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detail. ~;leY pottery Eq.ui£roent' we Atu°' . _^obiec tN~' havehad o~rt o~ Stab . _.4 ,_ ~ectt~-" .~ redeSlgnuu pe[, ,' We ha'~ ~es to ~aki,8 " _ coundesstU" . _ _ ~ch~neb .... dro~natIn9 OLu ~"~ .,.~ roost OIsu -^wth O~ cater to tuu ~s "The outglu I)otter, s neeu.~ .he U~t~roate in out reseat C~s:C,;;t\/. slabbing ~ .... .~ntorro at~°n w[ ~te

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Volume 27, Number 3 March 1979

Letters to the Editor ...... 7 Where to Show ...... 9 ) Suggestions ...... 13 Itinerary ...... 17 Answers to Questions ...... 21 Comment by Larry Adlerstein ...... 23 A Potter's Notes on Thermal Expansion by Peter Sohngen ...... 28 Dzintars Mezulis ...... 34 Marietta Crafts National ...... 35 Carlo Zauli, Italian Sculptor ...... 40 Peter Callas, Ana-gama Potter ...... 42 Combining Glass and Clay by Suprecha Nakarat ...... 46 dust-mist respirator #r209on Michael and Sheila Casson by Thomas Sharer ...... 49 This respirator combines Jlcjhfweigh¢ wearing comfort wlth de- pendable protection in atmospheres containing hazardous dusts Close Packing and Cracking ...... 58 and mists. If is certified by the na÷ional instlfufe for occupa- Don Reitz Exhibition ...... 60 tlonal safety and health, and the mining enforcement and safety administration. Fired Up ...... 62 News & Retrospect ~r209on complete with S replacement ...... 75 filters $12.50,each. New Books ...... 103 Ceramic Crosswords by Ric Swenson ...... 105 Index to Advertisers ...... 106

On Our Cover Crackle glaze over stoneware body with dark slip, shown five times actual size, on contemporary Japanese Mashiko ware. The pattern of glassy fractures results from chemically controlled shrinkage differences between clay and glaze. Whether expressed in decorative effects such as this, or as a glaze fauh, the causes and adjustments of thermal expan- sion rates are important to the potter or ceramic sculptor; these are discussed by Peter Sohngen, beginning on page 28. Photo: William Hunt.

Publisher and Acting Editor: SPENCER L. DAVlS Managing Editor: WILLIAM C. HUNT wide vision goggle ~488 Art Director: ROBERT L. CREAOER this goggle is designed to protect your eyes from Che danger- Copy Editor: BARBARA HARMER TIPTON ous invisible ultraviolet and infrared rays that are hazardous ÷o eyes during kiln firing. Circulation Manager: MARY RUSHLEY Advertising Manager: CoNxm BELCI-IER #488 with filter plate $9.25 each

Editorial, Advertising, and Circulation O[[ices: 1609 Northwest = U.S. mail orders include $1.00 postage. Blvd., P.O. Box 12448, Columbus, Ohio 43212. (614) 488-8236 = non-US, orders please use international bank draft West Coast Advertising Representative: Joseph Mervish Asso- drawn in U.S. funds. ciates, 4721 Laurel Canyon, Suite 211, North Hollywood, • free catalog on request. California 91607. (213) 877-7556 Copyright (~) 1979 Pro/essional Publications, Inc. All rights reserved. eagle ceramics main office and warehouse CERAMICS MONTHLY is pubbshed monthly except July and August by Professional Publications, 12266 wilkins avenue Inc. -- S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 Northwest Blvd., Columbus, Ohio 43212. Correspo1~dence concerning subscriptions, renewals, and change of address should be mailed to rockville, maryland 20852 the Circulation Department, CCRA~tICS .MONTHI.Y, Box 12448, Columbus, Ohio 43212. Second Class postage paid at Athens, Ohio, t-.s.A. Subscriptions: One year $12; Two years $22; Three (301) 881-2253 years $30. Add $2.00 per year ou:side VS.A. other branch locations ft.-2 box 287 The articles in each issue of CERAMICS MONaHLV are indexed in the Art Index. Microfische, 16ram and 35ram microfilm copies, and xerographic reprints are available to subscribers from 1300 west 9th street 8 colonial avenue wendell, University Microfilms, 300 N. Zeeb Rd, Ann Arbor, Michigan 48106. cleveland, ohio wilmington, north carolina Manuscripts, photographs, graphic illustrations, and ne~s releases dealing ~ith ceramic art 44113 Oelaware 19805 27591 are welcome and will be considered for publication. A booklet is available without cost to potential authors, describing procedures for the preparation and submission of a manuscript. (216) 241-4767 (302) 654-2344 (919) 266-1348 Send manuscripts and correspondence about them to the Editor, CERaMiCS MOXTHL',', Box 12448, Columbus, Ohio 43212. March 1979 5 Extensions of your hands. IGEMPERPrecision, balanced TOOLS extensions that enable you to reach into the fiery kiln that culminates your artistic efforts. Kemper Raku Tongs grasp your work with nothing more than a caress to the fragile clay surface, yet hold firm for control. Built to last they are available in three sizes and grips at your nearest Kemper dealer or distributor. Quality Raku Tongs from QUALITY Kemper, your ! .t work deserves RAKU Inc., 13595 12th Street, TONGS Chino, California 91710.

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UNCERTAIN MEDIOCRITY idea. By combining several pieces the to demand an apology or even to have her CERAMICS MONTHLY does not appear to essence of each has been changed. name mentioned. ]ulie McDonald have the ability to assist individuals creat- All potters borrow from other potters; Taft, Calif. ing serious work. The art displayed is we generate new ideas from viewing and typical of our society: we have no fix on watching others. What we now do is a reality and seem always to be wallowing in synthesis of all that has gone before; we Plagiarism--the act of stealing or pass- abstract and uncertain mediocrity. are manipulators. We use the materials ing off other's work as one's own--is the George B. Wright given to express our individuality and our question brought to mind about Howard Salem, Ore. interpretation of the medium. Kottler's "The Old Bag Next Door is William Wickwire Nuts." As Ruth Poris stated, the selection CRITIOUE OF COLLEGE SHOWS Taft, Calif. entered by Howard Kottler was made from I'm a full-time professional potter and different molds. If the anonymous designer would rather see usable information than I don't think Ruth Poris had any right Continued on Page 93 college shows of low-fire sticks with tongues. Ken Scott Forest Grove, Ore.

Lately there seems to be an abundance of bright young potters producing funky works which leave me cold--let's see some more on grass-roots potters, or the beauti- ful folk pottery of America and other lands. Jan Eckardt Butler Tulsa, Okla. Kiln Co.

CLASSROOM COMMENTS In the pottery classes that I instruct at Taft College, I utilize CERAMICS MONTHLY as a supplement to other course materials. The information and photo es- says not only add contemporary ideas and methods but also provide controversial topics of interest to all levels of ceramists-- one of which is the controversy between Ruth Poris and Howard Kottler. This being a debated issue for many years (plagiarism in the field of art) it has given rise to discussions in my class, as it probably has in other pottery settings. To further this debate, I used the letters written by your readers to make up a ! / "handout" for my class as the basis for an extra credit report. I am enclosing excerpts with this letter. The students encompass many areas and age groups and are mostly beginning pot- ters. I hope they will add to this contro- versy. Jack Mettier Taft, Calif.

Howard Kottler would have felt more joy if he had experienced some struggle in designing the house himself. Fran Foster Taft, Calif.

What should be considered about the artist is not the means but the conception. However, the responsibility which caused such misunderstanding rests on the artist; that is, he was not careful enough to con- Flame-Up vey his real intention--the conception. !! Surely that doesn't mean he is a culprit, or has plagiarized. Plagiarism requires in- for 1979 tent, and such plagiarism should never be permitted. Yasuko Shloi Taft, Calif. with our C-13.3gas kiln DEALERS NOW BEING ACCEPTED Phone (916) 927-182~ I believe that Howard Kottler's work, "The Old Bag Next Door is Nuts," is not The Contemporary Kiln Co. just a collection of parts but a whole new P.O. Box 13585, Sacramento, Ca. 95813

AIarch 1979 7 Giffin Grip'M:you can trim more pots with it.

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8 CE~A~NCS Mox'r H1.'~ WHERE TO SHOW Send ),our show announcements at least within a 150-mile radius of Louisville. Fee: $10 for 3 entries. Entry deadline: [our months be[ore the event's entry dead- Jurors: Jacqueline Rice and Ken Fer- April 15. Write: Greater Columbus Arts line to The Editor, CERAMICS MONTHLY, guson. Fee: $5. Deliveries accepted March Council, 630 South Third Street, Colum- Box 12448, Columbus, Ohio 43212; or 16-18. For prospectus write: Art Center bus 43206, or call: (614) 224-2606. phone (614) 488-8236. Association, 3 Riverfront Plaza, Louisville September 15-November 3 "Beaux Arts 40202, or call: (502) 583-6300. Designer/Craftsmen 1979" is open to craftsmen 18 years or older working or EXHIBITIONS .~flCHIGAN, DETROIT residing in Illinois, Indiana, Kentucky, ARKANSAS, LITTLE ROCK May 6-26 "Michigan Ceramics '79" is Ohio, Pennsylvania, Minnesota, Michigan, May 4-June 3 "12th Annual Prints, open to potters residing in Michigan and Missouri, West Virginia and Wisconsin. Drawings and Crafts Exhibition" is open all Michigan Potters' Association members. Juried by slides. Entry fee: $8 for 1-3 to artists born or residing in Arkansas, Juror: Wayne Higby. Fee: $8 for 3 pieces, entries. Awards. Entry deadline: May 18. Lotfislana, Mississippi, Missouri, Tennes- $3 for M.P.A. members. $I,000 in cash For a prospectus write: Doris Curtis, see, Oklahoma and Texas. Juror: Lloyd awards. Entry deadline: April 1 I. Write: Beaux Arts Designer/Craftsmen 1979, Co- Herman of the Smithsonian Institution. Michigan Ceramics '79, Pewabic Pottery, lumbus Museum of Art, 480 East Broad Fee : $5. Purchase awards. Entry deadline: 10125 E. Jefferson, Detroit 48214. Street, Columbus 43215, or call: (614) April 13. For additional information write: 221-6801. Townsend Wolfe, Director, The Arkansas MISSOURI, ST. Louis Arts Center, MacArthur Park, Box 2137, August 5-30 "Muhi-Media Exhibition" OHIO, MARIETTA Little Rock 72203. is open to all residents of Missouri, and to October 27-November 25 "Marietta Col- Illinois residents living within 170 miles of lege Crafts National '79." Juried by slides; COLORADO~ ~kRVADA St. Louis. Juried. Entry fee: $I0 for 1-3 maximum 3 works. Fee: $10. Commission: June 8-July 7 "Colorado Artist Crafts- entries. Cash awards. Entry deadline: July 25%. $5,00.0 in awards. Entry deadline: men 20th Anniversary Exhibition" is 13-14. Write: Miniatures, Craft Alliance, September 8. For a prospectus write: open to Colorado craftsmen. Juried. Entry 6640 Delmar Boulevard, St. Louis 63130, MCCN '79, Arthur Howard Winer, Mari- fee: $5 for Colorado Artist Craftsmen or call: (314) 725-1151. etta College, Marietta 45750, or call: members, $10 for nonmembers. Commis- (614) 373-4643, ext. 275. sion: 30c,¢. Cash awards. Entries will be NEW JERSEY, LAYTON received June 1-2 at the Arvada Center August 25-September 23 "Raku V" is RHODE ISLAND, KINGSTON for the Arts and Humanities. For a pros- open to ceramists. Juried by slides and May 11-25 "Rhode Island Earthworks pectus write: CAC, 20th Anniversary, Box review of actual work. Entry fee: $4 per Exhibition" is open to RhOde Island resi- 4382, Denver 80204. entry. Maximum of 3 entries, with 1-2 dents and students working in clay. Juried. slides each. Entry deadline: April 20. For Entry deadline: April 29. Write: Jan Bass, COLORADO, GRAND JUNCTION additional information write: Susanne Tu- South County Art Association, 1319 Kings- July 5-August 5 "Art Objects '79" is rino, The Gallery, Peters Valley, Layton town Road, Kingston 02881. open to all designer-craftsmen. Fee: $5 per 07851, or call: (201) 948-5200. object, limit of 3. Commission: 25%. Cash TEXAS, INGRAM and purchase awards. Entry deadline: NEW YORK, WHITE PLAINS April 22-May 5 "April Art Exhibit" is March 30, work due: June 20. Write: April 28-May 13 "Mamaroneck Artists open to ceramic sculptors who are members Western Colorado Center for the Arts, Guild 26th Open Juried Exhibition" is of the Hill County Arts Foundation; en- 1803 North 7 Street, Grand Junction open to all. Juried. Fees: $10 for 1 entry, trants may join at time of entry. Juried by 81501, or call: (303) 243-7337. $14 for 2 entries. Commission: 30%. Cash 1-3 works. Entry fee: $5 per entry. Com- awards. Entry deadline : April 19-20. Work mission: 30%. Cash and purchase awards. KANSAS, LA'CV'RENCE must be hand delivered. Write: Mama- Entries will be received April 19-20 and April 29-May 8 "The Third National roneck Artists Guild, 150 Larchmont Ave- must be accompanied by a self-addressed, Cone Box Show" is open to all artists and nue, Larchmont, New York 10538, or call: stamped envelope. craftsmen. Entries must be at least half (914) 834-1117. May 20-June 2 "May Crafts Exhibit" is ceramic, and fit into an Orion standard open to potters who are members of the large cone box (3x3x6 inches). Jurors: NORTH DAKOTA, VALLEY CITY Hill County Arts Foundation; entrants may William Braeker, John Ground, James April 3-20 "1 lth Biennial National Art join at time of entry. Juried by 1-3 works. Nabors and Glenn Rand. Entry fee: $5 for Exhibition" is open to all. $1,500 in Fee: $7. Commission: 30%. Cash awards. one entry. Purchase and merit awards over awards. Fee: $5. Entry deadline: March Entries will be received May 10-11 and $2,000. Work must be for sale and valued 18. Write: Mrs. Riley Rogers, 2nd Cross- must be accompanied by a self-addressed, at less than $100. Entry deadline: April ing Gallery, Box 1319, Valley City State stamped envelope. For additional informa- 10. Write: William Bracket, Third Na- College, Valley City 58072; or Mrs. Leon tion on both shows write: HCAF, Box 176, tional Cone Box Show, Visual Arts Build- Bellmore, 853 Chautauqua Blvd., Valley Ingrain 78025, or call: (512) 367-5121. ing, The University of Kansas, Lawrence City 58072. 66045. FAIRS, FESTIVALS AND SALES OHIO, CINCINNATI KANSAS~ TOPEKA March 24-April 21 "Annual Juried CALIFORNIA, BEVERLY HILLS April 1-29 "The Topeka Crafts Exhibi- Craft Show" is open to craftsmen within a April 7-8 "Affaire in the Gardens" is tion III" is open to craftsmen residing in 50-mile radius of Cincinnati. Fee: $8 for open to all. Juried. Fee: $50. Entry dead- Kansas and the St. Joseph and Kansas members of the Craft Guild of Greater line: March 7. Write: Michele Merrill, City areas of Missouri. Juried. Entry fee: Cincinnati, $I0 for nonmembers. Cash Beverly Hills Recreation Department, 450 $8. Cash awards. Entry deadline: March awards. Entry deadline: March 15. For North Crescent, Beverly Hills 90210. 18. For entry forms write: Larry D. application write: Arts Consortium, 1515 Peters, Gallery Director, Topeka Public Linn Street, Cincinnati 45214; or Craft CALIFORNIA~ SAN FRANCISCO Library Gallery of Fine Arts, 1515 W. Guild Office, 6018 Ridge Avenue, Cincin- August 3-5 "Third Annual Pacific States 10th, Topeka 66604. nati 45213, or call: (513) 351-3463. Craft Fair" is open to craftsmen living in Alaska, Arizona, California, Colorado, Ha- KENTUCKY, LOUISVILLE OHIO, COLUMBUS waii, Idaho, Montana, Nevada, New Mex- May 14-June 30 "Liberty 125: Clay" June 1-24 "ArtsAffair '79 Fine Arts ico, Oregon, Utah, Washington, Wyoming. is open to ceramists living in Kentucky or Exhibition" is open to Ohio artists. Juried. Continued on Page 11

