figures is the key tion on exaggerated sizes is dependent to understanding the piece and the rea­ upon the human figure for ultimate son why Lucero is much more widely meaning in that only in the presence of seen as an important young American the physical viewer does the distortion sculptor than as another “promising clay of scale and historical precedent make artist.” He is meeting Arneson and Kot­ itself felt. That is, whether small or big, tler on their own ground, the figure, and Ken Price or Peter Voulkos, the figur­ solidly answering back to the charges of ative dimension to this seemingly non- both his former teachers. figurative kind of art is completed by the Patrick Siler is at the top of the second viewer standing next to it or nearby. tier of figurative clay artists exposed in As the eighties near their close, the “Clay Revisions.” Equally well known two or more decades of American fig­ as a painter and printmaker, Siler’s role urative clay art might be separated out as connector or intermediary between into two or more tiers. “Clay Revisions,” American ceramics and contemporary without setting out to serve this purpose, art has been undervalued. Now 48, Siler includes several from each tier. On the was included in the important “Bad top tier in terms of matching craftsman­ Painting” show at New York’s New ship with complex content are Robert Museum of Contemporary Art in 1978. Arneson, Howard Kottler and Michael Also using the self-portrait and alter ego, Lucero. Each twists form to serve ex­ “Bow Wow, ” 14 ½ inches in diameter, Mr. Jiggy-Jaggy Man, Patrick Siler has pressive ends. Each elaborately subverts glazed stoneware, by Patrick Siler, retained in his daywork the use of the traditional ceramics conventions to the Pullman, Washington; 1975. “The tenuous vase (cylinder) and the plate (circle). point of obliteration or destruction. And and shaky release inherent in suburban Much more importantly, in hundreds of each comes back from the precipice to leisure-time is the socio-critical theme works in many media, he has sent Siler/ make expressive rather than material and edge of Siler's art. ” Jiggy-Jaggy on a sojourn through concerns foremost. In their work, clay American night-life, low-life and trips is a vehicle toward meaning which, car­ to the horrifying shopping mall. Siler’s rying its own art-historical freight, can ing off the so-called Rubens vase—fac­ people chain smoke, drive fast cars, “dirty be channeled to intensify the artist’s vi­ ing profiles—illusion cited by E. H. dance,” and generally get in trouble doing sion or, more interestingly, can be sub­ Gombrich in Art and Illusion, Kottler funny or naughty things. The tenuous verted or abandoned, in order to allow summons up facing, bearded self-por­ and shaky release inherent in suburban the artist’s unabashed kink or obsession traits which are flat silhouettes cut from leisure-time is the socio-critical theme to shine through. a painted whiteware, clay gravel ground. and edge of Siler’s art. Whether a bark­ In Arneson’s case, Halper has un­ Just as the outline of the faces creates ing dog chasing a souped-up car (“Bow- wittingly exposed a strange example of the profile of the vase, the rigid vertical Wow,” 1975) or a sexy, spiky heel in pure male narcissism. “A Question of rectangle encloses both images, face and black nylons (“Shoe,” 1977), there is a Measure with Colored Grid” (1980) and vase, strongly iconifying the bound twin cumulative critique of America’s con­ “Describing the Diameter” (1977) al­ images. Tied up by his own background sumer society that goes far beyond any ternately display the artist in full-length in ceramics (Ph.D., The Ohio State significance related to the forms he uses. nude pose, one highly glazed, the other University, 1964) to the vessel tradition, Indeed, the crude substitution of slip for largely unglazed earthenware. What is by combining his own image with the glaze, and the laughable stencil-style to be made of Arneson’s missing phallus vase illusion, he has symbolically ex­ “drawing” resist any teacup-fancier’s in the latter? Could such a small ab­ pressed both a psychic state and a yearn­ adulation and firmly place Siler in the sence or opening in the earthenware ing for release from the confinement of obsessive-figurative wing of American qualify as a vessel or empty container? the older tradition. The gritty, fired neo-expressionism. 36 Ceramics Monthly Untitled vase, 22 inches in height, porcelain urith slip, glaze and glass, by Jamie Walker, Berkeley; 1985. “‘Clay Revisions’. . . treats in depth one of the recent assumptions of contemporary ceramics, the centrality of the symbolic vessel as an overriding influence in artistic directions. ”

“Dirty Dish,” 20½inches in length, whiteware with glazes and china paints, by Robert Arne son, Benicia, California; 1971. “In [Ameson’s] work, clay is a vehicle toward meaning which, carrying its own art-historical freight, can be channeled to intensify the artist’s vision or, more interestingly, can be subverted or abandoned, in order to allow the artist’s unabashed kink or obsession to shine through. ” September 1988 37 Rudy Autio and Viola Frey havebe, adding to the work’s meaning both At least Andrea Gill has set up a se­ slipped from first to second tier, based as personal statement and as commen­ vere symmetry as an organizing formal on their examples in “Clay Revisions.” tary on the fate of forgotten charms. principle for her female figurative ex­ I have been arguing for at least five years Completely hieratic and loftier by plorations. Alas, the same cannot be said that what matters is the symbolic nar- comparison, Andrea Gill’s image has of Donna Polseno and Olga Bravo, the rative-figurative imagery on Autio’s sur­wings, too—stylized, tilted, patterned weakest artists on view. Therein, every­ faces and not the nature of the slab-built planes near the vase’s lip. Instead of flying thing seems lopsided and their efforts to containers themselves. Cramming him off to super-ego land a la Frey, Gill has turn cup forms or vases into torsos or (and Kirk Mangus) into a vase maker’s anchored her expression solidly to the heads falter seriously. Sometimes, the urge category is a brutal misfit. What was classical or art-historical tradition of fe­ to abstract the figure can become so re­ startling, innovative and laudable about male deity sculptures. Like a good god­ ductive as to be static and inflexible. Tom Autio’s pre-1983 work was its ribald dess likeness, “Undulating Winged Ves­ Rippon and Richard Shaw have discov­ sexuality, its perfect union of painting sel” (1986) is not based on a particular ered this over the years, heavily banking and sculpture, and its use of a jury-riggedindividual’s features but rather contains on the worn-out surrealist recipe of com­ sculptural form as a recipient or draw­ bining disparate elements into a new ing board for Autio’s vision of orgiastic whole that supposedly shocks the viewer “bacchantes,” wacky Montana cowboy into an altered consciousness of reality. history, and mythic, pantheistic views of Whereas Rippon has been in a rut for nature. Woman and animal are the chief years, at least Shaw’s direction has been Autian themes or icons and any exam­ toward exploring scale in his recent work. ination of his art must come to grips “Cubist Coffee Cup” (1985) meticu­ with these images. What Halper has re­ lously elaborates Shaw’s signature trompe grettably exposed in “Hellgate Appa- l’oeil style at the same time it turns out loosa,” (1984) and “Santa Fe Soleares,” to be a figure. However, as with much (1986) is how Autio has gone from the art which fakes out the viewer about the “raw” to the “cooked,” to paraphrase Levi- nature of materials used, one is hard put Strauss. No longer erotic or raw, Autio’s to perceive any content beyond the in­ sculptured females are now demure itial conceit. teases, swim-suited here, more out of Going from the delicate to the gigan­ dainty deference to the owner of “Hell­ tic, Arnold Zimmerman’s figures raise gate,” Safeco Insurance Company, than two important aspects of recent figura­ to an organic growth of the artist’s sen­ tive art: androgyny and size. Isn’t fig­ sibility. With their appealing pinks and urative art that sits on the fence of gen­ low-fire red and blue, Autio’s recent der avoiding one of the central issues of sculpture has forsaken the rage and re­ recent art, sexuality? Neither male nor bellious paganism of his best work for female, Zimmerman’s “Untitled” (1985) the bland fairy-tale virginity of Little transfers Andrea Gill’s bland feminist Red Riding Hood. Before, the women patterning to monumental, macho leapt off the vessel’s side in robust aban­ grooving of the clay’s surface. After the don or hugged one another as if emerg­ film “E.T.—The Extraterrestrial,” it’s ing from a sauna on an icy night in Fin­ “Undulating Winged Vessel,” 27½ inches hard to take sexless, monster aliens se­ land. Now, they turn inward with bent- in height, earthenware with slips, riously in art even when they are so im­ up knees and none of the rugged humor by Andrea Gill, Alfred, New York; 1986. pressively the result of a technical tour of the Montana legends or Finnish folk “Gill has anchored her expression solidly de force. The discontinuity between the tales once so inspiring to him. to the classical or art-historical tradition surface-marking and the figurative col­ Viola Frey and Andrea Gill appear of female deity sculptures.” umn is another version of Autio’s new as strange bedfellows indeed. With the rupture between image and form and former a veritable autobiographical both join Kirk Mangus in addressing chatterbox, and the latter a shy, sealed- anatomical elements—buttocks, breasts, the issue. off loner, both may be seen as different wings—which by their extravagant slip- Far from avoiding gender, Mangus has sides of the same coin, the use of the painted patterning jolt the viewer into a encountered the female form in such a abstracted figurative image. Determined reverent frame of mind. blatantly reductive manner as to border as ever to evoke the blessed chaos and Gill’s problem is that she wants it both on the offensive. Punning on the expres­ innocence of childhood, Viola Frey’s ways: the impersonality and august sion, “stacked,” “Another Blond,” (1984) “Winged Horse with Compartment” prestige of the symbolic vessel theory is a pointy-headed bimbo whose skull (1986) may be read clearly as a wish group, as well as the expressionistic surge shape matches the blond diamond of her fulfillment fantasy image. Pegasus is of the American figurative clay move­ pubic hair. Building on Autio’s worst flying high over the dreaming pink car­ ment. Add to that the simplistic and ul­ faults, Mangus has compounded a pe­ toon head, and the artist’s prominent black timately unsatisfying repetitive pattern­ destrian inverted flowerpot composition initials applied on the circle’s edge imply ing, and one realizes the dilemma many with poor taste. Equally near the bottom identification in more ways than one. artists like Gill face. How to address the of the second tier for the same reason “Winged Horse” is a visual rebus with two divergent strains in sculptural ce­ are Mike Moran’s scratch-and-slash wall hidden eyes, turds and toys which add ramics—figure and vessel—without so hangings, “Woman on a Horse” (1986). up to the most enigmatic and beautiful compromising or neutralizing one’s vi­ Stan Welsh’s “Mind Puzzle” (1986) image in the exhibition. The horse is the sion that a clear-cut stand is no longer is such a weird hybrid of vessel and fig­ same size as a porcelain knickknack might evident? ure as to confirm again the difficulties 38 Ceramics Monthly “Untitled #735,” 28½ inches in diameter, white slip on dark stoneware, by Robert Sperry, Seattle; 1986. “Taking a deliberately contentious stance, ” reviewer Matthew Kangas sees “Woodman as an artist juggling sensual abandon with time-worn forms; Sperry as backing down from his large murals toward the diminutive statements of the plates; Voulkos as surprisingly concerned with elegant nuances of color on his bluntly composed surfaces. . . . One pines for Voulkos to try to create an image a little more challenging than a hole- punch; or for Sperry to dip his big toe in the pool of color; or for Woodman to drop those silly shadows and then limit her dripping palette just for the hell of it. ” September 1988 39 “Sturdy Vase and Shadow, ” 22 Vi inches in height, glazed earthenware, by Betty Woodman, Boulder, Colorado; 1985.

“Cup #8, ” 3 inches in height, glazed whiteware, by Ken Price, South Dartmouth, Massachusetts; 1973- 74. 40 Ceramics Monthly PHOTOS: RAUL MACAPIA, COURTESY OF SEATTLE ART MUSEUM