March 1979 9 ...... -

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I0 (;FRAMICS X~ONTHLY WHERE TO SHOW ILLINOIS, HINSI)ALE July 28 "Traverse Bay Outdoor Art June 23-24 "Hinsdale Fine Arts Festi- Fair" is open to all. Juried by slides. Fee: Continued [rom Page 9 val" is open to artists and craftsmen. Entry $15. Application deadline: Slay I. Write: Juried by 5 color slides. Screening fee: $5. fee: $15. No commission. Cash awards. Sandy Beyer, 6839 Deepwater Point, Wil- Entry deadline: March 24. For application Entry deadline: April 1. For additional liamsburg, Michigan 49690. For additional write: American Craft Enterprises, Inc., information write: Hinsdale Chamber of information contact: Terry Tarnow, 3545 Box 1106, Saratoga, California 95070, or C-minerce, 9 West First Street, Hinsdale Orchard View, Traverse City 49684. call: (4081) 866-6430. 60321, or call: (312) 323-3932. MINNESOTA, ST. PAUL CALIFORNIA, SIERRA ~IAI)RE ILLINOIS, ~lW. VERNON June 23-24 "7th Annual Minnesota May 19-20 "17th Annual Sierra Madre Septenlber 8-9 "Third Annual Cedar- Crafts Festival" is open to craftsmen. Art Fair" is open to artists and craftsmen. hurst Craft Fair." Open to all media. Juried by 4 slides. Entry deadline: May 5. Juried by 3-5 color photos or slides. Entry Juried by 3-5 slides. Booth fee: $25. Entry For prospectus write: Irene Crowder, 811 fee: $10. Commission: 15cA. Entry dead- deadline: June 30. For application write: Holly Avenue, St. Paul 55104. line: Slay 5. For additional information Mrs. Pat Lipps, Cedarhurst Craft Fair, Box write: The Friends of the Sierra Madre 923, Mt. Vernon 62864. S.IISSISSIPPI, S'I ERn)IAN Library, Art Fair Exhibits Committee, Box April 7 "Art in the Park" is open to 334, Sierra Madre 91024. INDIANA, CHESTERTON craftsmen. Fee: $25. No commission. August 4-5 "Chesterton Art and Craft $l,700 in cash and purchase awards. En- COLORADO, DENVER Fair" is open to all media. Juried by slides. try deadline: March 24. For additional August 9-12 "3rd AImual Rocky Moun- Entry fee: $2. Entry deadline: SIay 26. For information write: Randy Shoults, Meri- tain Craft Fair" is open to craftsmen. application write: Mary and John Smith, dian Junior College, 5500 Highway 19 Juried by 5 color slides. Fees: $125 for AACPC, Box 783, Chesterton 46304. North, Meridian 39301, or call: (601) booth, $3 for application. No commission. 483-8241. Entry deadline: April 10. For application I NI)IANA~ EVANSVILLE form write: National Crafts Ltd., Gap- May 12-13 "Crafts Fair at Riverfront" MISSISSIPPI, TUPELO land, Maryland 21736. is open to all. Juried by slides or photos. May 12-13 "Gum Tree Festival" is open Fee: $20. Cash and purchase awards. to craftsmen. Juried by 3 slides. Applica- CONNEC FICUT, DANBURY Entry deadline: March 30 or until 60 tion fee: $5, space: $20. No commission. July 13-15 "The Fifth Annual Great entries are accepted. Write: Evansville Arts Cash and purchase awards. Entry forms Danbury State Arts & Crafts Fair" is open and Education Council, 16~/~ Southeast due: April 1. For additional information to artists and craftsmen. Juried by 5 slides. Second Street, Evansville 47708, or call: write: Bill Ford, Co-chairman, Gum Tree Fees: $35-$80, depending on space. Cash (812) 422-2111. Festival, Incorporated; Box 1146, Tupelo awards. Entry deadline: June 15. Slides to 38801 or call: (601) 842-1052. be accompanied by self-addressed, stamped INDIANA, FT. WAYNE envelope. For additional information write: July 7-8 "Three Rivers Festival Art and NEBRASKA, OMAHA Jack Stetson, Show Director, Danbury Craft Show" is open to all. Juried by slides June 2-3 "Countryside Village Art Fair, Inc., 130 White Street, Danbury or photos. Entry fee: $15. Entry deadline: Fair" is open to ceramists. Juried by slides 06810, or call: (203) 748-3535. June 3. For additional information write: or photograph~. Fee: $30. Entry deadline: Betty Newton, 1707 Kensington Blvd., Fort March 15. For additional information write: Jim Chase, 8715 Countryside Plaza, FI.ORn)A, Wayne 46805, or call: (219) 422-6949. COCOA Omaha 68114, or call: (402) 391-2200. April 7-8 "Cocoa Village Spring Arts INDIANA, HIGHLANI) and Crafts Fair" is open to all. Fee: $25. NEW JERSEV, XIORRISTOX'.'N No commission. Cash and purchase awards. May 19-20 "Wicker Park Art Fair" is open to ceramists. Juried by 3 slides. Fee: October 5-7 "1979 Morristown Craft- Entry deadline: March 20. For additional S.[arket" is open to professional craftsmen. information write: Central Brevard Art $20. Entry deadline: April 1. For addi- Juried by 5 slides. Ceramics juror: Michael Association, Box 1274, Cocoa 32922, or tional information write: Sue Cooley, 5448 Cohen. Fee: $5. Entry deadline: April 20. call: (305) 453-3141. Hob.man, Hammond, Indiana 46320, or call: (219) 931-0018. For additional information write: Michael F. Feno, Morristown CraftMarket, Box FLORIDA, JACKSONVILLE INDIANA, INDIANAPOLIS 2305-R, Morristown 07960. "1979 Riverside Art Festi- April 28-29 June 9-10 "Twenty-Fourth Annual Tal- val is open to all media. Juried by 3 slides. bot Street Art Fair" is open to all. Fee: NEW YORK, BAh" SHORE Fees: $5 screening, $20 registration. No Indiana Artists-Craftsmen members $12, June 30-July 1 (Rain date: July 7-8) commission. Cash awards. Entry deadline: non-members $24. Entry blanks may be "Bay Shore Annual Outdoor Art and Craft April 2. For additional information write: obtained after March 4 by writing: Joan Festival" is open to artists and craftsmen Riverside Avondale Preservation, 2624 Kisner, 630 North Washington Street, 18 years or older. Fee: $25 for 25-foot Riverside Avenue, Jacksonville 32204. Danville, Indiana 45122. space. No commission. Cash awards. Entry deadline: June 15. For additional informa- GEORGIA, THOMSON MARYLAND, GAITHERSBURG tion write: Creative Artistic Marketing, April 21-22 "Thomson Festival of Arts October 17-2l "4th Annual National Box 263, Bay Shore 11706, or call: (516) and Crafts" is open to craftsmen. Fee: $15 Craft Fair" is open to craftsmen. Juried by 666-0025. per booth. No commission. Cash and pur- 5 color slides. Fee: $75-$125 for booth, $3 chase awards. Entry forms due: March 15. for application. No commission. Entry NEW YORK, CANANDAIGUA For additional information write: Karen deadline: July 10. For application form ~iIay 12-13 "Spring Meet," the Finger Dozier, Thomson Junior Woman's Club, write: National Crafts Ltd., Gapland, Lakes Craftsmen arts and crafts show, is Box 666, Thomson 30824, or call: (404) Maryland 21736. open to all. Fee: $35. No commission. 541-1472. Entry deadline: Until show is full. Write: MICHIGAN, TRAVERSE CITY Ronald L. Johnson, 25 Seneca Street, ILLINOIS, CHICAGO June 9 "Traverse City Art Fair." Juried Shortsville, New York 14548. June 2-3 "32nd Annual 57th Street Art by 3-5 slides. Fee: $15. No commission. Fair" is open to craftsmen. Juried. Entry Entry deadline: April 15. For additional NEW YORK, HAMILTON deadline: March 19. For further informa- information write: Jim Walter, Downtown July 14-15 "Village Artists and Crafts- tion write: Sue Goldhammer, 5555 South Traverse City Art Fair, Box 42, Traverse men's Fifth Annual Art and Craft Fair." Everett, Chicago 60637. City 49684, or call: (616) 946-5410. Continued on Page 71

March 1979 11 Remember your first pair of skis ? Barrel staves were fun. They were cheap. And they got you started. But now that you're no longer a beginner, you need better equipment. Fishing poles, electric drills, typewriters, potters' wheels; almost every tool used is like that.

It is difficult to know all your needs when you buy equipment for the first time. But after you have developed your skills, you become aware of many things over- looked. If your first electric wheel lacks power, is noisy, insensi- tive in changing speeds, constantly breaks down, or in any other way keeps you from progressing, you need a better wheel/ While you've been devel- oping skills, SOLDNER POTTERY EQUIPMENT has been steadily inventing better wheels for your pro- fessional needs. During our experience of over twenty years, we have built thou- sands of wheels and a pro- fessional potter has been responsible for our design quality. Now that you are ready, our equipment is ready for £= you/

pottery equipment, inc. P.O. Box 428 Silt, Colorado 81652 (303) 876-2935

12 CERAMICS ]~'[ONTHLY SUGGESTIONS [ro??l olAr readers SCENTED WAX with just a few minor adjustments. First, detach the bar which Add a small, scented votive candle to your hot wax (for wax connects the motor to the barrel--this will stop the washing resist decoration ) --it makes your whole studio smell good! machine from working, while allowing the wringer to run freely. --Julia Rush, Hickory, N.C. Add a piece of wood between the rollers in the wringer to adjust clay thickness. --Tim Metha, Montebello, Calf/. DECORATIVE SUPPORT Dried, pencil-like coils of clay may be inserted down the middle POOLING RESOURCES of a handbuilt or thrown clay wall for a raised decorative effect, Would you love to throw pots in a particular room or area and to add structural support. The wet body will shrink tightly but can't because you're afraid of messing up the floor or carpet? around the forms, but accepts their presence without cracking. A children's molded 4-foot-diameter plastic swimming pool solves .... Walter ]ones, Chicago the dilemma. Just place the potter's wheel inside and make sure that the legs don't pierce the plastic. (I put a board under mine PAINT ROLLERS as the feet are sharp metal.) All the drips go into the pool A paint roller makes a useful tool for slip or glaze application. along with slurry and clay from your hands. No rubber duckies Use the shaggy kind designed for concrete block painting to hold allowed. --Kal Evenson, Kent, Wash. relatively thick glaze--the surface will be smooth and even. Use standard rollers for slip where less coverage is needed. Paint RECORD REMOVAL rollers come in many sizes which offer a variety of decorative I use an old long-play record to help get wide, low pieces off possibilities. --R. Clayton Baker, Canal Winchester, Ohio the wheel; it's easy to slip under freshly cut ware. --Margaret Cooper, Wellington Point, Queensland, Australia STAMP MOUNTING AND STORAGE Small rubber stamps from a child's printing set are available in EXTRA CALIPERS many toy stores; even the smallest size imprints legibly on clay. When in a pinch for another pair of calipers, a geometric To keep from losing the letters, glue them to the ends of small compass loaded with an extra sharp pencil works just as well sections of dowel. They can be stored in alphabetical order by and seems to hold the correct size more securely. drilling appropriate-sized holes half-way into a scrap of 2x4- --Sara Reese, Abington, Va. lumber. --Shirley Myers, Dallas DOLLARS FOR YOUR IDEAS INEXPENSIVE SLAB ROLLER CERAMICS .~IONTHLY pays up to 85 /or suggestions used. Send An old-fashioned washing machine with wringers can he pur- ).our ideas to CM, Box 12448, Columbus, Ohio 43212. Sorry, but chased cheaply at swap meets and converted into a slab roller, a'e can't acknowledge or return unused items.

(()ur New (hit-()12.%lalC Toll-Free I)h()nc) For your convenience we have installed a new toll-free phone number. Now you can call us for a terrific, freight-free discount price on the following: Crusader electric kilns, with or without optional Kilntronics; Wrap gas kilns; Shimpo-West g' Bantam, RK-2 Basic & Super RK-2 wheels; Brent models A, B, C & CXC wheels; Crusader 101 & 102 wheels; Ohaus scales and books. ,May of these items ~Sll be shipped an~vhere xxqthin the Continental USA free of any freight charge. The free phone is there if you want a price, have a question or have a problem x~-ith delivery. We want to help you if andwhen you need it. Wejust don't vanish after your purchase and leave you lost if something goes wrong. We will help you. So, if you live xxqthin the continental USA and are interested in any of these products, give us a call first. It won't cost you anUthing, and it's hard to beat our discount prices, Free Freight and great sen'ice! Same day sen'ice on most orders. T-Sh,rt Please send the followhlg: $500 p,as Hours: 1() a.m.--5 p.m. M-F $1 50 hand=,~g & h#pn s, ,g 10 a.m.--4 p.m. Sat. [] Free Freight literature-- 8.50. S M.L, XL Throw,rig A~rO~ [] New cat~flt)g--81.50. $600 Dus $1 50 nandhng KICKWHEEL & SPl13 ,rig [] Throwing apron. DuCK ~aevas Tote Bag [] T-Shirt S, M, L, XL. $ 5 O0 p'us $1 50 ~aP~ll~g P011ERY SUPPLY® ( Orders outside COUlinertial ['SA: L~&°;;Lss , ~{}.50 shippiug and handliu~) 802 Miami Circle, NE Xame Atlanta, Georgia 30324 Address 404/231-2150 ) ) TheWorld Is GoingTo Pot. ® (l lease l rint)

March 1979 13 ALABAMA FLORIDA CERAMIC SUPPLY CORPORATION POLLY'S PLAY HOUSE CERAMIC STUDIO ROBINSON CERAMICS Route 2, Highway 248 Easl. CsssviUe DONNA'S CERAMIC CRAFTS 1698 Donna Road. West Palm Beach 9806 Taylorsville Road, Louisville ,INC. SANDY'S CERAMICS THOMAS CERAMICSUPPLIES Highway 431. Glencoe Shopping Center FRANCOISE CERAMICS, Green Highway 87 South. California Glencoe 113 49th Street South. St. Petersburg Route 15. Lovers Lane, Bowling SUPPLIES STUDIO HAZELHURST CERAMICS MIAMI ART-CRAFTS TOM'S CERAMIC MONTANA 6701 Northeast Second Court, Miami 15 West 341h Street. Covington P,O Box 124, Hazel Green COUNTRY COTTAGE CERAMICS JEWEL BOX CERAMICS POLY CRAFTS WEST KENTUCKY CERAMICS AND CENTER 2155 Hi Way 2 East, Kalispell 600 Merwina Avenue, Mobile 1839 61st Street, Sarasota CRAFTS 1101 Jefferson Street. Paducah JOANNA'S CERAM IC SUPPLY THE PIXIE POTTERY GEORGIA 807 Second Street South. Great Fells 2720 . 5th Avenue South. Irondale ALLISON CERAMIC SUPPLIES LOUISIANA MONTANA CERAMIC SUPPLY Industrial Park. Birmingham 931 McBride Drive, Columbus BOEHM CERAMIC SUPPLY 2016 Alderson Avenue. Billings PIXIE POTTERY OF MONTGOMERY CSRA CERAMICS 916 Post Oak Road, Sulphur NEBRASKA 1751 Upper Wetumpka Road. Montgomery 510 Green Street, Augusta DELES CERAMICS. INC. GALAXY CERAMICS. INC 8032 Townsend Place, New Orleans BERNICE'S CERAMICS ALASKA Lincoln 26 Eisenhower Drive. S~vannah SHREVEPORT CERAMIC SUPPLY 8805 Highway 6 Northeast. ALASKA MUD PUDDLE GRANADA CERAMICS 9034 Hartzell Road. Anchorage GEORGIA CERAMIC SUPPLY. INC. 444 Olive Street, Shreveport 528 South Central Avenue. Hapeville WILMAR'S CERAMIC SUPPLY 505 Norfolk Avenue. Norfolk ARIZONA HOUSE OF HOBBIES & GIFTS 1121 Bolton Avenue, Alexandria PAINTIN PLACE CERAMICS MARJON CERAMICS. INC. UNLIMITED, INC. WILMAR'S CERAMIC SUPPLY 6700 South 78th.Ralston 3434 West Earll Drive, Phoenix 4035 San Carlo Drive. 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Sacramento ILLINOIS 143N~ Balbmor~ Blvd Route 1. Laurel BJ. CERAMICS DOTTIE'S ART CORNER, INC. NEW JERSEY 2169 Broadway. Eureka CECAS ENTERPRISES, INC. 508 South Main Street, Mount Airy 29W555 Batavia Road, Warrenville BROWN'S CERAMIC SUPPLIES BACK DOOR CERAMICS NAOMI'S CERAMIC SUPPLY, INC. 819 North Second Street, Millville AN CERAMIC SUPPLY 1047 El Kelton Boulevard. Spring Valley CHICAGO METROPOLIT, 501 Granary Road, Bel Air DOLLY'S CERAMICART STUDIO 5332 North Elston, Chicmgo BAY-SHORE CERAMIC SUPPLY, INC. MASSACHUSETTS 30 Montgomery Street. Clifton 590 Aide Avenue, Santa Clara CLARK CERAMIC SUPPLY COMPANY MIDA'S CERAMIC SHOPPE BETTY'S CERAMICS 2505 South Grand Avenue East. Springfield DIAMOND CERAMICS, INC. 343 Broadway, Long Branch 9, Westboro 13333 South Paramount Boulevard HOBBY HOUSE CERAMICS 255 Worcester Road, Route WEIDLICH CERAMICS. INC. South Gate 1911 158 Street, East Moline GLORIA'S CERAMICS 2230 West Campiain Road,Somerville CERAMIC SUPPLY OF SAN DIEGO JOLIET CERAMIC ARTS & CRAFTS INC. 125 Montclair Avenue, Quincy NEW MEXICO 4100 Poplar Street, San Diego 64 North Desplaines Street, Joliet TERRYS CERAMICS S.L. CLUTTER MID-ILL CERAMIC SUPPLY 833 Chlcoi)ee Street. Chicopee ANHOWE CERAMIC SUPPLY INC. 13112 Inglewood Avenue. Hawthorne Spring Bay Road, R.R. 1, East Peoria WOBURN CERAMIC SUPPLY 3825 Commercial Northeast. Albuquerque CREST CERAMICS TOWN & COUNTRY CERAMIC 23 Conn Street, Wobum NEW YORK 1808 North Chester Avenue. Bakersfield SUPPLY COMPANY MICHIGAN CEL-ART CERAMICS, INC. DAHM CERAMICS 1 North US Route 83 & Center Street GIL'S CERAMICS, INC. 6750 Fifth Avenue. Brooklyn 924 El Camino Real, South San Frsncis¢o Grayslake 832 West Washington, Marquette CENTRAL NEW YORK CERAMICSUPPLY DUNCAN HOBBY & CRAFT CENTER INDIANA JOY REID CERAMICSTUDIO 213-215 Second Street, Liverpool 5649 East Shields, Fresno INC. CLIFTON CERAMIC ART & CRAFT 2016 North Telegraph Road, Dearborn TH E CERAMICTOUCH. GAY'S CERAMICS 345 New Karner Road, Albany Country Road 124. Tulelake 1750 Willow Street, Vincennes TARI TAN CERAMIC SUPPLY, INC. 817 Cherry Street SE, Grand Rapids DOLLMAN CERAMIC SUPPLIES. INC. MAR-LE CERAMIC EDITH'S CERAMICS INC. 6511 Julian Avenue, Indianapolis 663 Walden Avenue, Buffalo 8806 Yolonda Avenue, Northrldge MINNESOTA SUPPLY INDIANA CERAMIC SUPPLY GLAD-WELL CERAMIC STUDIO & NORTH-SHORE CERAMIC SUPPLY CERAMICS BY DEE Scarsdale 1815 South Harrison Street, Fort Wayne 868 Scarsdale Avenue, 1055 Sonoma Boulevard, Vallejo 895 Front Avenue. St. Paul STU DIe NEELY'S CERAMIC STUDIO JACKIE'S CERAMIC PASO ROBLES CERAMIC SHOP D & H CERAMICS 123 Lake Street, Rouses Point 3 mdes North of Paso Robles on Old 101 10106 McKinley (U.S. 20), Osceola 6309 Grand Avenue. Duluth NORTHERN INDIANA CERAMIC SUPPLY, INC. JEAN LEONARDCERAMICS Paso Robles PARAMOUNT CERAMIC. INC. Corona 208 East Main Street, Grlffith 96-24 Corona Avenue, PENNGROVE KILN, INC. 220 North State Street, Fairmont LEZETTE CERAMICS 100 Adobe Road, Penngrovo IOWA POINT CERAMICS Route 212, Saugerties-Woodstock Road STEWART'S OF CALIFORNIA, INC. LYLE'S CERAMIC CENTER 319 Demers Avenue, East Grand Forks Saugerties Mirlda 16055 South Heron, La 1615 South Federal, Mason City T J's CERAMICS, INC. MARIAN'S CERAMICS, tNC, COLORADO LYMAN'S CERAMICS 918 West 77-1/2 Street. Richfield 946 North Broadway Sanborn Island VAN HOWE CERAMICS 407 West First Street. TOWNE HOUSE CERAMICS North Massapequa. Long 2602 Durango Drive, Colorado Springs NORMA'S CERAMICS 27th and Division. St. Cloud RED BARN CERAMICS VAN HOWE CERAMIC SUPPLY COMPANY t 107 North Eighth Street, Burlington R.D. # 3 Nye Road. Cortland MISSISSIPPI SUPPLY 11975 East 40th Avenue, Denver PARKER CERAMIC SUPPLY COMPANY RUNION CERAMIC 2204 West 23rd Street, Des Molnas BILL'S CERAMIC SUPPLY 236 West Commerical Street, East Rochester CONNECTICUT RIVERVIEW CERAMICS Rt. 5, Box 242-B, Columbus SEELEY'S CERAMIC SERVICE,INC ELMWOOD CERAMIC STUDIO 1660 West Post Road SW, Cedar Rapids DOUBLE L CERAMIC SUPPLY 9 River Street. Oneonta 62 Farmington Avenue, Farmington SCOTLIN, INC, Highway 80 West. Jackson SKEETS CERAMIC SUPPLY, INC. JEAN'S CERAMIC STUDIO 236 Main Street, McGregor MURPHY'S CERAMICS. INC. 894 Coney Island Avenue. Brooklyn 1073 Buddington Road, Groton KANSAS 1003 Wilson Avenue. Laurel STAATEN CERAMICS WHITNEY CERAMIC CENTER MURPHY S COASTAL CERAMIC 6833 Amboy Road, Staten Island 2335A Whitney Avenue, Hamden LOU DAVIS, INC. DISTRIBUTORS SUSIE-Q CERAMICS 817 Central Avenue, Kansas City ROtJ~P 3. Haorlway 90 Bay St. Louis 1083 Suffolk Avenue, Brentwood. Long Island FLORIDA EVANS CERAMIC SUPPLY CALLAWAY CRAFT CENTER 1518 South Washington, Wichita MISSOURI NORTH CAROLINA Route 2. Box 546. Highway 22 PRAIRIE DOG CERAMICS DOUGLAS CERAMIC & CERAMICS BY OMEDA Panama City RED # 1, Norton CHRISTMAS SHOP 2690 Peters Creek Parkway. Winston-Salem CALLAWAY CRAFT CENTER # 2 SHADOW-BOX CERAMIC STUDIO Route 6, Box 677B, Melville Road CREATIVE CRAFTS CERAMICS, INC. 3105 North "T" Street, Pensacola 308 West Cloud Street, Saline Springfield 6316 Yadkin Road. Fayettevilla DOLPHIN ART CERAMICS KENTUCKY FOUR CORNERS CERAMICS, INC. DURHAM CERAMIC SUPPLIES. INC. 309 Sixth Street, Holly Hill 10008 East 50 Highway. Raytown 1347 Avondale Drive, Durham LOIS CERAMICS DOLPHIN ART CERAMICS & CRAFTS II GENEVIEVE'S CERAMIC STUDIO. INC. 1508 Washington Street, Henderson 1943 Blanding Boulevard, Jacksonville 6514 Weber Road.S1. Louis FAIR BLUFF CERAMICS SOUTH CAROLINA WISCONSIN P.O. Box 96, Elm Street, Fair Bluff ANDERSON CERAMPCB COMPANY INC A C CERAMICS GRAHAM CERAMICS, LTD. 1950 South McDufhe Street Anderson 5219 West Vdlard Avenue Milwaukee 1319 Central Avenue, Charlotte HOUSE OF CERAMICS FIRESIDE CERAMIC MARKET MUSE CERAMICS 3035 Broad R~ver Road. Columbia 2805 North Barker Road. Brookfield 1903 Delwood Road, Waynesville ROURKS CERAMIC STUDIO, INC. MARCELLA'S CERAMICS INC NORTH DAKOTA 2475 Ashley River Road at Pierpont 1150 Inman Parkway. Beloit ARLENE S CERAMICS Charleston MARCELLAS CERAMICS INC. H~ghway 2. Wilt Wllllston SOUTH DAKOTA Route 1. Htghway 151. Sun Prairie NORTHWEST CERAMIC SUPPLY CERAMIC HOBBY SUPPLY. INC. ROLENE CERAMIC STUDIO, INC 221.223 Broadway. Fargo This big 8-1/2" x 11" 1005 West 1lib Street, Sioux Falls 2522 West Mason Street, Green Bay SIOUXLAND CERAMIC SUPPLY CERAMIC SUPPLY CENTER WAUGH'S CERAMIC STUDIO. INC 40-page monthly is the 410 East Mare. Mandan 2923 West Rapid, Rapid City Route 3. 2 miles East of Tomah on SiOUXLAND CERAMIC SUPPLY #2 Highway 12 & 16, Tomah most popular magazine 18 Third Street SE Minot TENNESSEE WYOMING in the hobby ceramics OHIO HOUSE OF CERAMICS, INC. 1011 North Hollywood, Memphis SCULLY CERAMIC SUPPLY. INC field! G & H CERAMICS DOROTHY LAMAR CERAMICS 146 South Elk. Casper Box 287, Botkms Angle Road 3302 Gallatin Road. Nashville CANADA New Knoxville LINDA'S CERAMIC-KORNER. INC. ADANAC CERAMICS. INC KARSHNER'S CERAMICS 134-136 Randolph Road, Grove Center 7289 Curragh Street 673 Wilson Road. Columbus Oak Ridge Burnaby, British Columbia HERE'S WHY: MAXFIELD CERAMIC SUPPLY INC MOUNTAIN VIEW CERAMIC ALBERTA CERAM!C SUPPLIES, LTD 4761 Creek Road. Cincinnati • 20 or more step-by- CENTER, INC. 11565 -- 149th Street OHIO CERAMIC SUPPLY. INC 4712 Dayton Blvd.. Chattanooga Edmonton, Alberta step projects every Box 630 2861 State Route 59, Kent SINGER CERAMICS ALLAN CERAMICS LTD RUTHE CERAMICS month! 952 Main Street, Nashville 710 Third Avenue Rural Route 1, New Washington TWIN CITY CERAMICS. INC. Prince George, British Columbia • Packed with V ILLAGE CERAMIC STUDIO Route 2. Box 214A. Highway 11W. Bristol CARPENTER CERAMICS 8112 Blue Ash Road. Cincinnati beautiful full-color TEXAS 2926 8 Avenue North THE VILLAGE CERAMIC STUDIO Lethbridge, Alberta photos! SUPPLY INC BATEMAN CERAMICS CERAMIC SUPPLY DEPOT 278 East Mare Street New Lebanon 716 Pierce Street, Dallas 837B 50th Street East • Super variety of OKLAHOMA BATEMAN CERAMICS Saskatoon, Saskatchewan 6615 East Lancaster. Fort Worth decorating CERAMIC COTTAGE CERAMIC WHOLESALERS LAURINE BROCK STUDIO 748 South Wheehng. Tulsa 12138 - 86th Avenue Surrey. British Columbia techniques! 1651 West Woodlawn Avenue, San Antonio DOLLIES CERAMICS & PORCELAIN CLAY CASTLE CERAMICS LTD. C. C. CERAMICS • Your questions 3011 South Shields Boulevard 185 South Court Street 4343 Kostoryz Avenue, Corpus Christi Oklahoma City Thunder Bay, Ontario answered by CERAMICS ART & ANTIQUE SHOP COBEQUID CERAMICS. LTD. OREGON 2004 Allen Drive. Wichita Falls 43-4? Eorrester Street Duncan's own pro, CLARK S CERAMICS CE,qAMIC ARTS SUPPLY. INC OF TEXAS COBEQUID CERAMICS. LTD #2 1585 Jumper. Junction City 1~,1~ Jacks~oro Hiqhway Fort Worth Richard Walker! R R #1. Hanwell Road DOBE DEPOT. INC THE CERAMIC PEEPLES Froderlctoll. New Brunswick • More! 2809 Southeast Stark Street, Portland 718 Avenue C. Abernathy Truro, Nova Scotia THE HOBBY SHOP PENNSYLVANIA ISLAND CERAMIC SUPPLIES 911 North Mockingbird Lane. Abilene AMEIGH S CERAMIC STUDIO Island H~ghway, 2 Miles South of Nanaimo HOUSTON ARTS & CRAFTS. INC. 1910 Roosevelt Avenue. Williamsport Nanaimo, British Columbia THE ART SHOP 1435 Westheimer, Houston JONASSON CERAMIC SUPPLY LTD LOMA CERAMICS, INC. 2660 Trenton Road. Levittown 267 Maryland Street SUBSCRIBE TODAY! 907 Lomaland Drive. El Paso BECKER CERAMIC SUPPLY Winnipeg, Manitoba COMPANY INC UTAH 108 CERAMIC DISTRIBUTOR LTD. 1 year (12 issues) -- 426 LmcoIr~way West, New Oxford CAPITAL CERAMICS, INC. Rural Route # 1 $7.50 (outside USA, BELLS CERAMIC ARTS INC 2174 South Main Street, Salt Lake City 100 Mile House, British Columbia $9.50) 725 Route 15 N Dillsburg VERMONT REGINA CERAMICS LTD. CERAMICS BY LAFORCE. INC. 1733 McAra Street 2 years (24 issues) -- Route 150. Avis VERMONT CERAMIC SUPPLY CENTER Regina• Saskatchewan CUSTOM CRAFT CERAMICS 451 West Street, Rutland TERRA CERAMIC SUPPLIES LTD $14.00 (outside USA. 70 South Street. Washington VIRGINIA 518 42nd Avenue Southeast $18.00) DUN.CAR INC DILL-HAWK CERAMICS, INC. Calgary, Alberta P O Box 212 Route 322. Du Boas Route 2. Box 436. Highway 117. Roanoke UNICERAM. INC See your nearest ELSIE S CERAMICS FLOYD SCHEIB. INC M-C STUDIO, INC. 1356 Newton Street. Bouchervdle Duncan Distributor or 669 East Mare Street Hegins 4115 Hopkins Road, Richmond Montreal, Quebec ETTORE S CERAMICS POTTERY ART STUDIO. INC THE VILLAGE CERAMICS LTD. send your order to: ! 75 East Boot Road West Chester 4401 Killam Avenue. Norfolk 148 Newbold Court CERAMICS, The World's HESTERS CERAMICS WASHINGTON London, Ontario 15-19 Tatamy Road Nazareth THE VILLAGE CERAMICS LTD Most Fascinating Hobby, KOCH S CERAMICS CERAMIC ARTS. INC Box 350. Rural Route I Kars. Century Road 624 Grove Avenue Johnstown West 38 Thtrd Avenue. Spokane Manotik. Ontario P.O. Box 8126, Fresno, LE BOEUF FINISHING PRODUCTS & CERAMIC ARTS. INC THE VILLAGE CERAMICS LTD CA 93727 CERAMIC SUPPLY 404 South Second Street. Yakima 25-10 ConneH Court South Mare Street. Mill Village CERAMIC HUT Toronto, Ontario LIBERTY BELL CERAMICS. INC 3996 VaLley H=ghway # 9, Deming PUERTO RICO 4511 North Broad Street Philadelphia LLOYD'S CERAMICS AND POTTERY CASA DEL BARRO, INC M~TCHELL S CERAMIC SUPPLY 318 Westlake Avenue North. Seattle Final Calle Federlco A Costa # 1047 For furlhe, mforrnal,on w, dt' to CORPORATION MILLER'S CERAMICS Urb Industrial Tres Monjdas. Hato Rey DUNCAN CERAMIC PRODUCTS 57 Nob:e Avenue Pittsburgh 4828 Pacific Avenue. Tacoma distributors in the following P O Box 7827. Fresno. CA 93727 SNEDDON S CERAMIC STUDIO WEST VIRGINIA Also A;~Lledale Road RD # 1. Norristown foreign countries: MULLENS CERAMIC SHOP AUSTRALIA GUATEMALA SUNSHINE CERAMICS INC 1011 Moran Avenue, Mullens P,~ute 307 Rural Deh~'ery 3 MOSCOW BELGIUM ICELAND ~) THE HALLMARK TODD'S CERAMIC SUPPLY INC COLOMBIA JAPAN OF CERAMIC RHODE ISLAND 2029 Poplar Street. Kenova DOMINICAN REPUBLIC NEW ZEALAND KNOWLEDGE I.~ f=~E~qAM ART STUDIO TOWN & COUNTRY ARTS & CRAFTS ENGLAND PANAMA ~1C1 Ea%t Ma,r, RQad Portsmouth One half retie on Crooked Run Road off FRANCE PHILIPPINES LCJU!S CERAMIC SUPPL'f COMPANf Route 19 at Gore. Clarksburg GREECE VENEZUELA • 14 St', tPllCfl't Av~fqLj¢. Pawtucket

March 1979 15 d~ ¸ ~ -~,

I.. MODEL A-24B 233/8".~A~'¢. x 29"' deep

ODEL,-23 1 b ;I

Models A-24B and A-99B ~.~ ~_,~i CSA approved with wiring ~ i :erminated in special box for ,,,,,Jtationa~installation.

Paragon Kilns be have grown for what you've thrown. You're in to throwing clay and creating unusual Form-fitted, heavy gauge, stainless steel jackets offer shapes. We're in to firing with superior results. a rust-proof, snug fit. Hand lifts make them easy to move We've got models to accommodate those large loads and operating instructions make routine jobs a cinch. in all shapes and sizes. Even heat distribution and Safety hinged lid stays in place with lock-in lid support or complete firing control have distinguished our line as the rests on the fall away, adjustable Prop-R-Vent. You can finest, electric kilns on the market for more than 28 years. even add a blank collar to increase your firing depth. Rugged construction and dependable, 4-way rotary Write today for our latest catalog with information on switches let you control heavy duty elements set in more than 35 models or visit your Paragon Dealer. dropped, recessed grooves of insulating firebrick. There's Chances are, we've got the size you're looking for. a full inch of high temperature block insulation in the bottom, plus a reversible layer of refractory brick and full- formed steel base. Model A-99B features a solid steel top INDUSTRIES, INC. that covers an extra inch of block insulation in the lid. DEPT. CM-7 - BOX 10133 - DALLAS, TEXAS 75207

16 CI-RA3IICS ~ONTHL'Y ITINERARY

Send Itinerary announcements at least African-American Crafts People at Work; OHIO, MASSILLON seven weeks before the month o.[ opening Career Opportunities in Crafts; Crafts April 8-29 "Neriage Clay Sculpture" by to The Editor, CERAMICS MONTHLY, Box Education; How to Promote Your Image; Ban Kajitani; at the Massillon Museum, 12448, Columbus, Ohio 43212; or phone How to Start and Manage a Crafts Busi- 212 Lincoln Way East. (614) 488-8236. ness Properly; and Resources and Services for Crafts Professionals. For additional in- OHIO, MENTOR EVENTS formation write: The First National Afri- through March 16 "A Sabbatical Show can-American Crafts Conference, Office of of New Works by George Somogyi" in- CALIFORNIA, SAN FRANCISCO Continuing Education, Shelby State Com- cludes ceramic pieces incorporating wood, April 15-20 "The 19th Annual Conven- munity College, Box 4568, Memphis paint, fabric and multi-media; at Lakeland tion of the National Art Education Asso- 38104, or call: (901) 528-6778. Gallery, Lakeland Community College, ciation"; at the San Francisco Hilton State Route 306 at Interstate 90. Hotel. SOLO EXHIBITIONS OKLAHOMA, NORMAN NEW YORK, SYRACUSE CALIFORNIA, SANTA MONICA March 1-April 29 "Recent Works in June 1-3 "The Ceramics Symposium: March 1-3l Handbuilt and thrown Stoneware and Porcelain," by Lynn Smiser 1979" is a 3-day conference which includes raku-fired forms by Patrick Crabb; at the Bowers; at the University of Oklahoma the presentation of historical papers, debate 26th Street Gallery, 225 26th Street. Art Museum. on the concerns of the contemporary ce- ramic artist such as aesthetic theory and CALIFORNIA, STUDIO CITY OREGON, PORTLAND the standards of criticism, the shifting pat- March 1-31 "Recent Work," an exhibi- April 1-May 5 An exhibition of ceramic terns of patronage in the field, panel dis- tion featuring artist J. Beppu; at Garendo works by David Furman; at the University cussions and open forums; at Mount Olym- Gallery, 12955 Ventura Blvd. of Oregon Museum of Art. pus, Syracuse University. The keynote ad- dress will be delivered by writer and art CONNECTICUT, GREENVJICH PENNSYLVANIA, PHILADELPHIA critic Clement Greenberg. Approximately March 20-April 21 Raku vessels by Ben- March 9-April 7 "White Sound," an 30 papers will be delivered. For additional nett Bean; at the Elements Gallery, 14 exhibition of unglazed porcelain sculptures information write: Everson Museum of Liberty Way. that sound when put into motion by Julie Art, 401 Harrison Street, Community Mackey; at the Craft Store, 39 Maplewood Plaza, Syracuse 13202, or call: (315) INDIANA, INDIANAPOLIS Mall. 474-6064. through March 3 Small sculptures, lay- ered floor vases and platters in porcelain PENNSYLVANIA, PITTSBURGH by Dee Schaad; at Artifacts Gallery, 6418 March 12-April 5 "Evernon and the NORTH CAROLINA, BLACK MOUNTAIN North Carrollton Avenue. Introduction of Related Strangers," an April 19-21 "Craft Administrators Con- exhibition of ceramic sculpture by Gayle ference" of the Southern Highland Handi- KENTUCKY, COVINGTON Vernon; at the Clay Place, 5600 Walnut craft Guild will focus on financial manage- Street. ment of craft organizations and promote March 4-25 Mixed media sculpture and ritual clay by Michael Sharber; at the communication and cooperation between TEXAS, DALLAS Carnegie Art Center, 1028 Scott Street. leaders. Workshops and panel discussions March 3-29 An exhibition of raku by will cover budgeting, fund raising, shop LOUISIANA, NEW ORLEANS Sharon Smith; at the D.W.~Co-op Gallery, operation and fair/festival production. 2nd Floor, 3305 McKinney. Registration fee: $45 for conference activ- March 25-April 20 Ceramic sculpture ities and meals. Lodging: $33-$57 for 3 by Pat Bernard; at Alternatives Gallery, TEXAS, LUBBOCK 1529-31 Melpomene Street. nights; at the Blue Ridge Assembly Con- April 1-29 Handbuih ceramic sculpture ference Grounds, Black Mountain. For by Nicholas Wood; at Texas Technical MINNESOTA, ROCHESTER additional information write: Craft Ad- University, University Art Gallery. ministrators Conference, Box 9545, Ashe- March 3-25 Ceramics by Gail Kendall; ville, North Carolina 28805, or call: (704) at the Rochester Art Center, 320 East GROUP EXHIBITIONS Center Street. 298-7928. ARIZONA, TUCSON MISSOURI, ST. Louis March 17-April 29 "Arizona Crafts PENNSYLVANIA, UNIVERSITY PARK April l-May 2 "Clay Forms," recent '79"; at the Tucson Museum of Art, 235 through March 3 A combined confer- work by Val Cushing; at Craft Alliance West Alameda. ence of the National Council on Education Gallery, 6640 Delmar Boulevard. for the Ceramic Arts (NCECA) and Super ARKANSAS, JONESBORO Mud; at the Pennsylvania State University. NEBRASKA, OMAHA through March 7 "National Ceramic For further information contact: Ron Avil- March 2-28 An exhibition of functional Invitational," an exhibition of contempo- lion, Conference Coordinator, The Penn- pottery by John Glick; at Old Market rary claywork; at the Fine Arts Building, sylvania State University, 410 Keller Build- Craftsmen Guild, 511 South I Ith. Arkansas State University. ing, University Park 16802, or call: (814) 865-0313. NEW YORK, NEW YORK CALIFORNIA, LONG BEACH March 21-April 8 "Dream Sherds" clay March 26-April 23 "California National TENNESSEE, MEMPHIS forms by Elise Gray; at 14 Sculptors Gal- Clay--Form, Function and Fantasy," an May 2P-June 3 "The First National lery, 75 Thompson Street. exhibition of ceramics; at the Long Beach African-American Crafts Conference" at April 18-May 6 "Ouroboros: The End- Gallery, Long Beach Recreation Depart- the Holiday Inn-Rivermont is open to all. less Circle" is an exhibition of recent coil ment, Administrative Center, 155 Queens The conference will explore practical as- works by Mimi Okino; at Nine Artisans Way Landing. pects of continuing the African-American Gallery, 142 Seventh Avenue South. crafts tradition. Topics include: Heritage CALIFORNIA, Los ANGELES of African-American Crafts; The Aesthetic OHIO, COLUMBUS through April 15 "The Greek Ethos: Tradition of African-American Art and April 1-30 Pottery by Solveig Cox of Folk Art of the Hellenic World," an exhi- Crafts; Contributions of African-American Alexandria, Virginia; at Helen Winne- bition of objects from 16th to 20th century Folk and Contemporary Crafts People; more's, 150 East Kossuth at Mohawk. Continued on Page 19