“Portrait of a Vase, ” 16½ inches in height, painted whiteware, by Howard Kottler, Seattle; 1979. “By combining his own image with the vase illusion, he has symbolically expressed both a psychic state and a yearning for release from the confinement of the [vessel] tradition. ” September 1988 41 facing those who seek to blend both strains. Similarly, echoing Mangus’s lame flowerpot composition excuse, Jamie Walker’s feeble attempt at figuration, “Column” (1986) raises the point of ves­ sel artists who should give up figurative- narrative efforts altogether. They put into relief the exhibition’s second category, vessel makers, simply by appearing to unsuccessfully break out of one category into another. The re­ mainder of “Clay Revisions” handsome­ ly juxtaposes the likes of Ron Nagle, Kenneth Price, Peter Shire, Tony Hep­ burn, Mary Heilmann and Irv Tepper against the hardier, more expressionist group of artists like Peter Voulkos, Rob­ ert Sperry, Jun Kfcneko and Betty Woodman. All undeniably artists of strong top-tier achievement, one is left again scouring their work for signs that imply meaning, if only to see them in a fresh way. Taking a deliberately contentious stance, Woodman emerges as an artist juggling sensual abandon with time-worn forms; Sperry as backing down from his large murals toward the diminutive statements of the plates; Voulkos as sur­ prisingly concerned with elegant nu­ ances of color on his bluntly composed surfaces. Side-stepping specific repre­ sentational imagery, each uses abstrac­ tion to comment either on the medium itself, its process, or history (Sperry and Woodman), or on the role of the object as a focus for releasing internal explo­ sive energy (Voulkos). Just as we might wish that Autio would just once in his life use a male nude figure, so one pines for Voulkos to try to create an image a “Putting on the Slip with Mr. Jiggy-Jaggy Man on the Flip little more challenging than a hole-punch; Side,” 12¾ inches in height, by Patrick Siler; 1981. or for Sperry to dip his big toe in the pool of color; or for Woodman to drop those silly shadows and then limit her dripping palette just for the hell of it. They may be great artists but they have not yet been entombed in some mausoleum near Syracuse, nor are they all working at what could be called the top of their form. “Clay Revisions” shows not how far they have come but, in terms of wedding meaningful content to form, how far they still have to go. With the predominance of the human figure overriding the exhibition’s osten­ sible thesis of exaggerated container- dom, one future direction is clear. For the others, especially Autio, Kaneko, Sperry, Voulkos and Woodman, true “Girl with Ponytail, ” 33 ½ inches modern masters, it is never too late to in height, earthenware with slip, walk back to the precipice. by Kirk Mangus, Kent, Ohio; 1984. “Far from avoiding gender, Mangus The author Art critic and curator, Mat­ has encountered the female form in thew Kangas has contributed previously to such a blatantly reductive manner Ceramics Monthly (see his comment *Crafts as to border on the offensive. ” in the 21st Century * in the May 1987 issue). 42 C eramics Monthly Contemporary British Lusterware FEATURED RECENTLY at Hugo Barclay and had switched to oil firing. Her cur­ throwing, roughing out in a cobalt, iron Gallery in Brighton, England, were two rent works are wheel thrown, trimmed pigment the direction the decoration is contemporary versions of Persian lus- and raw glazed, with various slips and/ to take.” The vessels are then bisqued terware: salt-glazed, lustered porcelain or oxides brushed over the glaze, then in a wood kiln, glazed while still hot, bowls and vases by Mary Rich; and fired to Cone 9 and often lightly salted. and returned to the warm kiln to dry wood-fired, lustered earthenware vessels Final decoration is with gold and other for the next day’s Cone 3 firing. Finally, by Sutton Taylor. lusters, fired to Cone 016 in a small, gas- the ware is decorated with a paste made After studying with Harry and May fueled, fiber kiln. of clay, gum and silver nitrate or copper Davis, then David Leach, Mary Rich Sutton Taylor is a self-taught potter carbonate, and wood fired with heavy set up her own studio equipped with a working in Yorkshire. He uses a lime- reduction to 740°C (1365°F). Once the gas-fired, salt kiln at Cornwall in 1962. rich local earthenware clay tempered with pots have cooled, the blackened residue By 1970 she had established Penwerris fireclay, and likes to begin decoration “as from the paste is scrubbed off, revealing Pottery at Cowlands Creek near Truro, soon as it is physically possible after the underlying lusters.A

44 CERAMICS MONTHLY OPPOSITE PAGE Gold-lustered porcelain by Mary Rich, and earthenware with reduced lusters by Sutton Taylor, on display at Hugo Barclay Gallery in Brighton, England.

right Stemmed dish, 11 inches in diameter, wood-fired earthenware, with lusters applied over wax resist decoration, by Sutton Taylor.

below Glazed porcelain, with geometric patterns in gold luster, largest vase 12 inches in height, by Mary Rich.

September 1988 45 FAR LEFT Wood-fired earthenware plate, 18 inches in diameter, wheel thrown, bisqued, glazed at Cone 3, then brushed with luster pastes and fired in heavy reduction to 740° C (1365°F), by Sutton Taylor.

LEFT Thrown porcelain vases, to 11 ½ inches in height, raw glazed then banded with slips and oxides, reduction fired to Cone 9, detailed with gold lusters and refired to Cone 016, by Mary Rich.

BELOW Earthenware bowl with reduced lusters, 12 inches in diameter, wood fired, by Sutton Taylor. PHOTOS: HUGO BARCLAY

46 CERAMICS MONTHLY Thomas Hubert

“Precision form with energetic, in­ teractive surfaces is the essential ele­ ment of my current work,” commented Pennsylvania ceramist Thomas Hubert. Recently on view at Sheila Nussbaum Gallery in Millburn, New Jersey, his vessels are assembled from wheel-thrown, slip-cast and slab-built whiteware ele­ ments. Particular aspects of form and contoured surface, and their relation­ ship to graphic design are explored by working in series of less than ten. Dec­ orated with airbrushed underglazes, each vessel is fired between three and seven times to develop depth of color. A

Wheel-thrown whiteware basket with slab handle, 16 inches unde, airbrushed and brushed with underglazes; $550.

above right Multifired whiteware vessel, 21 inches in height, with sgraffito lines through airbrushed, brushed and stenciled underglazes; $850.

right Thomas Hubert in his Erie, Pennsylvania, studio. September 1988 47 Eclectic Vessels by Jimmy Clark

“Vessels, An Eclectic View,” a re­ Anthropomorphism is characteristic cent exhibition at the Clay Studio in of works by Mary Barringer, Hartford, Philadelphia, offered a look at a variety Connecticut, and Marti Svoboda, West of functional and sculptural works, which Lafayette, Indiana. Barringer’s stone­ remain unified by the notion of the ves­ ware vases often incorporate long legs; sel, all produced by emerging clay art­ while Svoboda’s earthenware pots are ists. Nine participants were selected from more abstract in shape and surfaced with slide applications solicited nationally. The paisley and geometries. intent to showcase a spectrum of aes­ With their contributions, Suzanne thetic considerations coincidentally pro­ Wolfe, Honolulu, and Ray Steele, Al­ duced significant geographic distribu­ bany, New York, stretched the definition tion as well; each artist is from a different of the vessel to its limits. From a dis­ state. tance, Wolfe’s works give the illusion of These ceramists’ approaches differed multidimensionality that allows the con­ greatly. Philadelphia’s Alec Karos pro­ tents to be seen from the outside. This duces oversized, terra-cotta pitchers and Avra Leodas urith a 32-inch-diameter is accomplished by alternating disks of sugar and creamer sets that almost par­ handhuilt stoneware vessel. the outer form with the internal object. ody traditional forms with their hu­ In turn, Steele’s sculptures are land­ morously exaggerated spouts and han­ Schempp’s thrown, altered and carved scape abstractions with no indication of dles yet remain fully functional. Farradaystoneware vases and bowls suggest function, but they retain a relationship Sredl of Tempe, Arizona, also showed movement, adding a strong sculptural to vessels in their exploration of the con­ large, majolica-glazed, terra-cotta pitch­ sensibility to their utility. Leodas, on the cave form. ers that express a sense of humor. other hand, uses crater and deep green Uli Schempp, Greensboro, North glazes to give her strictly classical forms The author Jimmy Clark is director of the Carolina; Avra Leodas, Santa Fe, New alternately a stonelike or metallic look; Clay Studio, a nonprofit arts organization Mexico; and Frank Russo, Laurel, and Russo’s vessels are low fired with which promotes ceramic arts, in particular Maryland, presented traditional forms sulfates, which yield their iridescent, the works of emerging clay artists, through with some striking variations as well. flamelike glow. its gallery, school, studios and lecture series.

Anthropomorphic form, 15 inches in uIndented Vessel,” 16 ½ inches high, height, handbuilt stoneware, by Mary handbuilt stoneware, with textured glaze, Barringer, Hartford, Connecticut. by Avra Leodas, Santa Fe, New Mexico. 48 CERAMICS MONTHLY left “Outside, Inside I'/ inches in height, oxidation fired to Cone 04, by Ray Steele, Albany, New York.

below “Classic Vase,” slip-cast and assembled earthenware, 18 inches high, by Suzanne Wolfe, Honolulu.

September 1988 49 “China Vase, ” 18 inches in height, cast earthenware slabs, with low-fire glazes and lusters, assembled over interior rod, by Suzanne Wolfe.

50 C eramics Monthly ABOVE "Arch Jar,” stoneware, IIV2 inches in height, by Mary Barringer.

RIGHT Stoneware vessel, 14 ½ inches in diameter, handbuilt, by Avra Leodas.

September 1988 51 STONEWARE AND PORCELAIN vessels makes nice bisqueware.’ That was over are having an impact on already limited by Don Sprague, Portland, Oregon, were 15 years ago and, though I would still space and “will eventually force me to exhibited recently at both Jackie Chalk- prefer to just throw and fire, I have come look for another studio facility. Despite ley gallery locations in Washington, D.C. to respect the importance of the glaze the inconveniences, I have enjoyed Among the forms on display were plates, surface. I feel I am finally to a point working in close relationship with my baskets, teapots, lidded jars and wall where forms are being enhanced by their family and hope to retain this quality platters, all wheel thrown and decorated glazes.” with any future move.” ▲ with minimal incising and sprayed, re­ Still, he keeps glazing simple—“no duction-fired glazes. tricks and only a few secrets.” While a A potter for 17 years, Sprague has a number of glazes are used on porcelain Shino Glaze basement studio in his home on a small ware “to complement the drawing and (Cone 9, reduction) lot (50x80 feet) in a residential area of incising I do on the surface,” only two Soda Ash...... 4.04% Portland. The house overlooks the street recipes are used on the stoneware: Spodumene...... 15.35 and “all materials must go up 26 steps Spraying these allows Don to work Kona F-4 Feldspar ...... 18.59 before being carried down into the base­ with “all the tonal and color variations Nepheline Syenite...... 45.45 ment,” Don stoically observed. “Like­ possible. I enjoy leaving large areas of Ball Clay...... 16.57 wise, finished work must be carried down bare clay highlighted by the spraying those same steps. These are not ideal process. Greater variation and intensi­ 100.00% conditions but I intended them to be only fied color are also produced by an ad­ Copper Green Matt Glaze temporary. Time passes.” dition of a 50% wood ash and 50% whit­ (Cone 9, reduction) Throughout his potting career ing wash, or by sifting ash over the glaze.” Sprague’s greatest interest has been in Firing is in a gas-fired brick kiln built Barium Carbonate...... 27.0% exploration of form. “I love to throw and in a small, enclosed side yard, “protected Dolomite...... 4.0 assemble pots. The finish, the glaze and from the prevailing weather by the house Custer Feldspar...... 50.0 glazing process, have been secondary and and a modest cover.” Kaolin...... 9.5 often neglected. When I was first intro­ In the past few years, Don has been Flint...... 9.5 duced to Tom Coleman by another pot­ producing a greater number of large- 100.0% ter in the area, this neglect was made scale forms and shipping more work Add: Copper Carbonate . . 4.0% clear: ‘Tom, this is Don Sprague. He outside the Northwest—factors which 52 C eramics Monthly OPPOSITE page Covered jar, wheel-thrown stoneware, 8 inches in diameter, Cone 9 reduction fired, by Don Sprague; $60.

LEFT Teapot, 10½ inches in height, stoneware with Shino glaze, fired to Cone 9 in reduction; $110. below Thrown and incised porcelain bowl, 9 ½ inches in diameter, with copper glaze; $35.

September 1988 53 LEFT It’s 26 steps up from the street to the house, then another flight of stairs doum to Don Sprague's basement studio in Portland, Oregon. All materials and the finished porcelain and stoneware vessels travel that route. "Not ideal, but intended to be only temporary,” says Don. "Time passes.” But expanding business “will eventually force me to look for another studio. ”

BELOW Ware is reduction fired in a brick kiln built in a small, enclosed side yard.

BOTTOM Platters, teapots, lidded jars, etc., are thrown in series. Decoration is with minimal incising and sprayed glazes. "Greater variation and intensified color are also produced by an addition of a 50% wood ash with 50% whiting wash, or by sifting ash over the glaze. ”

54 CERAMICS MONTHLY above Stoneware teabowl, 5 ½ inches in diameter, wheel-thrown and incised, with copper matt and Shino glazes, Cone 9 reduction fired; $24.

LEFT Squared platter, 22 inches in diameter, thrown, incised and rim cut, with copper matt and ash-dusted Shino glazes; $225.

September 1988 55 PHOTOS: RCK FWJLSON, JIM PIPER

above Incised stoneware bowl, 24 inches in diameter, with copper matt and Shino glazes, dusted with ivood ash; $225.

left Metallic-glazed porcelain bowl, 9 ½ inches in diameter, wheel thrown and incised, Cone 9 reduction fired, by Don Sprague, Portland, Oregon.