March 1979 17 MARATHON FIBER KILNS for economic~ firing .

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18 CERAMICS MONTHLY ITINERARY INDIANA, INDIANAPOLIS NEW YORK, NEW YORK April 3-28 "Erotica," ceramic sculpture April 21-22, 28-29, May 5-6 "Ten Continued [rom Page 17 by Larry Oughton, Marge Bender, David Downtown Artists' Open Studios" includes Greece and Asia Minor includes pottery; Keyes, Leon Nigrosh, Alan Patrick, Dee ceramist Susan Sonz; at 158 Franklin at the Craft and Folk Art Museum, 5814 Schaad, Aurora Borealis Neon Gallery; and Street. Wilshire Boulevard. glasswork by Peter Bramhall; at Artifacts Gallery, 6418 North Carrollton Avenue. NEW YORK, SCARSDALE CALIFORNIA, SAN DIEGO through March 3 "Salt-Glazed Ceram- March 16-April 29 "The 30th Annual KANSAS, LAWRENCE ics," functional and non-functional works Exhibition of Allied Craftsmen" is a multi- April 29-May 8 "The Third National by ceramists who specialize in salt-glazing, media show; at the San Diego Museum of Cone Box Show" is a juried exhibition of including William Bracker, William Brouil- Art, Balboa Park. miniature works in clay; at the University lard, Regis Brodie, Ron Gallas, John of Kansas, Visual Arts Gallery. Ground, David Halsey, Steve Howell, John CALIFORNIA, SAN FRANCISCO Jessiman, Karen Karnes, Robert Levine, through March ll "Folk Traditions in KANSAS, TOPEKA Les Miley, Ellen Murphy, Don Reitz, Peter Japanese Art," an exhibition of approxi- April 1-29 "The Topeka Crafts Exhibi- Sohngen, Tom Suomalainen, Fred Tre- mately 250 works includes ceramics; at tion II"; at the Topeka Public Library gaskis, Jack Troy, Sylvia Wallace, Robert Asian Art Museum of San Francisco, Gallery, 1515 West 10th. Winokur and Mikhail Zakin. Golden Gate Park. March 31-April 28 "Invitational 1979" MICHIGAN, DETROIT includes ceramists Bennett Bean, Mary COLORADO, GOLDEN April 8-28 Exhibition and sale of ce- Ann Killilea, Janet Lowe, Robert Milnes April 8-May 3 "North American Sculp- ramic works by Tom Phardel and Rosalyn and Marilyn and Walter Rabetz; both at ture Exhibition" includes ceramic works, at Tyge; at Pewabic Pottery, 10125 East the Craftsman's Gallery, 16 Chase Road. Foothills Art Center, 809 Fifteenth Street. Jefferson Avenue. NEW YORK, WHITE PLAINS CONNECTICUT, GREENWICH MICHIGAN, EAST LANSING April 28-May 13 "Mamaroneck Artists through March 17 "Animal Imagery," March 4-25 A group exhibition includes Guild 26th Open Juried Exhibition"; a multi-media invitational exhibition in- ceramics by Marie Woo. at White Plains Community Unitarian cludes ceramics; at the Elements Gallery, April 1-29 A group exhibition includes Church, Rosedale Avenue and Sycamore 14 Liberty Way. ceramics by Jim Reinert; both at Freeman Lane. Gallery, 3046 Lake Lansing Road. D.C., WASHINGTON NORTH CAROLINA, CHAPEL HILL through October 3l "John Paul Remen- MINNESOTA, MINNEAPOLIS April 8-30 An exhibition including re- snyder Collection of American Stoneware" March 3-28 "Functional/Fanciful," an cent porcelain works by ceramist Sally includes 150 examples of 18th and 19th exhibition of works by the 1978 Minnesota Bowen Prange; at the Horace Williams century salt-glazed ceramics; at the Smith- Crafts Festival award winners; at Art House Gallery, East Franklin Street. sonian Institution's National Museum of Lending Gallery, 25 Groveland Terrace. History and Technology. OHIO, ATHENS MISSOURI, COLUMBIA through March 10 "Ohio Designer FLORIDA, GAINESVILLE March 1-31 An exhibition of raku and Craftsmen Biennial Exhibition," eighty March 12-13 "3rd Annual Glaze Com- smoked ceramics by artists Randy Edmon- craft works in a traveling exhibition; at petition"; at the University of Florida. J. son, Cherl Daniel Fritz and Marc Sijan; at Trisolini Gallery, Ohio University. Wayne Reitz Student Union, Room 122. the Gallery of Fine Design, 1013 East Walnut Street. OHIO, CINCINNATI FLORIDA, JACKSONVILLE March 24-April 21 "Annual Juried through March 7 "Designs for Design- MISSOURI, ST. Louis Craft Show"; at the Arts Consortium, 1515 ers," gallery members' show; at Craftsmen March 22-May 13 "The Afro-American Linn Street. Gallery, 2736 University Boulevard, West. Tradition in Decorative Arts," an exhibi- tion of nine different crafts including his- OHIO, COLUMBUS FLORIDA, PENSACOLA torical ceramics; at the St. Louis Art April 1-29 Ceramic forms by Julie and March 9-30 "Pensacola National Crafts Museum. Tyrone Larson of Bakersfield, North Caro- Exhibition" includes ceramics; at the lina; at the Designer/Craftsman Shop, the Visual Arts Gallery, Pensacola Junior Col- NEW JERSEY, LAYTON Columbus Museum of Art, 480 East Broad. lege, 1000 College Boulevard. April 1-29 "Figures of the Imagination," interpretations of the human form in vari- OHIO, MARIETTA FLORIDA, SARASOTA ous mediums including clay; at The Gal- April 7-May 13 "Marietta College, lery, Peters Valley, Layton. March ll-29 An exhibition including Marietta National"; at the Grover M. Hermann Fine Arts Center. pottery by Marilyn Foreman and Robin NEW JERSEY, NEWARK Ann Southall; at the Hilton Leech Gallery, through December "Made in New Jer- 4433 Riverwood Drive. OHIO, WOOSTER sey," an exhibition of art objects made or April 8-May 6 "Functional Ceramics used in New Jersey, includes pottery; at GEORGIA, DECATUR 1979"; at the Wooster Art Center Mu- the Newark Museum, 49 Washington seum, The College of Wooster. through March 15 "North Carolina Street. Glass '78," a traveling invitational exhibi- tion of blown and hand-tooled glass by NEW JERSEY, SPRINGFIELD PENNSYLVANIA, PITTSBURGH ten North Carolina artists; at the Dalton March 1-April 30 "Spring Exhibition" through March 18 "Nine West Coast Galleries, Agnes Scott College. by the First Mountain Crafters; at the Clay Sculptors: 1978" includes work by Springfield Library Museum, 66 Mountain Robert Arneson, Karen Breschi, Stephen INDIANA, EVANSVILLE Avenue. De Staebler, David Gilhooly, Marilyn Le- through March 11 "Mid-States Craft vine, David Middlebrook, Kenneth Price, Exhibition"; at the Evansville Museum of NEW YORK, ALBANY Richard Shaw and Peter Voulkos. Arts and Science. through March 15 "Fair as China March 24-April 15 "Joint Craftsmen's March 12-April 5 "Indiana Ceramics Dishes," English delftware; at Albany In- Guild of Pittsburgh and National Invita- Exhibition"; at the Krannert Gallery, Uni- stitute of History and Art, 125 Washington tional Show," includes ceramics; both at versity of Evansville. Avenue. Continued on Page 64

March 1979 19 Three new titles from the Ceramics Monthly Book Department

Handbuilding The Professional Potter Ceramic Forms

by Thomas Sharer. This very useful book takes an in-depth look at six potteries that all have one thing in common: the potters are successfully earning a living solely from selling their work. $18.50

by Elsbeth Woody. Provides infor- mation on the nature of clay and the various tools one can use. Explains Ceramic Art in detail the different handforming Comment and Review 1882-1977 methods. Working from the solid, j edited by Garth building with small units, building Clark. A review of with large units, and paddling are dominant influences stressed. There is a section on aids such as press and on contemporary drape molds. Ten professional ceramists demonstrate ceramics. An ex- their approach to handbuilding, using many of the tremely informative techniques discussed. Progressive photographs show and thought provoking anthol- the steps taken to create the various works. A very ogy containing a wide selection practical book. $20.00 of photos. $9.95

BOOK I We Pay DEPARTMENTj Postage Box 12448, Columbus, Ohio 43212

Please send me [] Handbuilding Ceramic Forms @ $20.00 [] The Professional Potter @ $18.50 [] Ceramic Art @ $9.95 Name Address City State Zip I enclose check [] M.O. [] Ohio residents add 4% sales tax. Answers to QUESTIONS Conducted by the CM Technical Staff Be[ore a recent exhibition o/ my work, the gallery owners current quantities of production require either that we begin asked me to provide all the black-and-white publicity photos. developing our own low-fire recipes or stop using such decoration Is this a common practice? Should I hire a professional pho- altogether. Can you suggest a simple base overglaze that might tographer? What kind of photos should I send?--C.D. lend itself well to color experimentation?--Y.D. The best galleries provide the ceramist with services in addition An excellent, simply formulated recipe which tends toward to selling work, and among these is the publicizing of an exhi- good stability is: bition in newspapers and magazines. Such galleries take and ENAMEL OVERGLAZE I (Cone 014) distribute publicity photos primarily of individual works on plain Frit 3417 (Ferro) ...... 100 parts backgrounds to help ensure favorable media coverage. The gallery Edgar Plastic Kaolin ...... 5 occasionally will request additional photos from the artist when these deal with subjects to which a gallery photographer does 105 parts not have reasonable access--photos of the artist working in a Pemco frit Pb-63 and Hommel 24 may be directly substituted for distant studio, photos of earlier times, etc. 3~17 in the recipe; all are lead-bearing frits. There are exceptions, however, and many professional-quality Another overglaze recipe is the following smooth, translucent galleries vary in photographic policy. Some artists, on the other base: hand, prefer to manage all their own publicity in order to control ENAMEL OVERGLAZE II (Cone 014) the way their work is presented in public. When this is the case, Frit P-25 (Pemco) ...... 56.6% the ceramist generally engages a professional photographer in Frit P-54 (Pemco) ...... 34.2 whom he has confidence. Regardless of the source of photog- Alumina Hydrate ...... 3.2 raphy, be it gallery or the artist, most publishers of exhibition Kaolin (ASP 400) ...... 6.0 reviews and publicity would recommend using a professional 100.0% photographer whenever practical. The standard of publicity This composition is lead free. Ferro frit 3819 and Hommel 259 photos is usually an 8xl0-inch, glossy, black-and-white. In some may be substituted for P-25, and Ferro 3134 or Hommel 14 are instances, particularly where high quality color reproduction is a interchangeable with P-54. possibility, color transparencies are used most often in the 4x5-inch size. Subscribers' inquiries are welcome and those o/ general interest 9 We have been buying overglazes/or decoratir'e work on lamps, will be answered in this column. Direct your questions to the finding the contrast between subtle stoneware glazes and CM Technical Stall, CERAMICS MOr~THLV, Box 12448, Columbus, bright color to be well received by patrons and customers. But Ohio 43212. kiln control = kiln efficiency

We are dedicated to helping you maximize the efficiency of your kiln. So we are offering you this essential tool THE for gaining the best possible firing schedule. AcK PK-150 Gas Pressure Gauge SALE 0-15" Water Column WOLFE CO. Reg. Price $25.75 Includes instructions and $14.95 Ceramic sample firing schedule. This offer good only through March, 1979. Materials and Equipment Send check or money order. No COD orders. Write for our Free CaSalog California residents add 6% sales tax.

724 Meeker Ave., Brooklyn, N.Y. 11222 Pacific Kiln & Cucamonga,93s3-DEigh,hS, Calif. 91730 (212) 387-360, Insulations Co. (714),,-,344

March 1979 21 The wav we see it, the fewer sections, for easy moving and troubles you have starting out repairs. And our wheel is designed with vour equipment, the better so clay and water can't botch up you're going to become. Faster. inner workings. Ever. Which is why we build our And that's not all. We also electric kilns and potter's wheel back up both our kiln and wheel the way we do. with a two-year warranty on Our kiln is multi-sided, so parts and labor. there's no uneven firing. It has a All of which explains why perfectly-fitted lid and stainless you're wise to start out with steel jacket to guard against dust, a Skutt. Because, if you're like drafts and rust. most people, youll turn to us, And our potter's wheel is sooner or later. vibration-free, with smooth speed And as usual, the sooner, changes and power enough to the better. handle even hundred-pound For our complete catalog, throws. Without drag. write Skutt Ceramic And both are built to last. Products, Inc., E618 Our kiln comes with extras like a S.E. Steele Street, reversible bottom to give you Portland, Oregon double life. It's even built in 97202.

22 CERAMICS ]~'~ONTHLY COMMENT Max The Life and Death of Oxford Feldspar by Z~a~ryAdlerstein the wheel

Yours is the artistic creativity; Max adds the ingredient of quality execution.C] The ideal choice for all serious potters, with power to spare and last the distance. Pro- duced to the same rigid standards of "No, IT ~VILL NEVER VVORK." Frank the foreman say, "Yup, that's spar." excellence that have Perham leaned against my red pickup Generally, that's as far as things go. gained Max international truck. Frank is pure Maine with a Spring mud, summer's heat and win- favor with potters every- handsome suntanned face, lean body ter's bitter cold all inhibit mining. where.~ Two models: the 1500, and careful speech. Following in his Still, there is a group of men around flat top table; and the 2.000, with dad's footsteps, Frank had been a Oxford County who do mine. Some cast aluminum pan.r7 Size: feldspar miner; now he owned a junk- are part-time farmers; some do con- 24x24x 19 in. Weight: 110 Ibs. yard. The Perhams knew mines, min- struction work; one is a preacher. Tough steel and aluminum erals and mills as well as anyone in When a miner and a rock owner get construction; no plastic. In- Oxford County. together, there is a mine. Its yield, dustrial SCR drive with exclusive electronic filter "All the easy spar's been dug out of hopefully, is potash feldspar, an at- that eliminates "hum." these hills," said Frank, as he went on tractive, light-colored rock, usually Reliable constant patching old cars. "And even if you pink or white which fractures geo- power even at low get the spar, that old mill should have metrically, leaving a flat, lustrous sur- speeds, with real been scrapped years ago. It just won't face. In Maine, deposits are found in worm-gear sealed work. I make more money in this here localized, high-quality lodes averaging drive and roller junk than I can with spar, and you'd fifty to one hundred tons. Surround- bearings. be better off sticking with your clay ing these small deposits are poorer in Portland than you will be here in quality feldspars mixed with varying West Paris." quantities of quartz and other min- How did I ever get involved with erals. Oxford feldspar? I've asked myself To reach a feldspar lode a consid- that question many times. Was it the erable amount of rock must be blasted glaze formulas listed in the old and moved. This poorer rock, affec- the thrown Rhodes's Clay and Glazes that re- tionately known as "shit rock," com- Send today for our quired the kind of feldspar dug at prised the majority of the ore avail- free catalogue. Oxford? Perhaps it was the desire for able to the Oxford mill. Therefore, t f a new adventure. Perhaps, mere bore- Oxford feldspar characteristically dis- fJ dom. In any case, my corporation, played moderate potash content and a I" Oxford Feldspar and Mineral, even- high silica (quartz) content; the pure tually joined four predecessor busi- feldspar rock, labeled "number one .... ke'~J

nesses in bankruptcy. What remained rock," was ground to make high ..... was a tax loss and a story. potash, low silica feldspar powder. Oxford feldspar bore the name of The largest user of potash feldspar the county where the grinding mill is the electrical porcelain insulator in- was located. The actual ore that was dustry. During the sixties' building ground in the mill came from various boom, the industry could not obtain sites, including one in New Hamp- enough potash feldspar to insulate shire. The sundry rocks were blended new power lines. Because of the de- at the mill to approximate a standard, crease in new construction, their de- ground feldspar with a consistent mand for feldspar has slowed down formula. But let's start at the begin- significantly. Another large consumer ning, with the rock in the ground. of Oxford rock was the abrasive in- Around Oxford County farmers dustry. Grinding wheels contain much have lots of that rock. Such a farmer feldspar, and a potash feldspar that c\tn ~e ~ brings a lump to the mill and hears Continued on Page 25 .... J

March 1979 23 :~!~7~!~!!~!!!i!!!!!~ii!~:!:~i~i~ii~ii~:~i~;7:~i~!!~!~!~)~!~;~!;)!!~i~L!, ~?i,~71~!~!!~!i~ ii~ ~i!!~:!ii~iiii~!~i:!!!iii~::7~i! i~ii~i!~iiiii~:~i! ¸ i~ii¸ ;i=~71!~!Li~i=~ ¸~ • L i;=ilLi!i ~i

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24 CERAMICS MONTHLY COMMENT ther demolished the rock. Finally, a r LYITIPICKILfIS Continued from Page 23 series of conveyors and elevators brought the coarse powder to one of contains high silica was best suited to four feeder bins where it was stored. their needs. They loved Oxford. If the ore contained iron-bearing The The ceramic industry uses little pot- black mica, a trip to the magnetic ash feldspar. Commercial potteries separator was in order. A separator is prefer soda spar and nepheline sye- designed to attract iron out of the nite. These softer rocks are less expen- mix, but, due to lack of adjustment, Leader in sive to grind and they melt at lower Oxford's separator did a mediocre temperatures. Studio potters prefer job. No one knew how to adjust it. potash feldspar, but they represent a Once the feeder bins were full, the Large Kiln very small market. ore was allowed to flow to the two There are two methods of grading ball mills. Each mill, the size of a feldspar: hand sorting rocks and flo- Chevrolet, was lined with hard rock Design tation. The flotation process "floats" and used French pebbles as grit. rocks in a special liquid. Only rocks All of Oxford's customers had their with a high feldspar content float at own specifications. Andy, the fore- the correct depth; heavier rocks sink, man, would blend the various coarse lighter ones float too high. The dry powders stored in the four feeder bins rock process requires the miner to so as to approximate the required handpick rocks that appear to have a formula. Occasionally, chemical anal- high feldspar content and to discard ysis was used, but often, the blending those polluted with quartz, tourma- was done by visual assessment--an in- line, mica, beryl, spodumene, and formed guess. other minerals. There were two dry Eventually, the fine flour spilling rock feldspar plants--Oxford and from the ball mills was elevated to the Custer. Others used the flotation air classifier; the powder still too method. coarse was returned to the mills for Although flotation allows a poor further balling. (Our classifier re- quality rock to be efficiently culled, it quired periodic adjustment with a was not practical at Oxford. Maine's sledge hammer.) The fine white pow- severe winters interfered with the liq- der was stored in the concrete finish- uid process. In addition, strict envi- ing bin where it waited to be bagged ronmental regulations prohibited dirty or dumped into a bulk railroad car. waste, and Oxford's inability to pur- The plant could process two tons See and use the~OLYMPIC chase a $500,000 flotation device, per hour, although such hours were Model 2831. Over 28 inches made only the dry rock method viable. rare, indeed. The failure of any one wide and 311/2 inches deep. So it had to be hand sorting, and at of the hundreds of antique motors, This huge 11.67 cubic foot $20 per ton, the price paid for the ore, bearings or belts, would shut down the kiln requires only 47 amps. the quality of the feldspar was apt to plant. The ore, bought for twenty dol- You can high fire on the same be spotty. Imagine it! $20 per ton! lars per ton sold for forty dollars per power you would expect a 23 For his $20 the miner was expected to ton, but when I discovered that it cost inch kiln to use. OLYMPIC pay royalties to the land owner, drill thirty dollars to process, I closed. KILNS are both UL and CSA blasting holes, dynamite and select Oxford feldspar may be reborn listed. See OLYMPIC KILNS quality rocks, load and transport the someday. The minister, I am told, is or write for a free catalog. rocks 20 to 50 miles, and dump the interested in trying. Perhaps the plant ore at the plant. could be used to grind other products Why would he bother? as well. Spodumene, garnet and other Because feldspar is polluted with valuable minerals are yet to be taken semiprecious gems. When a lode is from those hills; and I hope anyone spotted, everyone flocks to the site. entertaining such an idea is not put Some aren't seen for weeks. (Have I off by my misadventure. Who knows, conveyed the impression that the with sufficient capital, time and ambi- quality and availability of Oxford tion, the right person might just make ® LYITIPIC KILflS rocks were unreliable? I hope so.) a "silk purse out of a sow's ear!" 8660 Willows Road Well, once a miner dumped the hand- Redmond, WA 98052 selected ore at the plant, it was The Oxford Mill is now being con- Phone (206) 883-7200 scooped up by our temperamental verted into a garnet crushing facility, front-loader and shoveled into the according to a recent letter [rorn the DISTRIBUTORSHIPS feed of the jaw crusher. Then, the author. Oxford [eldspar is truly dead. AVAILABLE cone crusher and the roll crusher fur- --Ed. _.J

March 1979 25 P/ease Read The Fine Print... because quality and cost are important

We are pleased to announce our appointment as the sole United States distributor of Seven Skill products made in The Republic of China. These ceramist's tools, potter's wheels, and art supplies have long been marketed in Europe, South America, and Canada. They are now available in the United States. Prices are very favorable, quality and workmanship are very good (and guaranteed), and liberal quantity discounts are available.

SEVEN SKILL RINGCONE POTTER'S WHEEL Very quiet, strong and dependable. Reversible. 1/4 hp. A.C. motor. Complete with pan, batpins, etc. Full two-year guarantee. The Seven Skill wheel is made in the Republic of China almost entirely by hand. Each operation is checked and double-checked in one of the industry's most stringent quality-control programs. $420 plus freight.

SEVEN SKILL TOOLS Cane handles, banding wheels, ribs, scrapers, throwing sticks, needles, trimming tools, loop tools, brushes, toggle cutters, and much more. These tools feature select hardwood handles and stainless steel cutting edges. All are handmade by careful craftsmen who know that other craftsmen are going to use them. / We offer just about anything you want (in quality as good as the best) -- at much lower prices. ! I L;

hIPP SLAB ROLLER Solid steel construction. Knurled and plated rollers grip slabs and pull them through effortlessly. Makes slabs to 24" wide, 1 " thick, any length. Features many improvements not found in machines copied from it. Made in U.S. Two year warranty. $245.00 FOB Seattle.

For brochures and information contact: SPENCER POTTERY & SUPPUES, INC. Manufacturer of more than 20 fine Spencer clay bodies Distributor of North Star wheels, slab rollers, and ware trucks Sole U.S, Agent for all Seven Skill products Mail: 5021 South 144th, Seattle, WA 98168 Phone: (206) 242-2372 Cable: CREIGHTON SEATrLE Telex: 329473 (Burgess Sea) Attn: Spencer

DEALER AND DISTRIBUTOR INQUIRIES FOR PROTECTED TERRITORIES ARE INVITED.

26 CERAMICS MONTHLY At These Participating Dealers bO~ll ql CLAY ART CENTER 342 Western Ave Brighton. Mass 02135

BALDWIN POI-[ERY i ...... 540 LaGuaraia Place New York, New York 10012

BENNEI-r POI-[ERY SUPPLY INC. 707 Nicolet Ave. Winter Park. Florida 32789

EASTERN CERAMIC SUPPLY CO, Highway 147. P.O. Box 395 Buy our N~t or top loader at our regular Middlesex, North Carolina 27557

i I ISLAND KILNS 16 Lauren Ave. Dix Hills, New York 11746

JETCRAFT STUDIO 54 Pond Hill Rd J t • ! '5"'-21 North Haven, Connecticut 06473

STUDIO SUPPLY low price and get a free Norman enameling kiln. 707 Stadium Rd. Columbia, South Carolina 29202

Buy the Norman kiln you've always wanted and rake home an enameling kiln at no extra charge. A sensational deal for every hobbiest, croftsperson, or professional. It's our way of introducing you to KILNS SUPPLY'S tremendous line of ceramics products. All Norman kilns use first grade refractory brick that holds heat to cone ten. All of our kilns are well-insulated to keep things comfortable on the outside, and all can be added on to as your needs increase, Buy a front loader, model N38 or larger... Norman front loaders are built in sizes especially suited to your needs. Or buy a top loader, model N t 88 or larger... The extra large interiors are right for your tallest pieces. And get a free enameler, model EN48R For quid~ and efficient enameling of all kinds.

But hurry. Due to the expected heavy demand, we can only offer this deal until March 31, and only at participating Norman dealers (see list). If no participating dealer in area contact us direct.

KILNS SUPPLY AND SERVICE CORR 38 Bulkley Avenue, Port Chester, N Y 10573 (914) 938-0007 Dealer inquires invited.

:tlarc/z 1979 27 A Potter's Notes on Thermal Expansion by PETER SOI--INGEN

LIKE just about everything, ceramic materials expand and degree, and the glaze in particular, like other glasses, will contract when heated and cooled. The thermal expansion continue to "flow" somewhat after it is cooled to apparent characteristics of these materials affect potters in various rigidity, which helps it continue adjusting to the body's --and sometimes devastating--ways. You know the prob- own rate of contraction. But in practical terms, shivering lems: stoneware pots that develop shivering or crazing, a and crazing result from the inability of the ceramic mate- casserole that cracks in use, a raku piece that can't take rials to stretch or flow enough, and might be better under- the process and winds up being part ceramic and part stood that way. glue. In working through such problems, it helps to have It should further be noted that the best relationship a practical understanding of the general principles in- between body and glaze is often one which puts the volved, and toward that end I have accumulated some glaze in some compression. This increases the mechanical notes which, though they are a long way from a definitive strength of the glaze, in much the same way that rein- treatment, might help open discussion of the subject. forcing rods strengthen concrete. In clay products that Thermal expansion relates to two important problems: glaze fit and heat shock. In the first, if glaze doesn't "fit" cristobalite the clay body it is bonded to--that is, if the body and the glaze, after being fired, don't have nearly the same rate of expansion and contraction--the ware will show either 1.5 crazing or its opposite, shivering and shattering. In craz- • quartz ing, the glaze contracts more than the body as the pot o cools in the kiln. Remember, the body and the glaze are welded tightly together, and as the glaze hardens on cooling it can no longer stretch or flow to fit the body; both must contract at the same rate as they cool, or some- thing has to give. When the glaze contracts more, that 1.0 puts the glaze in tension and the body in compression. Ceramic materials can take a lot of compression but not much tension, so what happens is that the glaze, unable to stretch, cracks open and produces a network of lines we call crazing. Shivering and cracking (also called peeling and shattering) are brought about by the opposite set of conditions. As the ware cools in the kiln, the body con- 0.5 tracts significantly more than the glaze. Here the glaze is in compression, which actually strengthens it; the body is in tension, and though it is much thicker than the glaze, it can give way. Commonly it yields at thin edges, and small slivers of body and glaze flake off---that's shivering. Or the glaze might stretch and crack the whole pot, across the middle of a plate, or in a spiral up the wall of a pitcher--that's called shattering. These symptoms fre- 0 200 400 600 800 Degrees centigrade quently appear before the kiln is unloaded, but may remain latent for weeks or longer. Thermal expansion o[ typical ceramic materials. Since In fact, the previous description somewhat oversimpli- cristobalite's inversion hump is within the range of a fies what happens as body and glaze cool together in the kitchen oven (220°-275°C), its expansion in clay can kiln. These materials actually can flex to some small cause ware breakage.

28 CERAMICS MONTHLY must have high mechanical strength, such as electrical The second main thermal expansion problem has to do porcelain, this compressed glaze coating actually makes with the heat shock that certain kinds of ware must sus- the entire object stronger--provided that the glaze sur- tain: raku is a dramatic example, but casseroles and rounds the object. Since mechanical stress cracks normally teapots too must be constituted to stand some degree of start at the surface of the object, and the surface is com- thermal shock. Glaze fit is not the only concern here, pressed glaze which is extremely resistant to cracking, the though you definitely don't want the glaze to be appre- object itself resists cracking. This would obviously not be ciably in compression on casseroles and teapots--that in the effect on a partially glazed piece, such as a tile glazed itself could contribute to the cracking of a piece when it on one side, or a jar glazed inside only. In those cases, a is used. The primary concern here--and the only one in glaze in compression will more likely put the unglazed raku--is to have a clay body that, because of low thermal surface in tension, rendering it more susceptible to expansion and some other properties, can stand being cracking. suddenly and unevenly heated. There is another glaze fit problem called "delayed The main constituent influencing thermal expansion is crazing," a problem mainly with low-temperature ware, silica (SiO._,). Without changing its chemical identity-- which is brought about by the slow moisture expansion of that is, though it remains silica, it can appear in different the fired clay body. In this ca~e not only must the glaze forms having very different physical and thermal proper- be put in some degree of compression so as to accommo- ties. Silica can appear in various crystalline forms--the date the later swelling of the body, but the moisture most important for potters are quartz and cristobalite. expansion of the body must be minimized--talc added to Quartz is the most common; it is a naturally occurring the body will usually accomplish both. Though it is a mineral, and if you buy a bag of silica or potter's flint, it problem mostly in porous clay products, delayed crazing is mined and crushed quartz; mason's silica sand is nor- can occur in stoneware and even in porcelain. In these mally quartz too. Clays contain some free silica--some cases it is usually enough to alter fit so that the glaze is contain quite a lot of it--and that is mostly quartz, usually more in compression. in very fine particle sizes.

Glaze [it is important/or ware such as this casserole,/or crazing would be functionally unacceptable on the inside. Yet, i/the glaze is appreciably compressed, it will stress the pot and make it more likely to crack in use.

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March 1979 29 Cristobalite appears in a clay body as it is fired. At not as pronounced in their effect, which can nevertheless stoneware temperatures the mineral which started out as be employed in conjunction with the main methods. One kaolinite gradually breaks down into mullite and cris- is to decrease the amount of iron oxide, because it en- tobalite. Chemically the change is: 3(A12Oa ' 2SIO2)--' courages the development of cristobalite: you can lower 3AlzO3 • 2SiOz + 4SIO2 -- that last compound, the freed the iron oxide in the recipe, or change to lower-iron clays. silica, being cristobalite. Another is to steer clear of clays that contain significant Also at these high temperatures any quartz in the clay amounts of montmorillonite, such as bentonite and certain body will begin to change to cristobalite. This change is ball clays. This mineral has a lot more silica in it, and extremely slow, however, and may be negligible as a therefore contributes a lot more cristobalite during mullite source of cristobalite in a stoneware body. Like most formation. ceramic reactions, it is encouraged by smaller particle The previous modifications are intended to change sizes, higher temperatures, and longer soaking periods. thermal expansion of the body; but there are other ways Silica can also exist as glass, sometimes called fused to prevent cracking due to heat shock. You can make the silica. A glass has no crystal structure at all; its atoms clay body open and porous, underfired, by using very are not held in a regular and repeated arrangement, but coarse and refractory clays and eliminating any fluxing are in random relation to each other, as molecules in a agents. You can add granular material such as grog, liquid are. Silica can be turned into a glass by heating it coarse fireclay, even sand (though, since it is composed to its melting point (over 1,700°C), or at a lower tem- of high-expansion quartz, it is not ideal). These methods perature in combination with a flux; when it cools (under are essentially the same. You are making the clay body normal conditions) it will not return to a crystalline state, open and grainy, filling it with discontinuities. This in but will remain a glass. itself has little or no effect on thermal expansion. What And here's the point: quartz and cristobalite show a it seems to do is to prevent cracks from moving through very high thermal expansion, while silica in the glassy the body--the cracks tend to be arrested by the grains state has an extremely low one. Furthermore, quartz and and pockets in the material. cristobalite exhibit sudden increases in expansion (and Some potters seek out especially low-expansion grog-like contraction) as they pass through certain temperatures materials. In Pioneer Pottery, Michael Cardew recom- (inversions), whereas silica glass shows a very steady, even mends zircon sand, which unfortunately is not commonly rate of expansion at any temperature. The inversion tem- ---or cheaply--available in this country. Calcined kyanite, perature of quartz is 573°C, at which it goes through an called "mullite" in the trade, is a low-expansion material abrupt cubical expansion (or contraction) of about 2.4 available in various mesh sizes (raw kyanite expands quite percent. Cristobalite's inversion temperature is around a bit the first time it's fired and may damage the body). 220-275°C, and it goes through a volume change of As long as the grog material has a thermal expansion suf- approximately 5.6 percent. These "inversion humps" can ficiently different from the matrix, it will produce micro- be even more troublesome than their overall high expan- cracks. High-expansion particles, on cooling, contract sion rates, because they are so abrupt and because, in the more than the matrix and crack away from it. At room case of cristobalite, the sudden expansion takes place well temperature they exist in "pockets," so to speak, so that within the range of a kitchen oven and can drastically on heating they do not contribute their own thermal shorten the life of a casserole (see graph). expansion to the body until those surrounding microcracks One more general point: the silica in a glaze is glassy; are closed by the differential expansion. Low-expansion in a clay body it is largely crystalline, but it can be fluxed grog particles contract less than the body matrix on cool- and turned into a glass to some extent. Now to get down ing, putting the surrounding body in tension, which (if to practical cases, we can see how these principles can adequate) generates microcracks too. In both cases the be applied. microcracks formed may impart a degree of elasticity to Let's say you want to decrease the thermal expansion of the body as well as the ability to inhibit the propagation a stoneware body. The first thing to try would be to lower of large destructive cracks. When there is enough grog the silica content, either by eliminating added flint if present to produce considerable direct contact between present in the recipe, or by changing to lower-silica clays. grog particles, the thermal expansion of the clay body is (A check of the chemical analysis of various clays shows affected more directly. they vary tremendously in the amount of silica present.) My own teapot and casserole body incorporates most The other main way to decrease the body's thermal ex- of these ideas: pansion is to vitrify its silica by increasing the amount of feldspar. Make sure it is a potash feldspar--better in a Stoneware Body (Cone 10) clay body for several reasons, as well as contributing a G-200 Feldspar (Potash) ...... 10.0 parts significantly lower thermal expansion than soda feldspar. A.P. Green Fireclay ...... 90.0 The spar works mainly on the cristobalite formed in the Kentucky Ball Clay (OM 4) ...... 30.0 firing, and that's probably the most effective way to fight Tennessee Ball Clay (SGP 1) ...... 50.0 high-expansion problems. It should be noted that the Kyanite (Calcined, 35 mesh) ...... 9.0 above methods of lowering a clay body's expansion can be Wollastonite (F-1) ...... 1.0 reversed in order to raise it. Grog (20 mesh) ...... 9.0 In the case of a casserole body, you sometimes want to 129.0 parts get the thermal expansion down as low as possible. There are some supplemental tricks too, less commonly used and Add: Red Iron Oxide ...... 0.5 parts

30 CERAMICS MONTHLY For casseroles and other ware subjected to constant heat stress it is desirable to use a clay body with a thermal expansion as low as possible. This may be accomplished by eliminating [lint in the recipe, using low-silica clays, increasing the amount o[ potash/eldspar and lowering the amount o/iron oxide and bentonite in the body.