56 C eramics Monthly Color and the Ceramic Surface: Alchemy or Science?

The Empirical Strikes Back by Robin Hopper

Editor’s note:This is the first in a series of Original glazes are produced either a glaze or color rather than exert control articles on glaze color development by Ca­ by empirical methods (trial and error) to gain just what you want? nadian potter/author/teacher Robin Hop­ or by glaze calculation. The latter is a To downplay glaze calculation, per­ per. Hopper has found many ceramists wary of glazemaking because it seems so compli­ somewhat abstract concept, foreign to haps, appears regressive and seems to cated. Yet, he explains, it can be as simple most artistic minds. Glaze calculation be going against long-standing scientific or as complex as one wants to make it. A makes glazemaking possible through principles. But my reasons for both us­ simple, empirical approach is used in these mathematical formulas achieved by de­ ing and teaching the empirical approach articles—learning by experience and obser­ veloping and understanding the ratios of are that the majority of people are in­ vation rather than by calculation or depen­ different materials that are likely to be hibited from doing much individual glaze dence on published recipes. This article is incorporated into glazes. Since the orig­ exploration by an imposed semiscientific designed to give the reader, whether novice inal development of the system, limit system which has its own built-in defi­ or experienced clayworker, an overview of formulas have been established which ciencies. As students, or as self-taught the parameters for glaze development. The show the high and low extents to which clayworkers, we are not usually made articles following in subsequent CM issues any chemical may be normally used in aware of those deficiencies, and often will explore more complex processes and the developing a glaze for a given temper­ struggle in the misguided belief that a development of specific colors. ature. The limit formula sets up a basic scientific approach will open the door to To A POTTER or ceramic sculptor, what structure from which one can work. The marvels. From my experience over 30 is it that represents the most important formula is mathematically converted to years of teaching and making pots, I can aspect of his or her work after devel­ produce a glaze from available ceramic honestly say that I have almost never oping the form? The usual answer is materials. In order to work efficiently, seen a calculated glaze that was better color or surface quality. calculation is dependent on direct prior than those produced by a solid, sensitive, The preconceived idea usually com­ experience with the behavior of ceramic empirical understanding of the mate­ bines form, surface and color as an in­ materials. One needs this to make an rials we use. The only possible excep­ tegrated whole. When a clayworker has educated guess at the suitability of raw tion to this is in the area of industrial arrived at the point where he or she is materials. There are various methods of dinnerware and sanitary ware. technically able to make the forms that calculation, the most recent of which use Scientifically based glaze calculation are visualized, the development of an in­ computer software programs. They es­ has a history of less than 125 years, al­ dividual palette of color and surface is sentially remove the drudgery of doing though ceramic glazes have been with next in importance. It makes little dif­ the math involved in calculating the for­ us for approximately 4500 years. Prior ference whether one is producing func­ mula and conversions to batch recipes, to the development of mathematical cal­ tional work, one-of-a-kind ware or and vice versa. culation, all glaze development was done sculpture; ceramic development is bas­ Calculation has some very useful at­empirically and information was passed ically the same. It requires testing and tributes, but, for the artist, it also has down through family tradition, more often observation, and, through what is es­ some great deficiencies. Have you ever than not with great secrecy, for such sentially a process of elimination, nar­ realized that glaze calculation can’t tell knowledge represented livelihood. rowing the field until the required result you the things that you most want to Glazemaking throughout the great and is achieved. know about glazes? Have you ever won­innovative ceramic-producing cultures Perhaps the most common method is dered why specific color development and of China, Islam, Korea and Japan evolved to find a glaze recipe that sounds more control seems to be such an elusive ac­ in this way. With the exception of the or less suitable in a book or magazine, tivity? Or why commercially prepared German salt-glazing process, all glaze make a batch and test fire it. In the long colors and stains often don’t come out development in Europe and later in the run, this is probably the least satisfac­ the way that you think they should? Have colonized Western Hemisphere was based tory method. Unless one either compro­ you ever wondered why we learn how on earlier Middle Eastern or Oriental mises one’s ideas to suit the glaze at hand, to calculate glaze formulas by mathe­ examples. Very often this was “stolen” or makes many adjustments to that glaze, matical means? Or why, for the studio information, and is among the first oc­ that is usually second best to coming up potter or individual ceramic artist, this currences of industrial espionage. When with one’s own original recipes or for­ process is largely redundant? Are youEuropean ceramic industry really “took mulas. prepared to accept what happens with Please Turn to Page 90 September 1988 57 Contact Betsy Blauvelt, Northern Virginia 4-H ... Itinerary Education Center, Box 1101, Front Royal 22630; Continued from Page 16 or phone (703) 635-7171. Washington, Seattle September 12-15 Hands-on izens and full-time students: $20. September 20 workshop with Frank Boyden, includes hand- registration deadline. Contact Yolo County Arts building, throwing and firing. Fee: $70. Contact Council, Box 2252, Woodland, California 95695; Jean Griffith, 226 First Ave., N, Seattle 98109; or phone (916) 756-CLAY or 662-4145. or phone (206) 285-4421. California, Walnut Creek October 8 “Workshop with Ban Kajitani.” Contact ACCA, Walnut Creek Civic Arts Education, 1666 N. Main St., Box 1839, International Events Walnut Creek 94596; or phone (415) 943-5846. Belgium, Brussels September 3-October 1 Four- Colorado, CortezSeptember 18-24 “Sand Can­ person show with works by Pascal and Catherine yon Primitive Pottery Workshop” will cover An- Castagne, Brigitte Penicaud and Claude Varlan; asazi Indian techniques, including clay and pig­ at Gallery Atelier 18, rue du President 18. ment gathering, tool making, throwing, hand- September 23-October 8 “Cafe Noir: The Euro­ building, adobe sculpture and various firing meth­ pean Coffee Cup,” juried exhibition of contem­ ods. For further information contact Kelly Place, porary coffee cups by residents of the 12 European 14663 County Rd. G, Cortez 81321; or phone Community member states. Also an invitational (303) 565-3125 or 882-4943. featuring coffee cups by American and Japanese Connecticut, New HavenOctober 22 Overview ceramists; at BBB Gallery, Province of Brabrant, of Mason products and their application in the rue Marche aux Herbes 61. studio with representative Jo Glitter. Fee: $10. Canada, Alberta, Banff January 3-14, 1989 “Form Contact Creative Arts Workshop, 80 Audubon St., and Function Workshop,” with ten ceramists. Fee: New Haven 06511; or phone (203) 562-4927. $623, includes room and board. December 2 reg­ Florida, Tampa November 5-6 Toshiko Takaezu istration deadline. Contact the Banff Centre School workshop. Contact Clay Factory, Inc., 804 S. Dale of Fine Arts, Box 1020, Banff T0L 0C0; or phone Mabry Ave., Tampa 33609; or phone (813) 872- (403) 762-6100. 8819. Canada, New Brunswick, Fredericton Septem­ Illinois, NormalSeptember 16-17 “The 12th ber 9-11 Workshop with Makoto Yabe. Contact Biennial Invitational Crafts Workshop,” includes the New Brunswick Craft School, Box 6000, Fred­ a session and lecture with Chris Staley. Contact ericton E3B 5H1; or phone (506) 453-2305. Center for the Visual Arts, Department of Arts, Canada, Ontario, Brockvillethrough September Illinois State University, Normal 61761; or phone 7 “Summer Celebration ’88,” includes stoneware (309) 438-2446. by Carolyn Gibbs; porcelain dinnerware and raku Kentucky, LexingtonNovember 5 “The Crafts pottery by Garry Moxam; and porcelain jewelry Marketing Presentation,” lecture and discussion by Catherine Taylor. September 24-October 15 on the artists’ image through slides, booth displays, “Where the Twain Meets,” two-person show with personal presentations, etc. Contact the Kentucky clay and fiber works by Garry Moxam and Laurie Arts Council, Berry Hill Mansion, Louisville Rd., Penny; at Heritage Crafts, Sheriden Mews, 182-186 Frankfort, Kentucky 40601; or phone (502) 564- King St. 8076.^ Canada, Ontario, Ottawa September 17-October Michigan, Grand Rapids October 7-8 “The Art 1 “Fat Jam: New Works in Craft Media,” juried of Single Firing” with Steven Hill, includes once- exhibition of works by artists living within an 80- firing and glazing techniques, aesthetics and busi­ mile radius of Ottawa; at Arts Court, 2 Daly Ave. ness tips. Fees: $50 both days; $30 one day. Student Canada, Quebec, Montreal through SeptemberlO rates: $15 both days; $10 one day. Contact Mike “Harlan House Porcelain”; at Canadian Guild of Taylor, Western Michigan Potters Guild, A 3765 Crafts Quebec, 2025 Peel St. Lincoln Rd., Hamilton, Michigan 49419; or phone through September 24 Three-person exhibition in­ (616) 751-5839. cluding raku by Mastada Funo.September 30-0cto- New York, New YorkOctober 11 Viola Frey lec­ ber 22 Three-person show including works by Al­ ture. In conjunction with the “Young Americans bert Borch; at Galerie Franklin Silverstone, 1618 14th National Competition” exhibition. Contact Sherbrook St., W. American Craft Museum, 40 W. 53 St., New York September 2-17 “The Annual Teachers’ Exhibi­ 10019; or phone (212\ 956-3535. tion.” September 30-0ctober 20 Two-person show New York, White PlainsOctober 14 “Surfaces in including stoneware and raku vessels by Peter Ceramics,” hands-on session with Elizabeth Powning; at Centre des Arts Visuels, 350 Victoria MacDonald, includes demonstration, discussion Ave. and slide lecture. Fee: $22. Contact Westchester Canada, Saskatchewan, SaskatoonSeptember Art Workshop, Westchester County Center, White 3-29 “Dimensions 88”; at Saskatchewan Craft Plains 10607; or phone (914) 684-0094. Council Gallery, 1231 Idylwyld Dr., N. North Carolina, BrasstownSeptember 5-11 September 24 Design workshop with Cathryn “Oxidation Cone 7” with George Griffin. Septem­ Miller. Contact Eveline Boudreau, Saskatoon Pot­ ber 11-17 “Raku” with Penny Truitt.September ters’ Guild, 514 Albert Ave., Saskatoon S7N 1G5; 18-24 “Stoneware/Sawdust” with Bonnie Staffel. or phone (306) 653-4209. Or phone Barb Gor- Fee: $140 per week. Contact the John C. Camp­ etzky (306) 653-3470. bell Folk School, Brasstown 28902; or phone (704) England, Hanley through September 11 “David 837-2775 or 837-7329. Garland: Ceramics Reviewed at the Crafts Coun­ North Carolina, RaleighOctober 29-30 “Clay cil”; at City Museum & Art Gallery, Broad St. Cottages” with Randy Hinson. Fee: $50. Contact England, Knaresboroughthrough September 6 Sertoma Arts Center, 1900 Shelley Rd., Raleigh Five-person show including works by David 27612; or phone (919) 782-7583. Greaves, Geraldine Hughes, Meg Potter and Jim Pennsylvania, FarmingtonSeptember 9-11 “Clay Robinson; at Goldsborough Gallery, 4 York PL Imagery: Raku” with Susan and Steven Keme- England, Leicester September 21-October 6 “Ce­ nyffy. Fee: $125. Contact Pioneer Crafts Council, ramics 1988: National Exhibition of Ceramics”; Box 2141-CM, Uniontown 15401; or phone (412) at Kimberlin Hall, Leicester Polytechnic. 438-2811. September 30-0ctober 1 Workshop with David Texas, Austin September 16-17 Low-fire hand- Frith, Carol McNicoll, Henry Pim and David building techniques with David Gamble and Mar­ Roberts. Contact Leicester Polytechnic, Art De­ tha Holt. Contact Armadillo Clay, 3307 E. Fourth partment, Leicester LEI 9BH; or phone (0533) St., Austin 78702; or phone (512) 385-7311. 551551. Vermont, MiddleburySeptember 10-11 “Hand- England, Londonthrough September 15 Jean building with Porcelain,” hands-on session with Powell, “Murals in Clay”; at the Building Centre, Carol Sevick. Fee: $100; members, $90. Contact Store St. Vermont State Craft Center at Frog Hollow, Mid­ through September 18 “London/Amsterdam: New dlebury 05753; or phone (802) 388-3177. Art Objects from Britain and Holland,” works by Virginia, Front RoyalOctober 22 “The Deco­ 18 British and 21 Dutch craftspeople. September rating and Painting of Bisque” with Rick Hensley, 15 “A Look at New Craft from Britain and Hol­ includes use of mid-range translucent clay andland,” discussion with Martina Margetts; at the glazes. Fee: $20. October 7 registration deadline. Crafts Council Gallery, 12 Waterloo PL 58 Ceramics Monthly September 30-November 6 “Whitechapel Open ’88”; at the Whitechapel Art Gallery, Whitechapel High St. October 4-30 Joanna Constantinidis, scraped and burnished asymmetric forms; at the Crafts Council Shop, Victoria & Albert Museum, South Ken­ sington. England, Old PortsmouthSeptember 24-Novem- ber 20 “The New Spirit: Innovation in British Craft and Design”; at Portsmouth City Museum and Art Gallery, Museum Rd. England, Stafford September 13-November 5 “Hats and Accessories”; at Stafford Art Gallery, Lichfield Rd. England, Stamford through October 9 “The Traveling Earl,” works from the collection of the Earl of Exeter (1648-1700), includes porcelain; at the Goody Rudkin Room, Burghley House. England, Stratford-upon-Avonthrough Septem­ ber 24 “Summer Pots,” porcelain and stoneware by British potters; at Peter Dingley Gallery, 8 Chapel St. England, Swansea through September 10 “The New Spirit: Innovation in British Craft and De­ sign”; at Glynn Vivian Art Gallery & Museum, Alexandra Rd. France, Vallauris through October 31 The “11th International Biennial of Ceramic Arts”; at Cha- teau-Musee de Vallauris. Greece, Cephalonia September 19-30 Workshop with ceramists Theodora Chorafas of Greece, Aline Favre and Fabienne Gioria of Switzerland, and Louise Norlander of Sweden. Contact Elebor Ar­ tistic Center, 1323 Romainmotier, Switzerland; or phone (024) 531415. Hungary, SiklosOctober 15-November 15 Ad­ vanced and professional level workshops. Instruc­ tion in English or German. Fee: $50 per day, in­ cludes materials, firings, studio space, lodging and meals. Contact Istvan Komor, Baranyas Creative Colonies, Vajda Janos ter 2, 7801 P0B 11 Siklos. Or contact J. Pudler, Artbureau-Artex, Box 167, 1390 Budapest 62, Hungary. Italy, FlorenceSeptember 9-12 “The 20th Flor­ ence Gift Mart”; at Florence Mart, via Lorenzo il Magnifico 14. Mexico, Nuevo Casa GrandesSeptember 9-19 “Casa Grandes Pottery,” workshop with Juan Quezada, includes identifying, digging and pro­ cessing local clays and slips; tool and brush mak­ ing; coil and pinch construction; surface treatment; dung reduction and oxidation firing; and visits to local archaeological sites. Fee: $650. Contact Iso- mata, Idyllwild School of Music and the Arts, Box 38, Idyllwild, California 92349; or phone (714) 659-2171 or (213) 622-0355. Scotland, Edinburgh through September 6 “Edinburgh Festival Exhibition,” two-person show including bottles and monolith shapes by Peter Hayes. Also, “Scottish Sideshows,” a selection of works by Scottish ceramists; at the Scottish Gal­ lery, 94 George St. Switzerland, Muggio September 19-24 “Ce­ ramics: Manual Techniques in Stoneware,” with Ingrid Mair Zischg; or “Raku” with Elisabetta Mellier. October 10-15 “Experimentation in Ce­ ramics Techniques” with Emidio Galassi. Fee: SF980 (approximately $657) per session, includes materials, firings, room and board. Contact Centro Sperimentale d’Arte, CH 6831, Muggio; or phone (091) 491462. Wales, AberystwythSeptember 17-October 22 Works by David Garland; and by Morgan Hall; at Aberystwyth Arts Centre, University College of Wales, Penglais Hill. West Germany, Celle through October 9 Gerd Knapper, 75 large decorative plates and traditional tea ceremony and ikebana vessels; at Bomann Mu­ seum, Lower Saxony. West Germany, DiisseldorfSeptember 9-January 29, 1989 “Ceramics from the Lower Rhine”; at Hetjens-Museum, Schulstrasse 4. West Germany, FreiburgSeptember 24-December 11 “The Second Elisabeth Schneider Competition and Award,” juried exhibition of ceramic works; at Galerie Schneider, Wilhelmstrasse 17. West Germany, Friedberg through September 30 Works by R. Doss, H. Kerstan, T. Naethe, R. Ternes and M. Uffing; at Galerie Ulla Hensellek, Engelsgasse 1. September 1988 59 60 CERAMICS MONTHLY Massachusetts, were exhibited recently at the or ceramics” dropped from 17% in 1984 to Ferrin Gallery at Pinch Pottery in North­ 14% (currently about 25 million individuals). ampton, Massachusetts. The vessels on view Those who make “sculpture or work with ranged from large decorative platters to clas­ clay” also was down slightly—8% instead of sical vase forms; while the fully functional 9% of all adults (14 million people). News & Retrospect Overall the drop in participation was not more than 3%, and “the huge gains registered Deduction Drought during the 1970s appear to be holding; meaning, of course, that participation in the A few inches of tax deduction rain fell on arts has gone from affecting a relatively nar­ drought-stricken records of select artists this row strip of people’s lives .to the very main­ summer, when the Internal Revenue Service stream of the people and their lives.” This announced a looser interpretation of the new is evident in the fact that significant numbers tax law affecting annual business expenses. want more art presentations where they live; But the outcome of this cloudburst is a long e.g., 50% want more outdoor arts festivals way from restoring the fertile balance of pre­ and 49% would like more exhibitions of vious years. paintings or sculpture. What many artists and craftspeople did In particular, a majority (84%) would like not realize until too late was that Section to have their children enjoy cultural oppor­ 263A of the Tax Reform Act of 1986 took tunities that were not available to them, and away business expense deductions and sub­ they recognize the importance of arts edu­ jected them to tax capitalization regulations, cation in the schools. “The public felt so complex bookkeeping that previously had strongly about the arts being an essential and applied only to manufacturers. This means indispensable part of the curriculum that 67% that all expenses (materials, electricity, rent, believed in order to have well-rounded stu­ etc.) must be applied to particular objects and dents turned out by the school system, it is the deductions taken only in the year the 17-inch thrown earthenware vase with poly­ works are sold—a bookkeeping nightmare chrome brushwork just as important to have students learn as for most artists and craftspeople. much about the arts as they do English, for­ After shouts of outrage from various artsfurniture combined fine wood frames with eign language, math, science and social stud­ groups, the IRS came up with a compromise fragments of ceramic objects. With the col­ ies.” An even larger majority (72%) said they that would allow a three-year write-off of lagelike tiled walls works, Fay chose to pro­ would be willing to pay more taxes “to make expenses. Writers, filmmakers, musicians and duce narrative, intellectual environments ex­ sure that children in school will be able to visual artists (those producing paintings, ploring themes of memory and nostalgia. learn about the arts.” sculpture and “other similar fine art prod­ With the arts in such a strong position, ucts”) will be permitted to deduct 50% of National Arts Survey concludes the survey, “a full press for inclu­ their expenses for a particular work the first According to the latest national survey on sion of the arts in the educational system year, then 25% in each of the next two years, the arts, the fifth conducted by Louis Harris could meet with enormous success now.” even if the work has not sold. However, even pollsters since 1973, 84% of the population The picture that emerged from this poll is this compromise regulation does not specif­ agree that artists are “highly important to of a busy public with rapidly shrinking lei­ ically include (or exclude) production pottersthe life of the country as the current and sure time, who nevertheless greatly appre­ and other craftspeople, who therefore may potential creators of the art and culture that ciate the arts and want to see more in their still be subject to the capitalization rule. a nation needs to be a full and rich place to communities. There is a bill (HR 4473 sponsored by live.” And 66% recognized that artists “work Tom Downey, New York Democrat) cur­ very hard for very little money.” Still, while Southwest Threesome rently under consideration by the House Ways artists are highly regarded and receive much Carved and slip-decorated stoneware plat­ and Means Committee that would restore empathy for the hard life they have chosen, ters and vases by Wesley Anderegg; bur­ the right of artists to deduct business ex­ this does not mean the public is willing to nished earthenware vessels by Andrew Baird; penses in the year in which they occurred, help individual artists financially. and sawdust-smoked earthenware sculpture but again craftspeople are not mentioned. And A majority (just over 50%) oppose federal, by Paulina Van Bavel were featured in a re­ it’s probably safe to assume they will not be state or local assistance to individual artists; cent three-person show at Contemporary included in the bill’s language unless the it seems most (89%) expect individuals to matter is brought to the attention of the Ways give financial aid to artists. But the survey and Means Committee. To that end, crafts concluded “public apathy about helping in­ advocates are urging individuals to write to dividual artists may be more a matter of sim­ their congressmen (Representatives and Sen­ ply not knowing what the options are rather ators) and request their support for equitable than any hard and fast, bitter opposition as treatment for craftspeople. many in the establishment have assumed.” When assistance programs funded by Eu­ ropean governments were explained, a ma­ Patricia Fay jority (65%) approved of similar support in Wheel-thrown earthenware vessels, mixed- the U.S. media wall forms, and wooden furniture with There’s no doubt that most people see real mosaic inlays by Patricia Fay, Northfield, societal benefits from the arts. Three out of four felt the arts “give you pure pleasure to You are invited to send news and photo­ experience or to participate in” and “are a graphs about people, places or events of positive experience in a troubled world.” Two interest. We will be pleased to consider out of three felt that the arts “allow you to them for publication in this column. Mail find a source of creative expression and ex­ submissions to News and Retrospect, perience that is rare.” Ceramics Monthly, P.O. Box 12448, However, a sharp decline in leisure time Sawdust-smoked earthenware form, 20 inches Columbus, Ohio 43212. has apparently affected adult participation. in height, with terra sigillata, by Paulina Van The number of people who “make pottery Bavel September 1988 61 tively—just enough to expand a little portion of the edge. The repetitive pinching increases the diameter of the lid and creates a deco­ rative edge that looks like it was planned, instead of being a “gimmick” to make the lid Suggestions fit better. You may even want to use a mod­ from our readers eling stick to exaggerate the expansion. I like this “discovery” so much that I some­ times use it deliberately as decoration.—Dean Mobile Shelves Draper; Fresno How many times have you taken a ware- board full of pots out of your studio, tryingDrilling Holes in New Bats to get them to dry? Here is a way you can I used to have a hard time accurately drill­ get pots in or out with ease. ing registration holes into throwing bats. Then, Build a two-way door frame into the wall I finally hit upon the solution of removing of your studio, then construct a ware cart by the pins from the wheel head, replacing them with dowel centers (available at your local hardware store), placing the bat on the wheel, and giving it a tap. This leaves two inden­ tations in exactly the right location on the bat. The holes may then be drilled with a pilot point bit (the type that doesn’t wander) available at most hardware stores.—Dudley Harris, San Antonio No Weight Measurements Required So you don’t have a scale, but you want to know how much clay it takes to produce attaching shelves and wheels to two doors as multiple forms. It’s very easy. Simply wrap shown, and install a simple C-section track. that first ball of clay with a length of nylon When the ware cart is inside the studio, the thread, and cut it so that it measures the exterior door is closed; when outside, the in­ circumference. Now you can use the same terior door is closed. A roof over the outside thread to measure the size of additional balls. drying area will protect the ware from sud­ Later, you can identify the thread (e.g., cup, den rain.—Bill Blakey, Kalbeeba, South Aus­ plate, bowl) for throwing another day.— tralia JoAnne Villeneuve, Chicoutimi, Quebec

Protecting Unglazed Tilework Sodium Silicate Wet/Dry Equivalents In researching protective coatings for un­ One of the most difficult ingredients to find glazed tile and grouting on floors, counter- (if you can afford it) is dry, powdered sodium tops and walls, I have found Murphy’s Oil silicate, which is used in some crystalline and Soap (liquid) to be an inexpensive alternative other glaze formulas. So I performed an ex­ to slate dressing and silicone. periment with liquid sodium silicate (water Use full strength to cover the surface; al­ glass), which can be purchased at most phar­ low to soak for half an hour, then wipe off macies at a reasonable price, and developed excess. Repeat 24 hours later. the following equivalents: 5 milliliters = 3.5 For general cleaning, ½ cup of Murphy’s grams =1 tablespoon. This information has per gallon of warm water will suffice. The helped me greatly with glaze experimenta­ surface will improve with age.—Wells Gray, tion and may help others who like to try Amherst, Ohio different recipes as much as I.—Larry Be- lich, Midland, Mich. Firing Beads When firing beads or wind chimes strung Level Trimming on wire, place the supports so that they will I used to have a problem trimming pots be about an inch or more from each end; then that required a chuck until I discovered a space the beads along the wire so there are very tiny level, only 3 inches long, made by about three in the middle and two on each Exact Level & Tool Manufacturing Com­ end. With such balanced distribution, the wire pany, High Bridge, New Jersey. Placed on will remain straight, with no drooping in the the bottom of a pot, it is a helpful guide for middle.—Judith Ganz, Lynnwood, Wash. adjusting the position of the pot in the chuck.— Mary Hasson, Columbia Falls, Mont. Lid Expansion Did you ever throw a lid that didn’t quite Dollars for Your Ideas fit (nahhh), one that would be perfect if only Ceramics Monthly pays $10 for each sug­ you could stretch it just a tad, but it was toogestion published; submissions are welcome stiff? Well, here’s a little lid expander tech­ individually or in quantity. Include an illus­ nique that I stumbled on. tration or photo to accompany your sugges­ If the edge of the lid is too stiff to manip­ tion and we will pay $10 more if we use it. ulate, moisten it with a sponge (you can even Send your ideas to CM, Box 12448, Colum­ dip it in water after the clay has changed bus, Ohio 43212. Sorry, but we can't ac­ color). Then pinch around the edge repeti­ knowledge or return unused items. 62 CERAMICS MONTHLY ... News & Retrospect

Craftsman Gallery in Santa Fe, New Mex­ ico. Characteristic of Van Bavel’s works on view is the $1200 handbuilt form, surfaced with terra sigillata, shown on page 61. NCECA Members’ Show Concurrent with the National Council on Education for the Ceramic Arts (NCECA) annual conference, a juried exhibition of sculpture and vessels by members was pre­ sented at Laura Russo Gallery in Portland, Oregon, last spring. Among the 32 works

“Orthoptera Vessel, ” 7 ½ inches high, mood- fired black stoneware, by Susan Harris selected by jurors Val Cushing, New York State College of Ceramics at Alfred Univer­ sity; and Jacquie Rice, Rhode Island School of Design, was this black stoneware lidded jar, 7½ inches in height, wheel thrown and handbuilt, wood fired, by Susan Harris, Lo­ gan, Utah. Irene Eilers “Working with clay in a functional way has become a means for me to express myself in a more complete and challenging fashion than with any other medium I have expe­ rienced over the years,” remarked Ripton, Vermont, studio potterIrene Eilers, whose

14-inch red earthenware platter, wheel thrown, with slips and clear glaze slip-decorated earthenware was presented in a July solo exhibition at the Vermont State Craft Center in Middlebury. Though Eilers has worked with a variety of clays and tech­ niques, she is “always drawn back to red September 1988 63 ... News & Retrospect

earthenware and colored slips.” All ware is wheel thrown, slip decorated and clear glazed. “Each piece becomes a reflection of my mood, attitude and ability, drawing on my cumu­ lative life experiences and my love for design, food, form, color and decoration.” Mary Visser by Janice McCullagh The spirit of the dance became a spring­ board for Mary Visser’s series of 15 porce­ lain wall forms, shown recently at Air Gal­ lery in Austin, Texas. The brightly glazed slab figures were mounted in poses of lively interaction. Boldly patterned surfaces visu­ ally suggested energy. “The Dance of Life” was created after the artist watched a performance by Diana Prechter. Poses were sketched, then taken to a computer. Using Thunderscan, a low cost digitizer, as an aid, an image can be trans­ ferred to the computer, then easily manip­