I've used this body for several years, and guaranteed my added flint, and a smooth, vitreous composition. The body casseroles to survive--straight from refrigerator to pre- recipe given previously not only reverses this, but includes heated oven. The only ones that have come back were calcined kyanite and wollastonite, both of which have a two I had re-fired; later I realized that cristobalite forma- powerful "drying" effect on a salt glaze. My personal tion, like most ceramic reactions, is an ongoing process-- answer has been to keep casseroles and teapots in standard the longer you hold a piece at 1,260°C the more cristoba- reduction firings. Other solutions are of course possible: lite you get, and by firing those casseroles twice I prob- use more covering slips and glazes, or perhaps accept a ably got a lot more cristobalite. Never again! dry rough surface and work with it aesthetically. The F-1 wollastonite in the recipe is something of a Another way to treat the casserole problem is to adopt mystery to me. Wollastonite is a mineral, CaO' SiO.,, the traditional low-fired earthenware pieces that are which has needle-like crystals, and the F-1 grade is so essentially underfired and porous, and usually include a much like a mass of microscopic needles that it "pills" in lot of coarse grog, sand, mica or other granular material. the bag. I use it because it helps knit the clay body They owe their durability not to a low thermal expansion together, like the chopped fiber used by many hand- but to their open, coarse and even slightly flexible physical builders today. It seems to improve both the plastic structure. strength and the heat shock resistance of my raku and Though the expansion (and contraction) of ceramic teapot bodies. products during firing can be important, it probably is not A casserole body with the features discussed above is a critical concern for most potters. Our kilns normally not likely to take salt glaze readily. What seems to con- heat up and cool down slowly enough, and our pieces are tribute to a bright, rich, salt glaze are high-silica clays, usually modest enough in size, so that even the inversions

March 1979 31 of quartz and cristobalite are not destructive to the dictable results. And finally, temperature is critical-- ware--not at the moment the inversions take place. Cool- bodies that are excellent at Cone 13 might be unusable a ing can be extremely important in putting the glaze in cone higher or lower. compression, and that can cause the ware to fail. But it All this makes lithium ceramic bodies sound like some- i3 highly unlikely that the volumetric changes accompany- thing for the aerospace engineer rather than the potter. ing quartz and cristobalite inversions will, of themselves, They probably are, especially when you consider the cook- cause even fair-sized sculptural pieces to crack from ing properties of clay--excellent in the oven, poor on top thermal stress. of the stove, where you want the fast heat conductivity of Raku, of course, is an exception. The raku process puts iron or copper. If you've ever tried to fry an egg in a pretty stiff demands on a body, especially in larger pieces ceramic skillet, you know what I mean. and delicate shapes. There are four ways to get a greater Talc in a clay body deserves some attention all to itself, resistance to heat shock in a raku body: (1) use low-silica which may help clear up some points raised earlier. It's a clays; (2) make sure they are underfired and porous; (3) widely used ingredient, and rightfully so, for it does some use lots of granular material; and (4) use special low- important things very well. expansion materials where available. Many bodies get by In earthenware and whiteware (up to stoneware tem- on numbers 2 and 3. Often potters manage with sand and peratures) talc in combination with clay produces ensta- other high-expansion materials, just because of the graini- tite, a mineral with high thermal expansion. This helps ness and porosity of the body. But if you want a raku body prevent crazing, which may be a problem at lower tem- that will not limit what can be made with it--think about peratures. Since at these temperatures talc makes the ware the thermal behavior of your ingredients. Sand for in- tighter and stronger, it is the most commonly used non- stance: fireclay grog has a much lower thermal expansion, clay mineral in low-fire bodies. and raw kyanite much lower still. The clays are vital: Talc is also used in the manufacture of cordierite why use a siliceous clay like Jordan when a low-silica clay bodies. Cordierite is a low-expansion mineral formed in can take heat shock better? Of course, there is little or no talc-clay mixtures when fired to around Cone 13. Cordie- chance for cristobalite to develop in a typical raku pro- rite bodies are very special products, used in items such cedure, but quartz--with its overall high expansion and as electrical insulators. Unfortunately, they have an its inversion--is very likely to affect your work's chance extremely narrow firing range, and are therefore not for survival. Lots of raku potters seem to be using talc, practical for potters. It also seems impractical to add a and getting away with it, but at raku temperatures it has little talc to a stoneware body in hopes of getting just a exactly the opposite effect from what you want. Talc in little cordierite. You are more likely to get enstatite as a low-temperature clay body will harden and strengthen well as more cristobalite, and a shortened firing range in the body, but gives it a high thermal expansion. Our raku the bargain. body at the Memphis Academy of Arts is: The main thing to remember about talc, then, is that, it tends to raise the rate of Raku Clay Body except in cordierite bodies, thermal expansion. It is therefore working against you in A.P. Green Fireclay ...... 90 parts a raku body, and probably in a Cone I0 teapot body Clay (SGP I) ...... 15 Tennessee Ball as well. Kyanite (35 mesh) ...... 15 In some respects, understanding the thermal expansion Wollastonite (F-I) ...... 5 of a glaze is much simpler, especially assuming a typical Grog ...... 7 bright glaze in which all the oxides are combined as a 132 parts glass. In such a glaze, each oxide contributes its own When potters talk about the thermal expansion of coefficient of expansion, in proportion to the amount of ceramic materials, the subject of flameproof lithium bodies that oxide present. Since all the constituent oxides have inevitably comes up. These are high-fired ceramic bodies been completely melted and are now dissolved in a glass, that are dense and have a very low thermal expansion there are no crystals to worry about, no newly formed because of the combination of lithium minerals and kaoli- minerals with their own thermal expansion rates to take nite. It is even possible to make a ceramic material that into account. In a clay body, as we have seen, the original has a zero or even a negative thermal expansion with this ingredients change to new crystalline forms when they combination. Such remarkable ceramic bodies might be are heated, new minerals and glasses appear with increas- composed of 50/50 spodumene and kaolin, and be fired ing temperature and time, so that it is possible to add an to Cone 14. ingredient to the recipe and get a totally unexpected effect But several peculiarities of spodumene must be noted. on thermal expansion, or opposite effects at different Firstly, a small amount, up to 10 percent or so, will raise temperatures. Talc, for instance, in a clay body can pro- the thermal expansion of the body, because the lithium duce varying amounts of enstatite, or cordierite, or melt, mineral promotes the development of cristobalite. You depending on temperature, time, and other ingredients have to go above 20 percent to begin to get a lowered present. When you add talc to a glaze, on the other hand, expansion. Secondly, beta spodumene should be used, no such complications ensue. You are adding known which has been calcined to Cone 11. Raw spodumene amounts of MgO and SiO.,, and each has a known coeffi- swells when fired and makes a very porous body. Thirdly, cient of expansion, plus a calculable influence on the minerals other than spodumene and kaolin in your compo- thermal expansion of the glaze. sition will change the results enormously. Using less pure Once all that is stated, it's time to back up a bit, and clay, or adding fluxes or colorants, can have wildly unpre- admit to some complications. Matt glazes, or any other

32 CEP.AMmS MONTHLY will of course its thermal expansion by glazes which contain crystal development, glaze you have, you could lower of body and and increasing things be affected by those crystals. At the interface cutting back on the soda and potash, in high- magnesia. glaze there is a zone, especially well developed like silica and of crystal may change your glaze temperature ware, which is its own combination Just as clearly, such substitutions be affected its color or transparency or and glaze, and thin glaze coats especially can in other respects, rendering on the wrong that it is no longer the by this. (My own favorite matt glaze will, matraring temperature so different where it's you've gained nothing. clay body, shiver where it's thin and craze glaze you want; and in that case oxides in a of dealing with thick.) Furthermore, when you substitute That's why the most common method change the clay body rather than glaze to alter its thermal expansion, you will also glaze fit problems is to modify viscosity, and of thumb: To correct its other characteristics--brightness, color, the glaze. Here are some rules said that the the body's silica and even maturing point. And finally, though I crazing on a stoneware body, raise are actually shivering, do the coefficients of expansion were known, they lower its feldspar content; to correct figures do it. In the case of not scientific "facts," but only useful average opposite--from 2 to 5 percent may in some cure crazing; decrease reflecting how the oxides have acted before, a low-temperature body, add talc to only have re- on glaze fit will be glazes, but not in all possible glazes. Not it if you have shivering. The effect but different density, strength and searchers gotten somewhat different results, pronounced, whereas the color, that presents excessively. About the textbooks record these results differently. Yet firing shrinkage should not change exception talc needed for glaze no practical difficulty, since with only one only drawback is that the amount of expansion affect the plasticity of (PbO) the ranking of the oxides, from lowest fit at Cone 05 may appreciably to re- to highest, remains the same from researcher the body. (x 10-7), searcher. The most recent findings: B203--0.29 at Mills Col- SIO2--0.37, A1._,O:~--0.61, PbO--0.80, ZnO-- About the author Peter Sohngen studied MgO--0.30, New BaO--1.30, CaO--1.50, K.,O--3.30, Na20--3.90. lege, Oakland, California; and Alfred University, 1.00, Academy Lithium is inconsistent. York. Since 1969 he has taught at the Memphis with a Clearly, if you want to cure a crazing problem of Arts, Tennessee.

likely to In extreme cases, shattering may result if the body Interior glazes under compression are more contracts more than the glaze on cooling. crack the pot when boiling water is poured inside.

March 1979 33 Dzintars Mezulis

DZINTARS MEZULIS was one of four artists featured in "Fantasms," held recently at the Ontario Craft Gallery, Toronto. The artist states that he is largely self-taught, and adds, "I try to stress and insinuate the other-worldli- ness and magical qualities of life. I Above never make sketches-- Detail o[ "Tiger Co~'cred.IlaT ," I0 inches in just write down the theme or core idea and the details height. Alter [iring, the eyes were painted with evolve. Often they're elements of people and places I've approximately 20 coats o[ enamel. observed through travel. "I try to see everything as components, visualizing a Below, left "Dolmen Obscura,'" or "The Pose Your Own hand or gesture as a totality, finishing a foot completely Enigma Kit,'" handbuilt stoneware, 16 inches in height. before attaching it. I use a stoneware body fired to Cone 6 in oxidation with various stains, and a process of build- Below "Uncle Zam Wants You," 9 inches in height, ing up the eyes after firing, using 15 to 20 coats of handbuilt stoneware, fired to Cone 6 in oxidation, enamel." by Dzintars Mezulis.

34 CERAMICS MONTHLY "I am certain that another show of similar quality could Marietta Crafts National be selected by another jury and even more certain that we would have selected a slightly different show if judging had been from the works themselves• "One thing that was very disturbing to me was the lack CRAFT V~'ORKS by ninety-seven artists were exhibited in of understanding by many of even the most rudimentary the "Marietta College Crafts National '78," Ohio, through levels of craftsmanship and content• Fully half of the November 26. Textile artist Warren Hadler, glass-blower people who submitted work should try to arrive at a more Henry Halem and ceramist Warren MacKenzie selected objective view of what they are doing• First efforts, no 111 objects (39 ceramics) from 2,839 (911 ceramics) slide matter how sincere, have no place in an exhibition which entries. Commented juror Warren MacKenzie, "There aspires to show the best that is being done nationally." were many works of impeccable craftsmanship which were This year's MCCN will be held October 27-November not included because, as a jury, we found them wanting 25. Crafts and sculpture in all media are acceptable for in that intangible thing which lifts a piece out of the consideration; slides are due September 8. ordinary and which reaches out to touch something deep inside of us, with a response centered in emotion and not Thrown covered jar, ~toneware, 13 inches in height, intellect. These pieces we tried to discover by opening by George Parker, Providence, Rhode Island. Color ourselves to intuition on the gut level without prior images in this article were made [rom the original prejudice. slides submitted by the artists•

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illarch 1979 35 Right Pit-fired clay form, 23 inches in height, by Tom Phardel, Ann Arbor.

Below "'Bayou Living," handbuilt coil form, 21 inches in length, by Sherry Karver Fein, New Orleans.

36 CERAMICS MONTHLY Above Thrown covered jar with deposited ash glaze, 14 inches in height, by George McCauley, Athens, Georgia. Right "'Black and White," handbuilt porcelain teapot, 7 inches in height, by Kathryn Sharbaugh, Holly, Michigan. Above "'Minnesota Teapot" low-[ire whiteware, approximately 8 inches in height, with nerikomi decoration, by Masako Miyata, Port Republic, Virginia.

Right "'Composition in Blue," porcelain [orm, 18 inches in diameter, by Mary Maxwell, Kent, Ohio. Far right Stoneware lidded jar, thrown with sliced [acets, 9 inches in height, by Barbara Diduk, St. Louis.

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March 1979 39 Carlo Zauli, Italian Sculptor

A SOLO EXHIBITION of stoneware sculpture by Italian built work is massive in scale; his larger pieces, which artist Carlo Zauli was presented late last year in conjunc- range from 5 to 15 feet, are fired in sections and later tion with the Thirty-Sixth International Competition of cemented together. He frequently uses a white stoneware Artistic Ceramics at Faenza, Italy. Much of Zauli's hand- clay, with a pale gray-to-white ash glaze.

Stoneware [orm, approximately 6 [eet in height, handbuilt in sections, by Carlo Zauli. ,'z.

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Above Handbuilt [orm, 2 [eet in height, stoneware with ash glaze.

Left Ash-glazed stoneware [orm, 28 inches in height, constructed in sections.

March 1979 41 Peter Callas, Ana-gama Potter

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w Far left Thrown plate, 22 inches in diameter, Cone 11.

Left Peter's ana-gama kiln.

Far left, below Thrown plate with [olded rim, 16 inches in diameter, with [ly ash glaze.

Below Bizen-inspired [orm, approximately 12 inches in height, thrown and incised; the

| [lashing and textural e[[ects are characteristic o[ ana-gama wood [iring.

~ A SOLO EXHIBITION of wood- fired ceramics by Peter Callas was held at HMS Studio Ltd., New York City, through Febru- ~j~ ary 15. Surfaces were glazed .fi only by the effects of fly ash in the kiln; the containers were in- spired by Japanese Tea Cere- mony ware. Peter single fires stoneware and porcelain in a 325-cubic- .i foot ana-gama--a sloping, single-chambered "cellar" kiln, constructed three years ago at his studio in Piermont, New York. The kiln sits three feet below the frost line on .-¢ a cement footing, with cinderblock subflooring staircased for an eighteen-degree rise. Five thousand hardbrick were used in the structure, laid with a mortar of 6 parts fire- clay, 4 parts coarse grog and 0.01 part sodium silicate. :4 The first course of the arch was stepped down from the kiln chamber to the firebox in rings; the second was laid interlocking for strength. When the kiln construction was complete, earth was replaced, leaving only the firebox and the top half of the kiln exposed. A lightweight insulation mixture of grass, straw, sawdust, sand and clay covers the walls and arch, with stoke holes placed two feet above ground level. Peter fires the ana-garna quarterly, stacking unglazed ware touching, often setting forms to produce intentional distortion or surface markings. A small fire is begun in the firebox, and when heat builds sufficiently, the fire may be fed through the stoke holes alongside the ware chamber until temperature peaks between Cones 10-11. The rhythmic firing takes three days, utilizes three cords of wood and requires another three days for the kiln to cool. Surface textures vary from a matt, unglazed appear- ance to a bright, glossy, ash-glazed sheen; with flashed ash colors ranging from red, yellow, gray, blue, brown and green to black.

March 1979 43 Peter Callas's "cellar" kiln was laid on a cement Ftrcboa u'all~ (/()reground) were bowed to encourage /oundation 3/eet below the/rost line; cinder blocks natural heat/low; simultaneously building the kiln were staircased /or an eighteen-degree [Ioor rise. door (/font) ensured proper/it.

An arelt lotto o~ pl)'zc,>od at~d 2a6 play, k, a a, i,,tallcd on Center Stoke holes u,ere h'/t iu ttec arch during cinder blocks/or easy removal/oUowing construction. construction. Pipe and stone rein/oree the structure; Broken brick and kiln shelves were used to slope brickwork more metal framework was added later. /lush with the planks be/ore laying the arch. The [inished 15- x 5-[oot kiln took 5,000 "'straights" Above Masonite and wooden slats support the (standard [irebrick) to complete. descending arch, which was stepped down in hal/circles.

44 CERAMICS MONTHLY earth o[ the arch The nearly completed arch. Following construction, I~ "ith ironwork installed and the [irst course [or was replaced against the kiln walls and a lightweight complete, a second course was laid interlocking insulation added over the arch. strength and [urther insulation.

o[ wood and three days Callas's t~enter It takes three cords ~enter ~ /~eel-thrown ware dries in Peter to complete a stoneware [iring. studio, Piermont, New York. [lashing patterns; [iring Above Closely stacked ware in[luences Above The completed 325-cubic-loot ana-gama to encourage [iring a some [orms are placed on edge at night. An old electric kiln door mounted on distortion or lateral glaze [low. pulley is raised to allow stoking.

March 1979 45 Combining Glass and Clay by SUPRECHA NAKARAT

AT FIRST GLANCE Clay vase with the possibilities of combining the tech- pulled glass handle, attached niques of and [used in place glasswork and ceramics appear improbable. a[te7 [iring the clay object. While both To adhere, elements depend on fire for their transforma- the completed [orm should be tion, glass is manipulated annealed beginning while hot, then cooled; clay is at I IO0°F. worked while cool, then is fired. Recent research has shown that the marriage of these art forms can be a happy one, though the combination of the two is still in its primitive stages. Before working with glass, the clay should be fired glazed. It and should be somewhat refractory to withstand thermal shock, and have a fairly low cooling shrinkage. clay composition A that has worked best for me is: Clay for Glasswork Any Plastic, White-Firing Cla~...... 75% Fine Silica Sand ...... • 25 100% Fire this experimentally at the temperature for which the white clay was originally designed. The glass I have worked with is composed of: Glass for Use With Clay Potassium Carbonate ...... 20 parts Sodium Carbonate ...... 2 Whiting ...... 9 50 Fine Silica Sand ...... 81 parts This recipe must first be melted at 2450°F. The glass may be poured inside clay forms, or attached as handles and other protrusions. But if the glass is blown inside, the clay object will require sufficient mechanical strength to withstand tile subsequent pressure. After the clay/glass work is completed, the form must be annealed beginning at ll00°F; otherwise the glass will fail to adhere. There are many possibilities suggested by the combin- ing of these two media--collaborative works, and forms produced i by a single artist with skills in both clay. glass and It is hoped this article will begin more involvement in such mixed-media. About the author Suprecha Nakarat is a potter, and teaches in Macon, France.

46 CERAMICS MONTHI,Y \

Top Glass is blown into a glazed and [ired bowl. The Top Pouring glass into a clay object. The author uses a object must have su[[icient mechanical strength to body o[ 75 percent whiteware clay and 25 percent withstand the pressure. line silica sand. Above Alter blowing glass into the bowl, it is Above "Apple in a Cup.'" The glass at the [oot o[ the worked on the bench, then annealed. work is [or manipulation, and will later be removed.

March 1979 47 Glass may be blown or poured inside clay/orms, attached as handles Combining the media in molds is or other protrusions, as in this slab/orm with "wings." possible, as in this li/e mask.

bubble-like [orm. Pouring gla~s into objects containing bicarbonate o/soda expands the glass, producing a

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48 CERAMICS MONTHLY and design, but provided little technical, practical training Michael and Sheila Casson (none in firing), he set up his own studio in London with making sculptural pieces and some pots. by THOMAS SHAFER the intention of Although his work sold reasonably well, the pieces were time-consuming to make, and he depended on teaching for his livelihood. During the next few )'ears, however, Mick began to use Michael Casson has been making pots, FOR THIRTY YEARS more of his own and other people's pots in his home. His )'ears he and his wife Sheila operated a and for eighteen enjoyment in actually using pots led him to think more in the village of Prestwood, about thirty small pottery in terms of making practical functional ware, which at first London in Buckinghamshire. Mick and miles northwest of took the form of brush-decorated, tin-glazed earthenware. though each makes his own pots. In Sheila work together, In 1955 he married Sheila, whom he had met at art school to a new home and studio on a farm 1977 they moved and who was also a potter. She began working with him, Gloucester in Herefordshire. near and together they gradually went through the process of enjoy their work, and approach The Cassons thoroughly teaching themselves the basics of production potting. Mick yet disciplined and methodical manner. it in a relaxed continued to make some sculptural pieces, but concen- up teaching in 1973 to devote himself full time Mick gave trated more and more on functional ware. Their ultimate potter},, and the income from their modest produc- to his goal was to earn a living as potters, and by 1958, Mick been sufficient for their simple yet comfortable tion has and Sheila felt that this was possible. With the idea of The}, feel no pressure to produce more, or to way of life. converting to the production of stoneware and selling a on types of work that bring the greatest mone- concentrate substantial portion of their work from their own show- tary return for time invested. room, they purchased a home and studio in the village of and Sheila have three children (two daughters, 18 Mick Prestwood. This location was close enough to London for 20, and a son, 11). All have worked with clay and and easy access to galleries and Mick's part-time teaching job, learned to throw, but show no inclination to become so a gradual transition could be made. Shortly after the potters. move, however, Mick became involved in plannlng a new Background pottery course at the Harrow College of Art, and con- Like many other potters, Michael Casson originally tinued there as a teacher until 1973. wanted to be a painter, and became involved with clay by Wobage Farm After resigning his teaching position to chance. He first studied pottery just after World War II, devote himself full time to potting, Mick began to think during an 18-month emergency training course for teach- seriously about moving to a more spacious studio. Since ers, which required him to study a craft as well as drawing it was no longer crucial to be near London, and property and painting. After two years of teaching, he returned to within commuting distance of the city had become very school (Hornsey School of Art), still intending to be a expensive anyway, Mick and Sheila finally decided on painter, but changed over to pottery. In 1952, after three Wobage Farm, three-and-one-half acres on Crow Hill years of art school that gave him a wide awareness of art near Upton Bishop in Herefordshire. Worthy of its pic-

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March 1979 49 turesque name, Wobage Farm is a 16th century farmhouse cious, there are clearly defined, logically organized areas with half-timber front and three magnificent old stone for throwing, glazing, clay preparation, etc., and carefully and brick barns that stand on an open hill overlooking a planned shelving and storage space. wide landscape of pastures, fields and forest. Because of Kilns At Prestwood, pots were usually bisque fired in a the unspoiled rural setting and the historic character of small electric kiln (although the gas kiln was sometimes the buildings, the county government was concerned about used) to about 950°C, judging by eye. Glazed ware was how they would be used. Fearing the studio might grow reduction fired to about 1280°C in the 22-cubic-foot into a factory, the county granted permission for it with natural gas downdraft kiln that Mick built in 1963. A the provisions that the Cassons live in the house and that glaze firing proceeded rapidly up to 1000°C when reduc- no more than 1,500 square feet of the 8,000 square feet tion was begun (heaviest between 1100°C and 1180°C), total area of the barns be used for pottery making. Addi- continuing to near the end of the 14 to 15-hour cycle, tional space may be used for kilns, storage, or other crafts, which was completed with a 20 to 30-minute oxidation but the same space limitation applies for each craft. period. There was a temperature variation of about 40°C Sheila's father, a woodworker, will live with them and use (1260°C--Seger Cone 8--at the top to about 1300°C at part of the one barn for his own workshop. Mick envisions the bottom), which Mick found convenient for the vary- the possibility of having other craftsmen working there as ing maturing points of his glazes. A recently built wood well, including his daughters, who are planning to work kiln was fired only a few times before being dismantled in textiles. in preparation for the move to the new studio. The barns, which until a year ago were used as cow- At Wobage Farm Mick has built two kilns: a 50-cubic- sheds, required a great deal of work, and the house also foot sprung arch downdraft kiln---fired with two oil burn- needed wiring, plumbing, and extensive repairs. One barn ers and used for both bisque and glaze firing, and a 25- has been converted for studio use with the installation of cubic-foot wood-fired kiln that will be used for salt firing. plumbing, heating, electricity and concrete floors. The The oil kiln and a small electric kiln are in the kiln room massive stone and brick exterior is unaltered except for adjoining the glazing area, while the wood kiln is in a the addition of large windows, sensitively proportioned separate shed. and placed to avoid disrupting the character of the struc- ture. A long, narrow one-story wing houses the throwing, Assistants glazing and kiln rooms. An adjoining 30x40-foot two-story During most of his Harrow years Mick actually taught section contains a clay preparation and storage room and classes at the school only one day a week, but was involved the woodworking shop on the ground floor; a textile with the program and the students in other ways as well. studio is planned for the second floor. A wood-fired kiln, The course included workshop experience in the studios wood storage, and dry-materials storage are in the other of the teachers, so that there was often a student working barns. The new studio is superbly functional, while pre- with him for two or three weeks. serving the rustic beauty of the barn in whitewashed stone Mick employed some of his former Harrow students as walls, and exposed beams and rafters. Compact yet spa- throwing assistants for short periods, and for about six I ~ .... ~ ~-~ ~* ~ m

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Above The glaze room, Wobage Farm studio.

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March 1979 51 Left Bricking the door o[ the 50-cubic-loot downdra[t oil-[ired kiln, Wobage Farm.

Right Throwing room, Wobage Farm studio.

Right, below This 25-cubic-loot wood-fired kiln is [or salt firing. months, two of them at once. They were both very fast He felt that the ideal size to accommodate the scale of his repetition throwers and threw standard tableware forms production on a schedule that suited his temperament designed by Mick. Their production was so great that would be about twice as big as the Prestwood kiln. Accord- Mick, who made handles for some pieces and did all of ingly the first kiln he built at the new studio has a 50- the decorating and glazing as well as loading and firing cubic-foot capacity that will hold about two or three the kilns, had little time for making his own pots. weeks' work in a single glaze firing. Mick does not intend to hire apprentices or throwing Sales assistants in the future, but has considered the possibility When the Cassons moved to Prestwood in 1959, it was of another kind of employee. with the idea of selling a substantial portion of their work Work Cycles through the studio shop to local residents. In recent years Mick and Sheila normally work six days a week from about one-third of the production was sold in this way about 9 A.M. to 6 P.M. and occasionally work after dinner (mostly standard tableware such as mugs, small bowls, and on Sundays. pitchers and teapots), while most of the larger, more Because they work alone, a cyclical rhythm seems most expensive and more individual pieces were sold through logical. At Prestwood the cycle was about one month, with galleries. Although in recent years an increasing number three weeks devoted to making pots. Usually there were of customers came from London, most of the sales at the two bisque firings in the electric kiln every weekend (tak- studio were to residents, many returning regularly and ing advantage of a lower weekend rate for electricity). often. Mick and Sheila felt an obligation to continue their When enough pots had accumulated for two or three original idea of supplying functional ware to the people glaze firings in the 22-cubic-foot gas kiln, they moved into around them. Toward the end, however, they began open- the back studio for the glazing cycle. Mick and Sheila use ing the shop only one day a week, after years of being the same glazes, but each normally glazes and decorates open daily. In their new studio, located in a more remote his own work. Since the kiln was small and glazing and and thinly populated area, they will not have a retail shop decorating are generally done simply and quickly, enough at all, but plan to sell all their work through five galleries : pots could be glazed and the kiln packed within two days. three in London (the Craftsmen Potters' Association, the It was fired on the third day, and by the time it was cool British Crafts Center, and the Casson Gallery, owned by enough to unload, a second group of pots was ready to Mick's sister), one in Dartington and one in Surrey. go in. Demand for the Cassons' work is high, relative to their In planning the new studio, Mick did not want a very modest production, and the pots consistently sell very large kiln that would force him into a long work cycle. quickly. There is rarely a large selection of finished pots He likes to see finished pots fairly often, as well as glaze at the studio except just after a firing. Galleries are happy and body tests that are included in almost every firing. to buy whatever Mick makes, and some even have waiting

52 CERAMICS MONTHLY ! i I

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t -*~t{j .,11 lists for some types of pots. Mick never seems to be far dard prices that remain constant, except for increases due enough ahead of current demand to regularly set aside to inflation. Individual pieces, made in shorter series, vary special pieces in anticipation of possible exhibitions, but more and are relatively higher priced. he does save outstanding pieces when he knows a show is Mick only occasionally accepts orders or commissions, scheduled (usually a year or more in advance). Mick has and then reluctantly, since he feels he does not do his best had virtually no problems with compromising what he work under those conditions. In addition there is always really wanted to make and what would sell. a possibility of misunderstanding and dissatisfaction that Pricing In the early 1960's Mick and the other potter- doesn't occur when customers make their own selections teachers at Harrow, as well as their students, systematically from among already-finished pots. analyzed their work in terms of time, materials and kiln Analysis of Work space required for each type of pot relative to its market The Cassons make a standard line of functional do- value. They did this not only as a means of arriving at mestic stoneware as well as individual pieces in stoneware modest and appropriate prices, but as part of an attempt and porcelain. Generally they both make functional pots to find ways of increasing their productivity. Despite some almost exclusively and use the same clay bodies and glazes criticism that they were doing a disservice to art in apply- and fire their work together in the same kilns. However, ing business methods to artistic production, they felt that a they make, decorate, and glaze their own work, and their potter could be financially independent only through effi- styles are distinctly different. cient management of his resources and abilities. This kind Their standard repeat ware--which has been made of analysis, which contributed to Mick's increased speed largely for sale at the studio--includes mugs, cups and and efficiency during that time, is no longer consciously saucers, bowls, teapots, coffee jugs, pitchers, covered jars, part of his thinking except as a pricing guide. casseroles and other domestic ware (but rarely plates). Pricing of individual pots is based on a balancing of The glazes, decoration, and many of the forms have several factors, including size, amount of time required, remained essentially unchanged for several years to pro- and relative quality. Mick and Sheila always do the vide a continuity that would enable customers to gradually pricing together immediately after each firing. First they build up a group of coordinated tableware. Most of the take out the seconds and "subs" that will be priced lower. smaller pieces and all the mugs are made by Sheila, who Mick considers a second an otherwise good pot with a also does a variety of larger pieces. Mick tends to concen- technical flaw (a crack, a bad warp, etc.), while a "sub" trate on larger pieces, such as bread crocks, storage jars, is technically all right but just hasn't come off aestheti- pitchers, jugs and big bowls, but also relishes the special cally. Then there are the good pots and one or two challenge of teapots. "racers" (a Harrow word for pieces that have come out Decoration Mick prefers fast, direct methods of deco- exceptionally well technically and aesthetically). These rating, feeling that his work loses spontaneity and life with are priced somewhat higher, though never more than slower, more meticulous processes. His decoration is often twice normal price. Standard production pieces have stan- minimal: a splash of poured glaze; casual patterns made

A large pitcher by Mick. The decorative patterns were made by quickly wiping with a sponge across a coating o[ wet slip. .2

Left A small porcelain bowl by Sheila.

Below A bowl by Mick with landscape brush decoration.

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m L • i s .~ with fingers, a sponge, or a wooden tool in wet slip; a few solidly, spouts pour cleanly and handles, lugs and knobs deft brushstrokes in iron red, or lightly incised banding are a pleasure to hold as well as see. accenting a shoulder or rim. His distinctive manner of Mick believes that medium and aesthetics are insepa- has attaching handles is often elaborated as a decorative ele- rable and his work, since his switch from earthenware, ment or accented by sweeping thumbnail incisions. Many been closely based on his vision of the particular qualities pots are decorated in a more planned and deliberate and strengths of reduction-fired stoneware. This is evident of manner, though still quickly executed. Motifs have often not only in his use of rich, earthy colors and textures been derived from the idea of landscape, with stylized glazed and unglazed surfaces, but in strong, vigorous forms the hills, fields, and trees appearing in many more or less and decoration. His work has changed gradually over obvious permutations, though they sometimes almost dis- years, gaining in assurance and mastery, while remaining new appear in abstract designs or survive in undulating line true to his basic values. He is excited about trying patterns. The landscape theme has been developed in a glazes and techniques, but they are always assimilated has in recent variety of techniques, including brushwork, wax resist. into his steady line of development. Mick lighter, sgraffito, incised lines, inlaid slip, paper resist, and applied years done some porcelain, and these pieces have a clay. more delicate character appropriate to the material, but of his Despite his preference for fast techniques, Mick has still retain some of the sturdy, robust quality achieved some especially beautiful results with the more stoneware. series. painstaking processes of paper resist and mishima, or Mick and Sheila always make pots in groups or groups, but inlaid slip. For paper resist Mick uses thin soft paper such The more individual work is made in smaller pieces, as newsprint to mask or stop out areas of the pot's surface they never attempt to make unique exhibition natural rhythm while a slip coating is applied. The cut or torn paper feeling that their best pots emerge from a variation of a shapes are first soaked in water, then arranged on the of repetition. Each piece in a series is a lively in con- leather-bard pot, to which they readily adhere. After the single idea, but still important in itself and slip has stiffened, the paper is peeled off. In the mishima cept and execution. Farm is technique, Mick uses thick white porcelain slip to fill a For Mick and Sheila the move to Wobage and direction pattern of incised lines in a dark body. After the slip has linked with a deliberate change in emphasis break with their stiffened, the pattern is cleaned up by lightly scraping the in their work. This does not mean a sharp their surface, leaving slip only in the incised lines. past work, but a greater concentration on exploring developing new Sheila's functional ware is usually simply glazed with current interests and experimenting and make a greater brush decoration over the glaze. Some of her standard glazes, techniques and ideas. They will and there- repeat pots are decorated by Mick. Her small porcelain proportion of larger, or more time-consuming, standard repeat pieces have delicate sculptural additions or precise carving fore more expensive pieces, and less of the and smooth, pale semi-opaque glazes that accent the ware. pristine quality of the material. Color decoration is limited to an occasional subtle blush of pink from a dip of copper slip under the glaze. Excerpted [rom The Professional Potter, published by York Function Nearly all of the Cassons' pots are intended Watson-Guptill Publications, 1515 Broadway, New Publica- for use, and functional considerations are important in City 100.36. Copyright 1978 by 14"atson-Guptill designing and making each piece. Lids fit closely and tions.

56 CERAMICS MONTHLY m . s"

Opposite page and above Variations on a theme: massive storage jars by Mick with sgra[itto and inlaid slip decoration.

March 1979 57 most economical way of filling a space with a given set Close Packing and Cracking of events . . . the way energy events (atoms, bubbles, seeds) relate with one another in the universe. Cracking is one way solids disassociate. Close packing is a coming together. Cracking is a taking apart. "In September of 1975, I began assembling experi- CERAMIC WORKS--often sculpture/puzzles--were repre- mental kilns with less than one-half-cubic-foot of stacking sented in a late 1978 show titled "Close Packing and space. When assembling this equipment, I had only the Cracking," at the Craft and Folk Art Museum, Los vague notion that what was fired should reveal the inter- Angeles. These forms, by Oregon artist Bradley Miller, locking natures of clay and the broader landscape. The reflected river erosion of rocks, principles of close packing, first [such i pieces [I] fired were ceramic stones which were and fracture/compression patterns• placed in a rock tumbler to simulate river wearing. Sev- In the foreword to the exhibition catalog, Buckminster eral of the first large stones unintentionally cracked when Fuller commented, "As a lifelong student of nature's dis- fired . . . were salvaged, tumbled and reassembled. The associating and associating, structuring and destructuring forms which emerged were an unexpected delight; I

• . . I am delighted [to] encounter excellent work done by thought these could be intentionally reproduced by wrap- others regarding the conceptuality and principles of ping clay pieces in tissue paper and compressing them nature's coordination. together. During firing the paper burned out, leaving the "When I encounter work so conceptualized and com- pieces free from one another. These were tumbled and municated as that of Bradley Miller's, I hasten to bid reassembled. Those which emerged were beautiful but others to observe his work .... " inherently different from the cracked forms. These two Bradley Miller's own introductory statements explain unexpected events have grown into the work presented in further the sources of his forms: "Close packing is the this exhibition."

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:"lk Far left "Three Con[igura- tions o/Thirteen Spheres," stoneware, each 4 inches in diameter•

Above "24-Cell Sphere," 2~ inches in diameter, unglazed porcelain.