“The Dance of Life,” porcelain with poly­ chrome glazes, by Mary Visser, Austin ulated on screen with graphics software. Pro­ portions may be altered, figures reversed or limbs interchanged. The computer-aided sketch then becomes a preliminary design and pattern for the final ceramic sculpture. Clay shapes were cut, each in one piece, from large slabs. The biggest figures are about 5 feet tall. At that scale, they must be cut again (along design lines) to fit into her 27- inch-diameter kiln. When the glazed figure is hung, seam lines subtly define areas of the figure without being too dominant. Pattern and color amplify the forms’ struc­ ture: Kinetic zigzags emphasize major lines of the body, concentric bands enliven and define musculature, sunbursts stress points of tension; glaze colors are intense and boldly contrasting, creating their own rhythmic dances on the silhouettes’ surfaces. Though conceived in specific groups, the individual pieces are essentially modular units which can be rearranged. Some of the figures are self-sufficient, but for Visser the inter­ action is the key ingredient of dance. It is always a matter of human posturing. 64 C eramics Monthly Simple, emblematic shapes create a set­ ting, most often a house, vessel or fish. The stories are those of woman, man, serpent, tree. The varied scale of the pieces and fore­ shortened poses makes the wall a stage where “The Dance of Life” is acted out. Because the slabs project from the wall about 1 inch, secondary shadow silhouettes are created. Visser acknowledges that while watching a dance performance, she found the shadows on the wall vividly expressive. The shadow adds an important sculptural depth and a cast of reality; when the forms are displayed outdoors or in natural light, the shadows become animated elements that bring the work further to life. Kevin Hanna Marionettes, ranging to 19 inches in length, were among the clay with mixed-media works by New York artist Kevin Hanna on view recently at Objects Gallery in Chicago. Shown suspended from a bar, these articulated fig­ ures were handbuilt, painted and clothed; sometimes painted wooden props (as in the

Painted clay marionettes with fabric clothing and wooden props case with the woman pushing a child in a stroller) were also incorporated. Application Slides by Adrian Hoff Three years ago Charles Smith was strug­ gling to survive as a ceramic artist. After 15 years of producing fine pottery, he was still wasting time and money applying for shows that routinely rejected his work. Sound fa­ miliar? But Charles managed to turn things around. He’s been rejected by only one show during each of the past two years, and his work appeared in three national magazines last year. Now, with a steady stream of com­ missions and prepaid orders coming in, he’s free to concentrate on pots, rather than trav­ eling around the country trying to market them. To reach this goal, Charles did not have to alter his artistic direction; he simply changed photographers. Slides are the primary medium of com­ munication linking artisans to sources such as commercial galleries or corporate collec­ tions. And most of the major fairs and juried September 1988 65 ... News & Retrospect sional rates. Many serious amateurs rival pros in both equipment and knowledge. Yet am­ ateurs, by definition, do not rely on photog­ exhibitions require that you include “profes­ raphy for their primary income. There are sional quality” slides with your application. thousands of camera clubs scattered across Those visuals provide a limited reference by the country. On a regular basis, their meet­ which your entire body of work is evaluated. ings draw the area’s most active amateurs. Acceptance often depends entirely on how Attend a few meetings. You may discover the well they present your work to a judge or photographer you need. Remember, though, selection committee who may never see the that you are not dealing with a professional. original artwork. Find someone you can team up with for an Great slides won’t get your pots into the extended period of time. Establishing an on­ top shows or commercial galleries if the orig­ going relationship with “your” photographer inal work isn’t good enough. But, inferior is particularly advantageous. Even a sea­ slides can keep you out of shows that oth­ soned pro’s work will evolve as he or she erwise would have accepted your work. The becomes more familiar with your art and your photographs published in Ceramics Monthly specific photographic needs. provide an excellent showcase. They rep­ Finding the right photographer is only the resent more than a random selection of the first step. It is essential that you play an work being produced by your peers. They active role and not rely completely on the are the ones that were accepted—not just the photographer’s judgment. Start by reviewing original piece, but also the photographic pre­ and discussing magazine photos that you sentation of that piece. These particular pho­ particularly like. Explain why you need the tos are selected for many of the same con­ slides and how they are to be used. Be pres­ siderations that should guide you in evaluatingent during shooting. Your familiarity with your own slides. Basic technical quality is an the subject can be invaluable in selecting the absolute necessity. That means the subject angle that best shows what you think is im­ must be rendered sharp, well lit, in focus, portant about the piece. and be properly exposed. Your slides should, Shooting your own slides can be the most at the very least, provide an accurate record convenient and economical solution to ob­ of the original. taining slides. But when computing savings, The surest route to professional quality don’t forget to enter your time into the equa­ would seem to be through a professional pho­ tion. Time spent setting up lights and fid­ tographer. It can be. Consider before hiring dling with a camera is time that can’t be one: paying professional rates, in itself, is no spent throwing pots. guarantee of professional quality photos. Numerous how-to books have been pub­ Unfortunately, it requires little more than a lished about product photography. Unfor­ camera and a pile of photography-by-me tunately, most target professional photogra­ business cards to label oneself a “profession­ phers. They assume readers already possess al.” To further complicate matters, product an understanding of the medium and an ar­ photography (the kind you need) is a spe­ ray of equipment that’s beyond most ceram­ cialized genre with its own technical and vis­ ists. You don’t need a sophisticated auto- ual demands. Photographers who take ex­ everything camera or powerful strobes to cellent portraits and wedding pictures will photograph pottery. In fact, automatic cam­ not necessarily produce acceptable applica­ eras that don’t allow for manual operation tion slides. are a liability. The best book to read at this Probably the best solution is to hire a com­ point is probably the manual that came with mercial photographer with a solid reputation your camera. and experience in photographing artwork There are various tricks of the trade that, similar to your own. Check with your local with practice, can enable you to produce guild or fellow craftspeople for referrals. Take technically acceptable slides. But remember, a look at some slides done for them by the photography is a visual as well as a technical proposed photographer. You might also check medium. Those who hold to the adage that with advertising agencies in your area. Agen­ “the camera does not lie” should consider cy art directors will know which local pros photography’s role in the multibillion dollar specialize in studio product photography, and advertising industry. Skilled photographers probably which are the best. create attention-grabbing photos of even While commercial photographers may of­ mundane products. Average photographers, fer the best solution, they certainly don’t of­ on the other hand, manage to translate even fer the least expensive. Commercial rates are the most majestic scenes into lifeless snap­ among the highest in the photographic in­ shots. If you shoot your own slides, you’d dustry. But considering the wasted fees, lost best understand the difference. revenues and lost self-confidence that can re­ The key to quality slides is simplicity. Thus, sult from having your slides repeatedly re­ there’s no reason to use two lights if one can jected, it’s still a sound investment for those do the job. But avoid shortcuts that sacrifice whose work is good enough to warrant it. quality. It may be easier to work with a hand­ Bartering is common among artists, and pho­ held camera; however, photos made from a tographers are no exception. You may be able tripod are sharper. Use a 35mm single lens to offset all or part of the expense, if your reflex (SLR) camera body. Almost anything photographer likes your work. above the compact point-and-shoot models Alternatives exist for those whose work, will suffice. Most SLRs have a built-in light or bank account, does not yet justify profes­ meter. If yours does not, you’ll need to get 66 CERAMICS MONTHLY September 1988 67 I use a polarizing filter over the lens to ... News & Retrospect reduce surface glare and improve color sat­ uration. Rotating the filter while looking one. You’ll need additional light, too. On- through the camera allows you to see the camera flash is the most common source, but effect. Through-the-lens meters compensate it is harsh, difficult to control and not suited for filters; handheld meters don’t. to photographing most pottery. Incandescent Lighting is the most important and the light from quartz bulbs or photofloods is most difficult element of product photogra­ probably the best choice for beginners. phy. There is no “standard” lighting for all No single background works best with all pots. “Best” is dictated by the demands of pots. However, certain considerations are ap­ that particular pot. Glazed ware with re­ plicable to most application slides. Sizzling flective surfaces usually photographs well background colors are frequently used in ad­ vertising to attract attention. Here the subject should dominate. Confusing or cluttered backgrounds should also be avoided. If the judges’ eyes are drawn first to the back­ ground, the slides may go by before their focus shifts to your pots. Application slides are rarely viewed at a leisurely pace. Graduated backgrounds (shaded from dark to light) usually work well, as do solid black or muted earth tones. “High-key” applica­ tion slides tend to be less successful; slides with white ( or clear) backgrounds can allow so much light to reflect back into the camera that it’s difficult to see the work itself. Slides that look fine on a light table won’t, neces­ sarily, translate equally well into projected images. If possible, evaluate your slides by projecting them. Tripod lidded jar, 11 ½ inches in height, You learn by doing, so let’s set up a studio wheel-thrown terra cotta, with impressed and photograph some pots. We’re using a pattern on neck and lid, and thick slip ap­ quartz light, so we should use a tungsten- plied with a brush on the body, by Charles balanced film such as Ektachrome 160 Smith, Mobile, Alabama TUNGSTEN. Daylight film (such as the Ko- under soft, even illumination. Matt-surfaced dachrome 25 often preferred by publishers) pots often photograph best under hard, un- exposed under tungsten illumination yieldsdiffused light. Here you learn by doing. Set slides with an unsightly orange cast. Con­ up a light. Take time to study how it illu­ versely, using tungsten film outside in day­minates the pot. Move it. Watch the changing light or with a flash results in slides with a highlights and shadows; pay as much atten­ blue tint. Also avoid illumination from flu­ tion to what is not lighted as to what is. Shoot orescent tubes. It adds a pastel green tint to a lot of film, and keep detailed notes about your slides. light placements, meter readings and expo­ Take time to carefully load the camera. sure settings. In time, you’ll gain a basic un­ Each year thousands of blank rolls of film derstanding of what works and what doesn’t. are processed. Most often this is caused by Only by mastering light can you consistently carelessly loading the camera and failing to produce acceptable slides. properly engage the film’s sprocket holes. Af­ Oblique side lighting raking across a pot’s ter the film is loaded, be sure to set the ASA/ surface emphasizes incising and textural de­ ISO dial to match the film speed listed on signs. When photographing such work, I set the box and on the roll as part of the name, my light at approximately an 80° angle to i.e., Ektachrome 160 as a speed of 160. the camera/pot axis. The placement of the The set on which I photograph pots can light is critical. Moving it 6 inches farther be put together in ten minutes. Two saw­ back on the camera/pot axis would have left horses support a 4X 4-foot plywood base. A a dark shaded area on the front of the pot. sheet of black Plexiglas covers the plywood. Moving the light a few inches forward on Black paper hangs on the wall behind the that axis would have reduced the shadows set. The black base simplifies lighting; I don’t that emphasize the surface designs. Raising have to worry about distracting shadows. the light a few inches would have placed a Nearly the same effect can be created with deep shadow under the lid. Lowering it by the pot placed on black paper. For pots that the same amount would, again, reduce de­ don’t photograph well against black, a roll sired shadows. of seamless colored background paper (avail­ For the photo above, Translum (a diffus­ able at photo supply stores) is attached to the ing material available at most photo supply wall behind the set and draped over the ply­ stores) was placed in front of the light to wood base. soften shadows and highlights. Bouncing the The camera is moved in close enough to light out of an umbrella or off a white wall avoid dead space around the pot, then lev­ or ceiling would have diffused the light even eled. Slides shot with a lopsided camera pro­ more. A large mirror reflected light into the ject lopsided pots onto the screen. That can shadow side. Light reflected from a mirror be distracting. produces the proper lighting ratio and is the 68 CERAMICS MONTHLY September 1988 69 Current images “appear to have their roots ... News & Retrospect in an ancient past, but the content is also influenced by contemporary concerns. The objects relate to a time when there was no simplest method of balancing the overall gap between animal and man, a time that lighting. Two small mirrors reflected light under the lid. The placement of the mirrors requires the same attention to detail as the placement of the key light. Were I to add another light, it would be bounced off the ceiling above the pot. The walls and ceiling in my shooting area are painted white. Light bounced off colored surfaces picks up that color. If you shoot in a room with colored walls and ceiling, use a large piece of white Foam-Core board or white paper to reflect light back to the picture area. Always shoot one frame at the setting rec­ ommended by the meter, followed by another shot one setting higher and a third one set­ ting lower. That’s called bracketing. Early on, it’s a good idea to extend your bracketing to also include shots two steps over and two steps under. Many amateurs think bracket­ ing is a waste, but the real waste is not brack­ eting and ending up with nothing for your Bill Stewart's “Fish Man,” a terra-cotta mask, 1987 efforts because of exposure errors. The purpose of bracketing is so you can can be haunting and disturbing, a time of select the best slide; it’s not so you can use myths and legends, a time of magical rites, the best slide first, then work your way through rituals and curiosities. The objects sometimes the rejects. If you need extra copies of a slide, resemble anthropologically significant arti­ have duplicates made. Kodak slide dupes of­ facts, ceremonial trophies, strange shelters fer quality rivaling that of the original for and inexplicable mechanisms. under a dollar apiece. Duplicate slides will “I am attempting to produce work that is be cropped slightly tighter than the original. enigmatically primitivistic and sophisticated, The slides you send out provide a limited focusing on nature as a representational as visual reference by which your entire body well as a metaphorical image. To do so one of work is evaluated. Your financial survivalmust occasionally reach inside to the secret can be as dependent on the photographic past or to plunge into the absurd.” quality of those slides, as it is on the aesthetic quality of your work. Unless you are willingMakoto Yabe to invest the time and effort needed to master basic camera controls and lighting tech­ A solo exhibition of ceramic sculpture and niques, your best move is to hire someone vessels by Makoto Yabe, Boston, was on view who already has those skills. Either way, ap­ at the Art Complex Museum in Duxbury, plication slides are a major investment in your future. Bill Stewart “My work is eclectic, and the supply of information and influences originates from many sources. There are things that appear intuitively in the objects I make that are puz­ zling to me. Total explanations are difficult, if not impossible. Things materialize and im­ ages occur that simply ‘feel right,”’ noted ce­ ramic artist Bill Stewart, Hamlin, New York, whose sculpture was featured in a 17-year retrospective at Dawson Gallery in Roch­ ester, New York, recently. Throughout his career, his work has con­ sisted of “fragments documenting my per­ ceptions. These perceptions are based on ideas governed by time and place. As the time and perception change, the image often does also. My belief in the equal union of materials, process and content remains vital. In some cases, the work may involve found and fab­ ricated forms integrated with the clay as well as an intuitive sense of texture, modeling and Untitled form, 20 ½ inches in height, thrown and assembly. handbuilt stoneware, with colored slips and glazes 70 Ceramics Monthly September 1988 71 ... News & Retrospect June 30. Often his work incorporates hidden facets, “things that only I know about,” so that “each piece is different to each person Massachusetts, recently. Born in Japan, Yabe seeing it.” Shown from the exhibition is “Sa apprenticed with potters Sango Uno and Jin- Watching,” 12 inches in height, raku fired. matsu Uno before moving to the U.S. Like most of his transplanted compatriots, his cur­ America House Anniversary rent work combines traditional Japanese techniques with contemporary influences. To celebrate its 15th anniversary, America Three diverse styles mark the forms shown House in Tenafly, New Jersey, invited 50 in the exhibition: neriage, or wedged and new and past exhibitors to send work for a thrown colored clay vessels; stretched and heavily textured pieces; and large-scale sculpture with intricate glazes.Photo: An­ drew Dean Powell. Laney Oxman Solo exhibitions of painterly ceramics by Laney Oxman, Reston, Virginia, were fea­ tured concurrently at Signature galleries in Boston, Hyannis and Chestnut Hill, Mas­ sachusetts, recently. Included in these shows were a variety of objects, ranging from gob­ lets, bowls and plates, to jewelry, to furni­ ture. “Depths and dimensions of color are in­ tegral to designing each piece,” commented the artist. In layering color and pattern, she attempts “to break as many rules as I can

Porcelain teapot with cane handle, 12 inches in height, decorated with ginkgo leaf resist pattern, by Reid Ozaki, Tacoma show “pointing to significant new directions in craft, as well as highlighting the integrity and lasting value of historical styles.” Among the ceramic objects on view through May 20 was this wheel-thrown porcelain teapot by Reid Ozaki, Tacoma, Washington. Photo: Roger Schreiber. Glass-topped foyer table, 5 feet in length, with clay supports, brushed with polychrome slips, clear glazed, Mid-Atlantic States Biennial fired to 2300°F The 18th biennial exhibition of one-of-a- possibly get away with. And, after firing, the kind and limited-edition crafts, sponsored by result is a finely textured piece with exciting the Creative Crafts Council of Washington, patterns and hues.” D.C., was presented at Strathmore Hall Arts Center in Rockville, Maryland, through July Grady Kimsey 16. Open to artists/designers in the Mid-At- Clay and mixed-media sculpture by Flor­ “Morning Ironing, ”21 inches high, by Kath­ ida artist/teacher Grady Kimsey (Seminole leen Dustin Community College in Orlando) was on view at Carlyn Gallery in New York City through

“Sa Watching,” 12 inches high 72 Ceramics Monthly September 1988 73 In those days we tended to obey our elders ... News & Retrospect and didn’t try to pull down the establish­ ment. It took a second world war to shake us from our clear demarcation lines. lantic region, the show featured over 300 works My father, whom I admired, oversha­ in various media, including 117 in clay. Showndowed me and always seemed to have done (page 72) from the exhibition is an award- everything in art so well that it took the heart winning, low-fire ceramic wall form, 21 inches out of most branches for me—his work in in height, handbuilt, with underglaze, glaze, modeling and carving, lettering and line en­ luster and acrylics, byKathleen Dustin, Res- graving, painting and superb draftsmanship, ton, Virginia. silversmithing and jewelry, surrounded me at home. Every time I tried any medium, he Catching Up had worked in it before me and had done it by R. J. Washington so much better. While studying for eight years (seven as One day, when I was in my teacher train­ a painter) in the academic ways of the ’30s ing year at the R.C.A., involved in studying at Goldsmiths’ College School of Art and the crafts with pottery as my main subject, I was Royal College of Art, I was, in company with at home browsing through a corner cabinet other students of that era, torn between the in the dining room and came across two re­ Bauhaus and William Morris, having the volting little acid-blue, cast “vases” (the term cubists and surrealists around to further up­in those days was a derogatory one). On ask­ set us. At first, I belonged to the group which ing my mother about their origin and why believed in the idyllic life of “three acres and they were retained, they turned out to be my a cow”—self-supporting and self-sufficient. father’s. I was delighted and felt that here, However, my father (one of the best line at last, was a medium through which I might engravers of the ’30s) was an art school prin­ speak without being shouted down. cipal who laid it down most firmly that when, This was particularly consoling because I and not before, I had obtained all the paper had already become totally involved in ce­ qualifications available, I could go starve ramics and its pain/pleasure. My postgrad­ where and how I pleased. uate year was spent in the pottery depart-

R. J. Washington defining pattern with charcoal prior to applying red iron oxide 74 Ceramics Monthly September 1988 75 the present world of ceramics is, in some ... News & Retrospect ways, an enviable experience. There now ex­ ists an inversion of old tenets; for instance, ments of the R.C.A. (daytime) and of the all gone are the gods of functionalism, lim­ Central School of Art and Crafts (evening), itations of the medium, exploiting a medium during which time William Staite Murray exclusively within those boundaries said to and Dora Billington were my tutors. I saw be peculiar to that medium (e.g., earthen­ very little of the former and as much as pos­ ware should not attempt to emulate stone­ sible of the latter. ware and vice versa; porcelain is different Staite Murray taught us none of the tech­ from both and should only be used in a man­ nical side of pottery. In fact, the only two ner suited to its own qualities, etc., etc.). “tuition periods” of any kind which I ever A blind man suddenly sees, and every­ had from him consisted of one, as we passed where is wonder. . . welding, etching, cor- in a doorway to the throwing room, when he told me that “we can see the whole universe in a flower” and the other, when I was invited into his room to discuss a glaze of mine in which he was interested. This, of course, meant giving him the recipe. Miss Billington was his exact opposite. We were very lucky in London, at that time, to have these two teachers. One (I shall never know how) gave us a grasp of a new idea; i.e., that pottery could be an art form. And the other, through a series of classroom lec­ tures, offered the technical know-how re­ quired for bringing this about. These lec­ tures I have repeated to scores of students Stoneware platter, approximately 24 inches over a period of nearly 40 years in an attempt in diameter, with oxides, engobes and glazes to repay my debt to her. roding, smoking, breaking and reassembling, During the ’30s in the craft ceramic world, coarse, fine, smooth, rough, mixed media, when the Leach-type potter was ascendant purism all gone. You know them all and may and the production of functional ware was even be a little blase about it, but, to me, life dominant, a small group of potters headed is full of wonder and infinite possibility. by Murray at the R.C.A. was trying to prove Obviously, I have to accept the label of that there was no difference between the stu­ being dated. The preceding proves this to be dents in the Painting School and those in the so. However, both concept and enrichment Pottery School. Murray fostered this in us of my pots are through abstraction and work­ and tried to stick to showing his work in fine ing visuallyinto and not onto a surface. This, art galleries or in joint exhibitions with fine I submit, is timeless. The pursuit of splash artists. He gave us belief in our validity asand flick, spot and smudge, pour and splodge, ceramic artists. multicolored lines and dots, etc., results in a The year 1939 found me teaching at the facile surface treatment of occasional charm; Derby School of Art with the Denby Stone­ the novelty of a rough glaze and/or body in ware Company just down the road; and at a new coat; the production of asymmetric a pipe works not far away, with a sympa­ shape of accidental limp lumpiness; the re­ thetic owner who introduced me to salt glaz­ liance upon the color manufacturer for a range ing. Life was set to become very interesting of new surface treatments—all must come indeed. Hitler decided otherwise. and go as does fashion in dress. Eventually the war was over; demobbed, Surely such aids have justification when I faced my Rubicon. It was possible to re­ used as assistants in the hard fought search main in Derby, and become a potter and for true abstraction—the expression of a con­ teacher. However, I crossed over and chose cept derived from an inner and/or outer vis­ the art education side where every pupil was ual source—this is dateless. So I believed in to be enabled to develop his/her aptitude and 1938 and, when beginning again in earnest where the grammarians and technocrats were in 1978, this was the position from which I to step down from their ivory towers to help worked towards the present, going through in the developing of the individuality rather a transition which might have happened years than in the shaping of it to a pattern. ago had I continued in Derby. The ’50s were great but the dream began Recently there was a comment which in­ to fade in the ’60s, was gone in the ’70s and dicates my work is typecast as being confined now I’m glad to be out of it. to the tall and narrow. There is no deep psy­ Having retired from the education world, chological or metaphysical reason for this I returned full time to clayworking, after an partially true fact. It has happened because, exile of more than 30 years, and decided to on coming back to throwing, I have had to go back to the point where I’d been in 1939. reachieve expertise, and the making of many So it’s not surprising that people felt a cer­ tall cylinders seemed to be the quickest way tain Rip Van Winkle atmosphere in an ex­ of doing this. hibition of my work in London in 1981 and Therefore, my tall pots heavily outnumber again in 1984. the fuller shapes. The great advantage of Emerging from the working life of an art height is that it enables exploitation of the instructor and its 90% administration into maximum profile variations, i.e., the longer 76 CERAMICS MONTHLY September 1988 77 the child running in, frustrated by lack of ... News & Retrospect fluent speech—my onlooker and I can com­ municate with a minimum of that most dif­ the line, the greater the opportunity for change ficult medium. and accent. One line source I used on many occasions was the skyline profiles of Scottish Early Greek Figures and Irish mountains. “The Human Figure in Early Greek Art,” During the last year there has been a feel­ a traveling exhibition of 67 terra-cotta fig­ ing of “catching up” via the production of ures, decorated pots, bronzes and marble some platters and roundels which, though sculpture, premiered at the National Gallery basically stoneware (Hyplas and T-materi- of Art in Washington, D.C., and is currently al), using several forms of engobe, are fired on view at the Nelson-Atkins Museum of three or four times, ending at Cone 012. Art in Kansas City (through October 2). As­ For the moment, my back is turned on the sembled to document the evolution of Greek stoneware grays and I am using colored slips artists’ interpretation of the human form, the and exploiting glazes which used to be dis­ exhibition includes examples from the geo­ carded as faulty, e.g., those that bubble, cra­ metric period (ninth and eighth centuries ter, crawl, crackle and craze, pinhole, crys­ B.C.), the orientalizing period (seventh tallize, surface mist and break up. With these are incorporated ceramic materials such as board, blanket and fiber glass soaked in col­ orant, body and/or glaze—a far cry from puritanical stoneware. One of my first memories, when being trained as a teacher, was seeing a child, run­ ning in from the playground, filled with ex­ citement about a happening and vainly struggling with words to express it to the teacher, stamping the floor with frustration at her inability. At this moment it seemed to me that the main purpose of education was not to encourage the storing up of facts and then delivering them up on request, but should be more to do with enabling people to com­ municate in the medium suited to them. The child above was using her hardest medium of all and could have done much better hav­ ing her say in music or drama or paint or Attic cup with fenestrated, conical base, 6 Vs clay or math. inches in height, circa 680 B.C. We are gregarious animals, and as such have a basic need to communicate. So we, in century B.C.), the archaic period (sixth cen­ education, believed in the ’50s. tury B.C.) and the early classical period (fifth This digression is to explain the violent century B.C.). The first representations are change that has taken place in my work. Af­ silhouetted stick figures illustrating scenes of ter years of self-assurance in the stoneware mythology or stories told in the Homeric of the R.C.A. in the ’30s era, I began to see poems, the Iliad and Odyssey. Later objects that my products were being created in a demonstrate the Greek artists growing abil- Diogenes-like aesthetic. True, there was no hang-up about wheth­ er potters were artists or not. And not only was there a turning away from function, but there was also a rejection of others in our time. Staite Murray received his impetus from old Japan, Sam Haile from mythology, Hen­ ry Hammond from Far Eastern brushwork and mine moved towards cubism. Looking back, it seems as though none of us attempted to communicate with others; in general, we stayed in our tubs and it has taken me 50 years to climb out of mine. I attempt now, via my platters, not so much to present a ready-made visual statement of an environment, but to put before the spec­ tator a series of hints about the existence of earth, fire, air and water, and so to set them down that a dialogue between the viewer and me can take place. This involvement can bring about a contribution from the other person’s imagination, and mutual interplay can take place. A conversation of a kind with words reduced to a minimum has often happened Boeotian vase in the shape of a female head, and, as it does, I am reminded once again of 5½ inches in height, circa 490 B.C. 78 CeramicsM onthly September 1988 79 ware, from the master molds (which he makes) ... News & Retrospect to the final glazing. The forms are often or­ ganic in shape; Hoff is interested in envi­ ronmental concerns from which his work is ity to depict naturalistic movement and life­ derived. like proportions. Rolf Sinnemark, on the other hand, de­ As National Gallery director J. Carter signs the shapes and surfaces of his limited- Brown noted: “This exhibition provides an opportunity to observe the treatment of the human figure during a critical formative pe­ riod in world art. The trends illustrated by the objects led to the flowering of Greek clas­ sicism, which has functioned as the basis for the Western aesthetic of art.” Swedish Designers in New York In collaboration with Rorstrand-Gustavs- berg Industries of Sweden, Contemporary Porcelain Gallery in New York City recently exhibited works designed by Paul Hoff and Rolf Sinnemark. This premiere showing of their ware in the United States was orga­ nized to coincide with last spring’s celebra­ Slip-cast and assembled teapot from the “At­ tions of the 350th anniversary of Swedish lantis” series, 7 inches in height, with air- settlements in North America. brushed glazes, by Rolf Sinnemark, $200 A tradition of artists designing for indus­ edition ceramics, but casting and glazing are try exists throughout Europe. Both Hoff and done by others. His ware is characterized by Sinnemark have worked closely with Euro­ geometric series, both in forms and repeated pean industries since the late 1960s, while glaze patterns. Indiana Invitational For a recent exhibition at the University of Indianapolis’s Leah Ransburg Art Gal­ lery, ceramics professor Dee Schaad joined forces with four other faculty artists from the Midwest: Lynn Chytilo, Albion College in Albion, Michigan; Rinda Metz, Ohio Wes­ leyan University in Delaware;Gail Sellers, North Central College in Naperville, Illi­ nois; and Rimas VisGirda, visiting artist at Illinois Wesleyan University in Blooming­ $1000 lidded jar, 30 inches in diameter, slip- ton. cast porcelain, with reduction-fired black Schaad’s works on view included five wheel- glaze and gold mesh decals, limited edition, thrown stoneware platters decorated with by Paul Hoff layered strips of cut and torn clay, resulting maintaining reputations as independent art­ ists. Each eventually established separate de­ sign firms as well. Now, besides designing for Rorstrand-Gustavsberg production, they also sit on the company’s board of directors and thus are involved in manufacturing as well as artistic decisions. While factory personnel take over on the lines he designs for mass production, Paul Hoff remains personally involved with every step of the production of his limited-edition

Wheel-thrown stoneware platter with ap­ plied clay strips and iron oxide accents by Dee Schaad in patterning reminiscent of aerial photo­ graphs. Three of the plates, “High Plains Trilogy,” were from the series “Places Where the Earth Shows Its Bones.” For her “Houses on the Edge” series, Chy­ Limited-edition lidded vessels, to 18 inches in height, porcelain with slips, glazes and tilo combined three 18-inch, slip-cast earth­ lusters, by Paul Hoff, retailed at $900 (large enware plates decorated with sgraffito through jar) and $450 colored slips. She also exhibited slip-cast cups 80 Ceramics Monthly September 1988 81 ... News & Retrospect

and goblets assembled from slip-cast parts. Several of Metz’s handbuilt organic forms (“Tributes to Albrecht Durer”) were in­ spired by the trees on the coast of Maine. She rolled out pieces of earthenware, squeezed them with her hands, then assembled them to look like trees on islands. Sellers’s sculpture, evocative of ancient weapons and instruments, was made from terra cotta and mixed media. Metallic-look- ing surfaces were obtained with stains and paints. VisGirda showed extruded and handbuilt stoneware forms ranging from 20 to 30 inches in height. The surfaces were covered with slip, drawn on with hot wax, then incised and inlaid with black slip. After a salt glaz­ ing, details were accented with lusters. Viviana Halpern Geometric sculpture by Argentine ceram­ ist Viviana Halpern was featured recently in a solo exhibition at the Centro Cultural Ciudad de Buenos Aires. “Form constitutes the principal reason for my work,” Halpern Untitled earthenware figure, 20 inches in commented. “Color accompanies form. I’m height, by David Horak, Brooklyn actually working on blocks (from one to five), and shoe atop his head. Variations of the same figure appear four times in the show. The viewer vacillates between seeing these figures potentially crushed by their burdens and sensing that a wholly irrational energy makes them buoyant. Eisner’s coil-built vessels combine form with concentric geometric patterns. The sur-

“Fotocopia Autenticada,” 17 inches in height, white earthenware, with airbrushed and brushed matt and metallic glazes with plastic elements projecting from them. I play with these elements: inside, outside, above. I’m interested in the contrast of these forms, the rigidity of the block and the move­ ments of the elements.” Images in Clay by Amy DeLap Coil-built stoneware vessel, 14 inches in The diverse works of clay artists Patrick height, by Larry Eisner, Logan, Utah Crabb, Tustin, California, Larry Eisner, Lo­ gan, Utah, John Goodheart, Bloomington, faces have a sandblasted, eroded appearance; Indiana, and David Horak, Brooklyn, were the smoothly rounded volumes belie their coil presented in “Images in Clay” at Indiana’s construction. Photo: Andrew Whitlock. Vincennes University recently. Shown from the exhibition are an untitled figure, 20 inches Susan and Steven Kemenyffy in height, by David Horak; and a stoneware Raku sculpture and wall forms bySusan vessel, 14 inches in height, by Larry Eisner. and Steven Kemenyffy were among the works Horak’s press-molded and modeled sculp­ featured in the “National Ceramic Invita­ ture consists of an armless torso of a man, tional” exhibition at Sylvia Ullman Gallery conservatively suited, with a trousered leg in Cleveland earlier this year. The primary 82 CERAMICS MONTHLY September 1988 83 ... News & Retrospect eral buildings in my town that had been demolished and at others from photographs of war-torn Europe; and these experiences, in combination with my natural affinity for powerful vertical arrangements of form, led me to begin this series. Originally the sur­ faces were quite serene with subtle pastel colors airbrushed over the ‘facades’ or ‘skins.’ This led to more complex surface ornamen­ tation and the subordination of the forms in favor of the development of more painterly considerations. The recent series [represents] a fusion of some playful figurative concerns with, of course, the obvious architectural ref­ erence.” Dennis Tobin by Mary Seyfarth At his exhibition debut in 1983 at Lill Street Gallery (now the Chicago Center for Ceramic Art), Dennis Tobin showed elon­ “Changing Left to Right,” approximately 36 gated, coil-built vessels. But with his latest inches in height, raku, by Susan and Steven work, the vessel has been virtually aban­ Kemenyffy, McKean, Pennsylvania doned. Tobin’s floor pieces on view recently at motif for their collaborative work is images the Chicago Center for Ceramic Art are like of women; Steven is responsible for the clay- snails or giant bivalves; some are closed, while work and the firing; while Susan does the others are open curves terminating in a point. drawing and glazing. Roy Strassberg New work by Minnesota artist Roy Strassberg was exhibited at the Works Gal­ lery in Philadelphia recently. Influenced by buildings in decay, these slab-built forms delve into the “universal principle” Strassberg be­ lieves lies behind architectural structures, music and the human form. “I have been working on a series of related ceramic sculptures for the last several years,” he commented. “Originally the concept de­ veloped as a response to architectural and structural forms in a state of decay, deteri­ oration and/or disrepair. The work was typ­ ically characterized by monumental archi­ tectonic shapes, with torn edges and other indications in the form that the object had experienced some alteration either through the ravages of time or some external but more immediate force. I had been looking at sev-

Coil-built, terra-cotta form, 46 inches in height, surfaced with acrylic putty, by Den­ nis Tobin, Oxford, Ohio The most imposing works are the 4-foot spi­ rals (almost humps) with heavy, stunted points. In contemporary ceramics, surface treat­ ment is now open territory. Glazing may no longer be the final act. Some of Tobin’s work is surfaced with epoxy and paint. In some cases, it looks like a stretched and buffed hide. More dynamic, however, are those sur­ faces that expose the working processes and the nature of clay. Pat Saab “Jazzman Torso #2,” 30 ½ inches in height, whiteware, with underglazes and textural “Auditions,” nine modules patinated with glazes, sealed with a fixative cobalt, copper and iron oxides that may be 84 CERAMICS MONTHLY September 1988 85 Forms were constructed to make bricks ... News & Retrospect 4x6x9or 12 inches, and on occasions these were washed down due to heavy rains. This retarded progress, but the material could at assembled in different configurations like least be used again. The termites, still in members of a chorus line; and “Urban Land­ residence, also ate into the wooden forms for scape,” clay in a polymer base modules, with the bricks, and some weekends went by with­ silk-screened images of the Verrazano-Nar- out progress due to forms being too weak to rows Bridge, the Staten Island skyline and take the pounding necessary to firm the bricks the Statue of Liberty, by Staten Island artist to a good density. Pat Saab were featured in the juried exhi- The size of the kiln between flue and bag wall was approximately 27x27x27inches with an arched crown. The arch being formed by digging out, not by building. The bag wall

A hollowed-out termite mound formed the shell of this wood-burning kiln was constructed by putting in two boards of plywood, then filling it with mud and placing “Urban Landscapeapproximately 6 feet high a few 2-inch-diameter plastic pipe pieces at bition “New Images in American Art, 88 intervals. These materials were left to burn Artists ’88” at the Exhibition Space in Soho, out during the firing. New York City. Drawing from her dance The exit flue was formed with bricks; its experience, Saab commented: “As Martha opening was about 50 square inches in cross Graham or Eric Hawkins design images that section. The stack was formed by ramming become dynamic and asymmetric on stage, I the mud into wooden forms about 5 feet high, give clay that extra pat or nudge to take it the center tapering from 50 square inches to off its axis. As in modern dance, the form 25 square inches. becomes asymmetric, as opposed to balletic After the outside timber form was re­ or classical. The resulting piece is contem­ moved, chicken wire was tied around the stack, then mud plastered over it. This strength­ porary and mobile.” ening was considered necessary because the rest of the stack consisted of 5 X 5-inch sec­ Termite Mound Kiln tions of galvanized iron protruding up about by Ken Hobday another 6½ feet, and the mound material had I had often thought of the possibility of a fairly low tensile strength. large termite mound being used as a kiln The kiln’s ash pit was dug out of the ground, during my years in northwestern Australia. allowing a grate level low enough for the Past uses of the mound material have been firebox to have a slight rise up to the bag many and varied: walls and floors for dwell­ wall. The ash pit/firebox was brick, and the ings, tennis courts, bush ovens, to name just fire bars were ½-inch-diameter steel rods. This a few. So to use one for a kiln was not that was then heaped over with mud to make the unusual. sides and top air tight. A steel plate was cut I selected a reasonably large mound (with to size to make a seal at the firemouth after a base circumference in excess of 30 feet and firing and to regulate the air going into the a height in excess of 7 feet at the apex) lo­ ash pit. cated about 160 kilometers by road southeast The floor of the chamber was leveled, and of Port Hedland. Its position had to be such some kiln shelving was used to make a good that it was logistically accessible and handy stacking base. to a homestead where some security could The last couple of weekends were spent be exercised to prevent interference from the gathering dry wood. Prior to firing, some pine inquisitive. This necessitated the selection of wood crates brought out from town were bro­ a mound made of material inferior to my first ken up to provide fast-firing fuel. The local preference. It was made up of gray-brown wood was hard and not particularly quick earth, rather than a good red earth. firing, but for the most part it was a good The body of the mound was not solid, but handy size and did not require splitting. honeycombed with a labyrinth of passages After loading the kiln on three tiers with of varying sizes from ¾ inch to about ¾ inch a variety of pots for bisque and glaze, we in diameter. The interior was excavated and began firing about 1:00 P.M. by igniting some the materials put aside to make bricks for kindling in the ash pit. The ambient tem­ closing up the doorway, sealing the firebox, perature was 113°F. Early stoking was with making the stack, etc. 4-inch-diameter logs about 2 feet long. The 86 Ceramics Monthly September 1988 87 ical being. “Life is a Beach . . . Howard Beach” .. News & Retrospect depicts the recent, random violence of white teenagers against blacks in a section of New tack drew well and the kiln temperature York City. Using a slogan associated with a ose steadily until 6:00 P.M. During the next carefree, dream-like existence, Owens-Hart wo hours of stoking with 3-inch logs, the shows a nightmare behind the fantasy. emperature rose only about 25° to 1814°F. Currently an associate professor of art at rhe ambient temperature had dropped to Howard University in Washington, D.C., >6°F. We continued to stoke with 2-inch wood md watched for Cone 03 to move, but the :iln temperature would not increase; this was )ut down to the dropping off of the breeze. Finally, at 3:30 A.M. a slight easterly breeze )lew in and the draft improved. At 4:45 A.M., he breeze was about 5 knots, and the kiln vas drawing well. By 7:00 A.M. the breeze vas up to about 12 knots and the fire burned iercely as we continued to stoke with small lardwood and pine. An hour later, with Cone just over, we ceased firing and blocked off he firebox and flue. The next morning, we removed the first “Life Is a Beach . . . Howard Beach ” mask ow of bricks and sand seal from the door- Owens-Hart states: “My work reflects a 20th- vay. Then, at 1:30 P.M., two bricks were century treatment of the human form from emoved from the doorway. By 6:00 P.M., the point of view of a survivor of a modern ve could unload the kiln. Some organic mat­ diaspora . . . (it) tells stories that are both er in the mound was still smoldering. personal and nonpersonal, experienced and Initially, I had intended to only fire to an empathized.” Photo: Jarvis Grant. :arthenware temperature and would have )een satisfied at that. However, we decided o go for broke and the kiln actually reached Crafts at the Armory >ver 2100°F. Approximately $560,000 in sales were re­ ported by 72 of the 100 crafts artists partic­ ipating in the second annual “American Craft Winnie Owens-Hart at the Armory” exhibition/sale at the Sev­ )y Monifa Atungaye enth Regiment Armory on Park Avenue in “Dreams, Visions, Nightmares and the Real New York City last May. What makes that World,” an exhibition of ceramic sculpture figure so unusual is that it reflects the sale )y Winnie Owens-Hart at Haas Gallery, of higher priced work usually sold through 31oomsburg University, Pennsylvania, of- galleries and art representatives, rather than ered a bittersweet, African/American view in a fair (albeit a nicely arranged fair) set­ )f this life. Blending elements of traditional ting. In fact, one ceramist reported sales to­ \frican philosophy and clayworking with taling $21,000, with $13,000 of that coming :ontemporary ceramic methods and technol- from the sale of a single work. )gy, Owens-Hart creates works of anguish, Organized by American Craft Enterprises persistence, denial and praise. (A.C.E.), the three-day event is targeted to­ The “Scream . . . You’re Black and in ward serious private and corporate collec­ \merica” series is composed of masks. In tors. “American crafts have grown into a new raditional African society, masks are both level of sophistication,” observed A.C.E. symbolic and actual; tools for the wearer’s president Carol Sedestrom Ross. “There is ransformation and emblems of power. The an inner inspiration influencing today’s craft ‘Scream” masks portray assaults to the phys­ Please Turn to Page 94

Overview of “American Craft at the Armory” 88 CERAMICS MONTHLY September 1988 89 But what is it that calculation does ... The Empirical not tell us? First, what the quality of Continued from Page 57 the surface will be: glassy, glossy, satin, off’ with the likes of Wedgwood, Spode vellum, matt, crystalline or dry. Second, and the many court-based European which raw materials to use in a glaze to centers such as Sevres, Limoges, Meis­ obtain a specific color or color range. sen and Vienna, it was obvious that Third, how colorants or opacifiers or their something more than alchemy was need­ combinations will behave in a given glaze. ed to standardize fine quality wares. And fourth, how the glaze will vary in Hundreds of years of trial-and-error fi­ different kilns and firing conditions. nally gave way to calculation, a scientific It seems to me that the qualities and approach based on the individual weights colors of ceramic surfaces are what we of molecules composing compounds of find most appealing, and therefore a cal­ materials used in a glaze. culation method which, though undeni­ Glaze calculation was eventually de­ably has validity in certain areas, falls veloped in the last quarter of the 19th far short in those very places which are century by the renowned German ce­ our greatest concern. ramic chemist Hermann Seger, as a means What should our concerns be in se­ of developing and comparing glaze for­ lecting materials for glazes? This is de­ mulas for ceramic industry. This in­ pendent on a number of factors: desired dustry is understandably concerned with firing temperature; type of firing (elec­ product regularity and quality control,tric, gas, raku, etc.); surface wanted; colors characteristics which calculation of for­ or color ranges; and finally, materials mulas from mineral analysis can achieve available. quite efficiently. From an industrial Every glaze is composed of three types standpoint, a properly calculated and of material: bases or fluxes; neutrals or formulated glaze is one which is usuallyamphoterics; and acids. In a very sim­ clear, fully melted and attached to the plistic view, the acid is the glassformer, clay body in a fault-free coating. It is usually silica. It is melted at a variety interesting to note that if calculation had of temperatures by the addition of a flux preceded the empirical methods of or mixture of fluxes; and made to sat­ glazemaking, most of the glaze types that isfactorily adhere to the surface of the potters hold in high esteem would have clay object by the neutral, usually alu­ been outside these acceptable parame­ mina or clay. All glazes at all temper­ ters. It is difficult to imagine ceramic atures basically follow this structure. history without ash glazes, or glazes that For convenience in calculation, ma­ flow, crackle, crawl, crystallize or cra­ terials are listed in three columns with ter—by industrial standards all unac­ bases (flux) on the left, the neutrals ceptable. It is also interesting to note (alumina) in the center and the acids that much current European and Jap­ (silica, the glassformer) on the right. It anese industrial pottery incorporates is the ratio between the three material impurities, such as granular iron, rutile,types which determines firing range, but ilmenite or manganese, into the glazes primarily the fluxes which control color to emulate the reduction-fired qualities development. that have been admired by potters and Color and surface in any glaze are connoisseurs for centuries. Some facto­ dependent on three variables: the raw ries work extremely hard at trying to materials that make up the glaze; the industrially reproduce qualities that cantemperature to which the glaze is fired; only come from hand making. and the atmosphere (oxidation or re­ So why should today’s clayworkers useduction) in which it is fired. To this we glaze calculation? First, through its have to also add the selection of color­ mathematical process, it can offer a bas­ ants) and opacifier(s), if used. ic understanding of mineral fusion prin­ For color, the basic raw materials not ciples. Second, it establishes the ratios included in a glaze are often as impor­ of chemical molecules required to de­ tant as those which are, as some mate­ velop a glaze at a given temperature. rials greatly inhibit the development of Third, through the use of limit for­ some colors. Most colorants vary con­ mulas, it establishes the normal extents siderably in their capabilities. of volume in chemical use for a given Books usually tell us about color in temperature range. Fourth, it makes very generalized terms; for instance, that possible easy comparison between for­ iron compounds will give brown or green, mulas. Fifth, it affords understanding of and copper compounds red or green. Iron information in technical ceramic books can certainly give us brown and green, and journals. And sixth, it can be useful but it can also give us yellow, red, gold, in pinpointing what may be causing glaze gray, pink, black, orange or purple. Sim­ problems. ilarly, copper can give green and red, 90 Ceramics Monthly September 1988 91 every bag will be identical, and the same ... The Empirical raw material purchased over an exten­ sive period of time is likely to alter con­ but it can also produce turquoise, pur­siderably. So our science is based on a ple, orange, blue, gray, pink and occa­ changeable generality and not on estab­ sionally yellow. The controlling factors lished fact. are the three variables. Iron and copper How does one go about learning to are the most versatile colorants, but all understand the nature of ceramic ma­ have multiple possibilities. terials and their interaction? The sim­ Because commercial underglaze colors plest way is to test fire on small bisqued and glaze stains are manufactured from tiles every material that you use. Mix premixed and sometimes prefired color­ the material with a little water and brush ants and opacifiers, they too are de­ it onto the tile. To get some idea of how pendent on the three variables for color color may be affected, paint a thin stripe responses. The wrong choice of mate­ of colorant or stain, mixed with water, rials, temperature or atmosphere can on the surface of the raw material. Iron, radically change the colors that they ought copper, cobalt and manganese are com­ to achieve. monly used; but if you prefer brightly In theory then, glaze calculation sounds colored stains, try them too. Depending very convenient, but it leaves a lot to be on what the chosen firing temperature desired as it cannot indicate surface or is, you’ll find that some of the raw ma­ color potential, the tactile and visual terials melt, others sinter but don’t melt, qualities most desired. If, for example, and still others remain completely un­ one was looking for a glaze that would melted. As a generality, one can say that be satin-surfaced and crimson in color, those that melt most have the highest the only way that one could find it would fluxing power. Those that are unmelted, be through a published recipe, or by trial usually silica and the purer clays, need and error, which is what invariably has to be fluxed to make usable mixtures. to be done in the long term anyway. Un­ The second stage of testing is usually less one is a ceramic chemist continually to mix together those materials that melt making and comparing glazes, one tends with those that don’t in a line blend. to seldom use calculation, and conse­ This is simply the blending together of quently one often needs to relearn the one material with another in a con­ process at each use. From my obser­ trolled ratio (usually by weight); e.g., vations, most ceramists learn it and then 90:10, 80:20, 70:30, 60:40, 50:50, 40:60, forget it. There is no doubt that the sys­ 30:70, 20:80, 10:90. Thin color stripes tem works and has some benefits, and is can again be informative. Quite beau­ even more or less understandable, but tiful glazes may be made with just two what do we lose by using it? materials. From a personal view, I don’t feel that The third stage of development in­ glazes developed since the advent of cal­ volves the intermixture of three or more culation are in any way an improvement materials in various ratios in a triaxial upon those achieved by the great ceram- blend. The fourth would be mixtures of ic-producing cultures of the past, where four or more materials in a quadraxial purely empirical methods were used. blend. These methods, with their math­ Unfortunately, we have generally lost ematics and working charts, are dis­ the intuitive sense of our materials which cussed at length in my book The Ce­ was so strong in potters of the past. In­ ramic Spectrum. There are many differ­ tuition derives from an innate under­ ent approaches to empirical glaze de­ standing coming from experience and velopment and understanding, and the observation: it is the direct learning or more one constructively plays with it, knowledge of something without con­ the more familiar the reactions of the scious reasoning. In its place we’ve largely materials become. Within a very short gained a dependence either on published time one can really begin to understand recipes or on questionable scientific the behavior of the materials and be pro­ principles, which neither tell us the whole ducing one’s own personal palette of glaze story nor give us real comprehension to surface and color. base our work on. In the next article in this series, I will Why do I say questionable scientific explain three systems which have pro­ principles? Because the analyses of ce­ duced very interesting glazes—flux var­ ramic minerals supplied by mining com­ iations; triaxial flux variations; and flux panies are averages of the compounds saturations. The format for doing the that form the basic raw materials sup­ testing of these approaches is estab­ plied by their mines, and those certainly lished, but the personal decision making change from one part of a mine to an­ about which materials to use is left to other. Such is the nature of Nature. Not the individual.A 92 Ceramics Monthly September 1988 93 ... News & Retrospect Continued from Page 88

“Wate, ” 21 inches in height, terra cotta with terra sigillata and slip, by Elyse Saperstein, Elkins Park, Pennsylvania artist, resulting in a movement away from purely functional craft to more of an art form. In fact, most of the artists in this show have works featured in museums and galleries across the country. With ‘American Craft at the Armory,’ we make accessible to the col­ lector and would-be collector, the work of some of the best artists influencing America’s craft movement today.” Christine Federighi Mummylike figures wrapped with land­ scape imagery by Miami artist Christine Federighi were featured in a recent exhibi­

65-inch “Figure in the Landscape,” oil-painted terra cotta 94 Ceramics Monthly tion at Joanne Rapp Gallery/The Hand and the Spirit in Scottsdale, Arizona. A depar­ ture from her earlier “Horse House Rider” series in which the horse and house were dominant symbols, this new series explores the figure as “the main vehicle for changing narrative that surrounds and engulfs the form much like a mummy bundle.” Shown from the exhibition is “Figure in the Landscape,” 65 inches in height, handbuilt terra cotta, with carved relief, painted with oils. Real, Fake or Masterpiece? “The Real, the Fake and the Master­ piece,” an exhibition of 37 Asian art objects grouped to show varying degrees of quality and authenticity, was on view at the Asia Society in New York City through August 23. The purpose of the exhibition, which boasted 14 curators, was to identify some of the problems that confront the specialist or collector. Deciding what makes a work of art au­ thentic requires “connoisseurship,” the abil­ ity to recognize and critically evaluate de­ tails, to understand technique used, and to comprehend the principles of style at a par-

1 Ith-century green Oribe stoneware serving tray with handle, approximately 8 inches in length, Mino kilns ticular point in history. That ability is de­ veloped only through repeated comparisons of similar objects within a particular cate­ gory. Authenticating Asian art objects is partic­ ularly complex because of the conservative, repetitive traditions of Asian cultures in which there were revivals (or copies—themselves centuries old) of earlier styles. Compounding

Revival Oribe dish, 9 inches square, by Kato Shuntai, Seto kilns, circa 1860 the difficulty are the intentional fakes, mod­ ern reproductions and the seemingly unique object. Scientific analysis can only go so far in determining authenticity. In the end, the informed eye is the definitive judge.Photos: Otto E. Nelson, courtesy of the Asia Society. September 1988 95 ... Where to Show Continued from Page 10 Troy, Michigan “The 18th Annual Somerset Fine Arts Invitational” (April 20-22, 1989) is juried from 6 slides. Entry fee: $10. Contact Somerset Mall, 2802 W. Big Beaver Rd., Troy 48084; or phone (313) 643-6360. Columbus, Ohio “The Ohio State University’s Second Annual Artisans Festival” (November 29-30) is juried from 5 slides or photographs. Contact the Ohio State University, Ohio-Drake Unions Activities, 218 Ohio Union, 1739 N. High St., Columbus 43210; or phone (614) 292-2324. November 4 entry deadline West Palm Beach, Florida “Holidayfest” (De­ cember 2-4) is juried from 3 slides (including 1 of display). Fee: $75. Contact Eleanor Wollen- weber, Box 310, West Palm Beach 33402; or phone (407) 659-8024. November 15 entry deadline Key Biscayne, Florida “Key Biscayne Arts and Crafts Show” (December 3-4) is juried from 3 slides (including 1 of display). Booth fee: $95. Cash awards. Contact Howard Alan Promotions, 1 N. University Dr. A-313, Plantation, Florida 33324; or phone (305) 472-3755. Orlando, Florida “Sea World Arts and Crafts Festival” (December 10-11) is juried from 3 slides (including 1 of display). Booth fee: $145 for a 10x10-foot space. Contact Howard Alan Pro­ motions, 1 N. University Dr. A-313, Plantation, Florida 33324; or phone (305) 472-3755. December 15 entry deadline Lauderhill, Florida “Ninth Annual Inverrary Arts and Crafts Festival” (January 14-15, 1989) is jur­ ied from 3 slides (including 1 of display). Booth fee: $95. Cash awards. Contact Howard Alan Pro­ motions, 1 N. University Dr. A-313, Plantation, Florida 33324; or phone (305) 472-3755.

96 CERAMICS MONTHLY