Left, center "Soap Bubbles," photogram, 1 inch in height.

Left "'Cell Porcelain Sphere," 2~ inches in diameter, untied.

March 1979 59 Don Reitz Exhibition

"OCTOBER WORK," a solo exhibition of salt-glazed ceram- ics by Don Reitz, was presented at Wabash College, Craw- Iordsville, Indiana, through November. Many of his large- scale forms, which ranged to 40 inches in height, were constructed from wheel-thrown parts, incorporating hand- built elements, incising, impressing, and were fired to Cone 9 with slips and oxides.

Clockwise from above left Wheel-thrown, salt-glazed with handbuilt additions, 22 inches in height. construction, 19 inches in height. Slip-decorated lidded An installation view of the Reitz exhibition, form, 20 inches in height. Don Reitz. Thrown container Wabash College, Craw[ordsville, Indiana.

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March 1979 61 Fired Up

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"FIRED UP," the second juried exhibition of ceramics and glass by the Ontario Potters Association, was recently held at McMaster University Art Gallery in Hamilton. Out of 514 pieces entered, 102 were accepted by jurors Wayne Cardinalli, Bonita Collins, Ken Cumberland and Ed Roman. On view concurrently was an exchange exhi- bition by potters and glassblowers from Alberta and Ontario, and an exhibition by the jurors of "Fired Up." The three events were held in conjunction with the Ontario Potters Association's second annual conference.

Right Salt-glazed pitcher, 16 inches in height, by Sam Moligian.

Right, center "'Seth"s Dragon," 11 inches in height, by Steve Irvine.

Far right Porcelain teapot, 6 inches in height, wheel-thrown with celadon glaze, by Roger Kerslake.

Below Porcelain plate, 11 inches in diameter, press-molded with underglaze decoration, by Keith Campbell.

Below, center Handbuilt slab painting, 10 inches square, stoneware clay, by ]on Partridge.

Below, right Basket, by juror Wayne Cardinalli.

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March 1979 65 ,!

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More powerful. Ball Bearings. Easy to use. Easy to Model E-6 only (Less side pans) ...... $206.00 clean and easy to store. Model E-6 with I Side Pan ...... $230.75 Pans (as shown) .... $255.50 SPEED VARIES with foot pedal . . . smooth as an Model E-6 with 2 Side automobile. Side Pans clamp on without the use of tools PORTABLE Carry if with you anywhere. Bats fit and can be purchased separately our hand wheels. Each student may have own bat to fit your present E-6 Model ...... each $24.75 and place on hand wheel without losing center. Prices are F.O.B. Detroit, Michigan. See your dealer II0 volt AC. DC. One year servlce warranty. or distributor or write direct. GILMOUR CAMPBEI 14258 Maiden, Deffoff, Michigan 48213 (313) 568-0561

66 CERA~IICS h~O]N'THLY ITINERARY Michael Gonzalez and Maureen Peer. Fee: CONNECTICUT, HARTFORD $45 for 1 weekend, $85 for 2 weekends, August 6-17 A two-week session with Continued from Page 65 $125 for 3 weekends, $150 for 4 weekends. ceramist Richard Shaw will include mak- Crafts Fair"; at the Yachats Elementary For additional information write: Evolu- ing ceramic decals, jiggering, working with of slip molds; School. tion Art Institute, 6030 Roblar Road, Peta- china paints and the use luma 94952, or call: (707) 795-5096 or limited to 25 students. Send 10 slides of SOUTH CAROLINA, MURRELLS INLET 829-2456. work and a resum6 to: Walter Hall, De- partment C, Hartford Art School, Univer- April 27-29 "Murrells Inlet Festival of CALIFORNIA, VICTORVILLE the Arts"; at Murrells Inlet. sity of Hartford, 200 Bloomfield Avenue, April 19-20 "Clayton Bailey Workshop" West Hartford 06117, or call: (203) 243- includes slide lecture presentations and 4393. SOUTH CAROLINA, MYRTLE BEACH demonstrations by Clayton Bailey. For ad- Days March 17-18 "Canadian/American ditional information write: Gene Klein- Conven- Arts and Crafts Festival"; at the smith, Victor Valley College, 18422 Bear D.C., WASHINGTON tion Center. Valley Road, Victorville 92392, or call: March 31-April l A demonstration/ • (714) 245-4271, ext. 292. Continued on Page 68 TENNESSEE, MURFREESBORO April 21-22 "Spring Arts and Crafts Show" is a juried event; at the Rutherford County Agriculture Center.

TENNESSEE~ NASHVILLE May 4-6 "Tennessee Crafts Fair 1979"; at the Centennial Park. TENNESSEEj OAK RIDGE CERAMIC March 9-11 "Oak Ridge Invitational Art Festival"; at the National Guard Armory. TEXAS, ROUND ToP TEACHING April 6-8 "Winedale Spring Festival" is an invitational event; at the Winedale His- torical Center.

TEXAS, WICHITA FALLS April 28-29 "Wichita Falls Museum & Art Center Guild Spring Fling '79," at the Wichita Falls Museum & Art Center, 2 Eureka Circle.

VIRGINIA, CHARLOTTESVILLE March 30-April 1 "Virginia Crafts Council Craft Fair '79" includes contem- porary and traditional work; at University THE EXCITING WAY! Hall, the Cage. Classroom ceramics becomes a joy for VIRGINIA, RICHMOND with Mayco Colors, May 5-6 "Carillon Civic Association teacher and students Arts in the Park"; at Byrd Park. producer of America's finest colors. That's WASHINGTON~ KENNEWICK because Mayco products take the drudgery April 1-8 "Artists in Action"; at Co- and frustration out of ceramic preparation lumbia Center. with thoroughly tested Glazes, Underglazes, WISCONSIN~ MILWAUKEE One Strokes, Accents, Crystal Clear Glazes March 10-I1 "3rd Craft Fair U.S.A."; at Wisconsin State Fair Park, South-Wing and Stains. There's a ready hue, shade or Exhibit Center, 8100 West Greenfield texture for every imaginable concept, Avenue. whether used singly or in combinations. All WORKSHOPS Mayco Colors are homogenized for easy CALIFORNIA, CORONADO April 14 "Kiln Firing Using a Gas application and fire at Cone 06. Send for Analyzer," a seminar by ceramist Frank your free color chart and open new vistas U. Farmer, will cover basic combustion theory pertaining to reduction and oxida- in ceramic teaching. tion kiln atmospheres and the use of a simple gas analyzer for consistent firings and substantial fuel savings. For additional information write: Ceramic Environments, MAYCO ®COLORS 1975 Strand Way, Coronado 92118. 20800 Dearborn St., Chatsworth, Calif. 91311 CALIFORNIA, PETALUMA June 2-3, 9-10, 16-17, 23-24 "Raku/ Ceramics Workshop" will be conducted by

March 1979 67 ITINERARY slide lecture presentation and demonstra- Palette," will be presented by Marylyn Continued [rom Page 67 tion by Adrian Saxe. Dintenfass. April 13-15 "Stoneware, Salt, and May 18-20 The sixth of "7 Ceramics workshop with ceramists Paula and Robert Flameware," a slide presentation and dem- Seminars," concerning "Colored Clay: The Winokur, to be held at a Washington area onstration by Karen Karnes and Ann Use of Stains and Oxides," will be pre- university. For registration information Stannard. sented by Dorothy E. Hafner. write: Carolyn A. Hecker, Greenwood May 18-20 A slide lecture and demon- June 1-2, 9 The last of "7 Ceramics Gallery, Suite 905, 1025 Connecticut Ave- stration by Ralph Bacerra. For additional Seminars," concerning "Terra Sigillata," nue, Northwest, Washington 20036, or information on these workshops write: will be presented by Aurore Chabot. For call: (202) 833-2910. Eagle Ceramics, 12266 Wilkins Avenue, additional information on all of these Rockville 20852. events write: Women's Interart Center, 549 West 52 Street, New York 10019, or ILLINOIS, CHICAGO MISSOURI, ST. Louis call: (212) 246-1050. March 24-25 A two-day session with April 6-8 A slide presentation and two- ceramic artist Tom Turner. day workshop on pit firing, ash glazes and May 5-6 Ceramist Cynthia Bringle will NORTH CAROLINA, RALEIGH reduction firing---includes group participa- conduct a two-clay workshop. Both at the March 12-16 A workshop concerning tion; with Carol Ridker. For additional Lill Street Studio. For additional informa- "Enamels for Jewelry" and "Architectural information write: Sandy Martin, Com- tion write: Robbins Clay Company, 1021 Enamels." Contact: Conrad Weiser, The munity Potters Association, 739 Harvard W. Lill Street, Chicago 60714, or call: Craft Center, Box 5217, North Carolina Avenue, Saint Louis 63130, or call: (314) (312) 477-0701. State University, Raleigh 27650. 726-1408. OHIO, KENTUCKY, BEREA WOOSTER NEBRASKA~ OMAHA April 19-21 "Functional Ceramics March 19-23 "Mobile Pottery Work- Work- March 17-18 Two day in-studio work- shop" includes a lecture/demonstration shop" will tour over 20 studios, schools and shop with John Glick; at Old Market and firing of multifired press-mold pots factories in Kentucky, Tennessee and North Craftsmen Guild, 511 South llth. by Edith Franklin; lecture/discussion on Carolina. Fee: $75. Includes travel, room marketing by collector Evin Varner; slide/ and meals. Coordinator: Garry Barker. For NEW YORK, NEW YORK lecture tour of the Conover studio by details and application forms write: Pot- March 9-11 The fourth of "7 Ceramics Claude Conover; salt-glaze workshop by tery Workshop, Box 291, Berea 40403, or Seminars," concerning "Oxidation Firing Les Miley; surface treatment workshop by call: (606) 986-3192. and Glaze Chemistry" will be presented by Karl Christiansen; and a panel discussion Monona Rossol. on publicizing the functional potter moder- MARYLAND, ROCKVILLE March 24-25, April 7-8 The fifth of ated by William Hunt. For additional March 16-18 "Thin Slab Porcelain," a "7 Ceramics Seminars," concerning "Glaze information write: Phyllis Clark, Assistant

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MODEL 07 MODEL 08 MODEL 09 R Performs automatic i Features an indicating E Completely eliminates shut-off operation at any read-out meter the need to manually desired temperature. set switches. As seen of NCECA/SUPERMUD 1979 E Provides automatic E Provides accurate soak shut-off control at any I Provides for a constant or hold capabilities at temperature 270°F per hour rate of any desired temperature E Performs accurate climb (the recommended soak rate of climb) A.CH co. E Eliminates cones and hold cycles at any temperature. I Also enables the oper- E Completely ator to program in a electronic faster Qu,, ~. ~j,~ ROAD Dealer -- no cones necessary. rate of climb. e.tL~"~,~, ,. I Provides accurate soak inquiries and holding cycles at any temperature desired. !~-ii invited All Kilntronics controllers are available with the necessary field interfacing package to I An indicating read-out install on existing kilns. Crusader kilns are now gauge is standard. (2151 233-o&53 available with Kilntronics controls as original I Performs automatic equipment. Sound interesting? shut-off control at any preset temperature. FOR FURTHER FREE Please send more information on the versM'ile INFORMATION WRITE I Allows operator to DINACK wheel. TO: program a soaking or hold cycle during the Name cooling cycle. KILMRONIC5 l No cones required. Street, 937 South Washington Ave. Holland, Michigan 49423 Division of Crusader Corporation. Ci+y S+ate Zi p PH: (616) 392-1888

68 CERAMICS MONTHLY to the Museum Director, The College of MINNESO .._ ...... :: ...... Wooster, Wooster 44691, or call: (216) TA 264-1234, ext. 388.

TEXAS, SAN ANTONIO March 18 Texas Designer/Craftsmen conference and workshop is open to all. No advance registration necessary. For addi- tional information write: Carl Mertens, Alamo Ad Center, Inc., 217 Arden Grove 78215, or call: (512) 225-6294.

VERMONT, MIDDLEBURY March 9-10 "A Workshop on Oxida- tion Firing" of stoneware and porcelain, conducted by Richard Zakin. The two-day program includes a slide lecture, plus dis- cussions of clay bodies, slips, stains and glazes. Limited enrollment; $25 tuition, $20 for Frog Hollow members. For addi- m: tional information write: Vermont State m Craft Center at Frog Hollow, Middle- : A:tF u.r: p emixed clays bury 05753. WASHINGTON, SPOKANE ..... rammaterials in stock March 14-15 A two-day session with David Shaner. Fee: $20, free evening lec- ture and slide presentation; at Ft. Wright College. For additional information con- tact: Ft. Wright College, West 4000 Ran- dolph Road, Spokane 99204, or call: (509) 328-2970.

WEST VIRGINIA, MORGANTOWN March 5-6 Ceramic workshop with Joe ~O01::~Grand ~ve: $~i--glooming~on,MN ~;':,~ Zeller of Ohio University and Don Pilcher from the University of Illinois; at the Creative Arts" Center, West Virginia Uni- versity. No fee. Registration at the door. Accommodations available through the Ceramics Department. For additional in- formation call: (304) 599-9712.

INTERNATIONAL

CANADA., BRITISH COLUMBIAj NANAIMO March 10 "The Eighth Annual Ceram- ics Seminar" at Malaspina College will feature Carlton Ball, Dan Clarke, Robin Hopper, Les Manning, Jack Olive, John Porter, Kaaren Stoner and others, dem- onstrating handbuilding, beginning and OTTers a advanced wheel-throwing, porcelain, raku, glazing, jiggering, glassblowing, studio management, and photo transfer on glazes. SPRING BONUS Opening simultaneously in the college's Madrona Center is a traveling show by $50.00 Worth of ceramic supplies Les Manning. Included in the day is a juried exhibition of participants' pots, with FREE when you purchase from us, prizes awarded and a show and sale of the Anything out of our catalogue worth work of the guest lecturers. Registration closes March 1. For additional informa- $325.00 or more. including brand names tion write: Art Department, Malaspina College, 900 Fifth Street, Nanaimo V9R like: CONTEMPORARY KILN, CRUSADER, 5S5, or call: (604) 753-3245. CRESS, THERMO-LITE, BRENT SHIMPO-WEST, CANADA, ONTARIO, DUNDAS PACIFICA CRAFTS, KEM PE R, WEST WOOD April 28 "Annual Spring Sale of the & HANDLING Potter's Guild of Hamilton and Region"; SEND $1.00 POSTAGE at the Dundas Town Hall. SACRAMENTO, CALIFORNIA 95815 ENGLAND, OXFORD through March I4 An exhibition includ- 2556 'N' ALBATROSS WAY (916) 92 5 -7194 ing work by ceramist Tim Jarvis; at Ox- ford Gallery, 23 High Street.

March 1979 69 Recommended books on ceramics Order Any of These Select Titles on Our Money-Back Guarantee.

tHE RESTORER'S HANDBOOK OF ILLUSTRATED DICTIONARY NEW CERAMICS CLAY AND GLAZES FOR THE POTTER CERAMICS AND GLASS OF PRACTICAL POTTERY by E,leen Lewenstem and Emmanuel Coop- by Daniel Rhodes Ths revised edition covers by Jean-Mchel Andre An excellent gu,de lot by Robert Fournier. This work is exhaustwe in er ThL~ umque volume offers the potter a all the fundamentals of clays and glazes An scope those wLShmg to repair broken pots Cleaning and detail. There are nearly 1200 entries comprehensive survey of current trends m important reference source $l 2 50 fractures gluing pieces together retouching and over 450 illustrations. $15 95 studio pottery the world over There are 240 and reconstructing missing pieces are described illustrations -- 16 in full color $22 50 KILNS: DESIGN. CONSTRUCTION & In detail $20 O0 STEP-BY-STEP CERAMICS OPERATION PRE-COLUMBIAN DESIGNS FROM by Jolyon Hofsted A complete introduction to by Daniel Rhodes Everything you need to MAKING POTTERY WITHOUT A WHEEL PANAMA ceramics! There are special sections on the Pot- know about kilns -- set,~lg up. finng, types -- Is by F Carlton Ball and Jamce LarGos Th,s ter's Wheel. Glazing. Firing a Kiln. Building Your by Samuel K Lothrop A compdat~on of de- descnbed and demonstrated $1295 richly illustrated book covers every phase of Own Kiln. and Raku $295 signs and motifs represented on pottery speci- handbudding and decorating clay p~eces No HANDBOOK Of DESIGNS AND mens unearthed in central Panama $3 50 STONEWARE AND PORCELAIN book covers the sublect of texture and form so DEVICES by Daniel Rhodes Descnbes techniques and effectively It ts a book every teacher should CERAMICS: A POTTER'S HANDBOOK have $16.95 byClarence Hornung Over 1800sketchesol matenals used in high-fire pottery Includes sec- basic designs and vanations including the circle by Glenn Nelson. 4th edition. A classic hand- tions on clay bodies, glazes, colors, textures and FINDING ONE'S WAY WITH CLAY hne. scroll fret shield snow crystals and many book and a standard in the field -- covering all decoration $12 50 by Paulus Berensohn ThLs unique book oilers more useful symbols $2 75 facets of ceramics. A quality text $1995 a new approach to making pots It is a clear COMPLETE BOOK OF POTTERY RAKU: ART & TECHNIQUE readable and dehnitive book on making pots MAKING by Hal Riegger The first complete book on using the pinch method $11 95 by ,John B Kenny This is a revLsed and up + Raku. Covers clay and glaze preparation, kiln PIONEER POTTERY dated edition of John Kennys original version building and finng techniques $7.95 by Michael Cardew The main purpose of thLs wh=ch has been a standard text in the ceramic book L~ to help craftsmen who want to make art field for over two decades $15 00 MoneyBack Guarantee pottery using natural matenals w~thout depend- mg on customary sources of supply Covers KERAMOS THE WORLD OF JAPANESE CERAMICS clays glazes, kilns $6 95 by Franz Krlwanek All of the baslc areas of by Herbert Sanders. This handsome book illus- ceramic wr)rk are covered in this revised edl- trates the forming and decorating processes and THE POTTER'S COMPLETE BOOK OF tion The examples of pottery are ~mpresmve the unique tools used by the potters of Japan CLAY AND GLAZES There is a refreshmg treatment +)f sublecl matter Includes American equivalents of Japanese~aze by .James Chappell Th~s cr+~ss referenced that makes the book unique $5 5(I compositions $19.50 handbook contains I 500 clay body and glaze SEU.ING YOUR CRAFTS CERAMIC SCIENCE FOR THE POTTER GLAZES FOR SPECIAL EFFECTS formulas with mstruchons for m~xlng, apphca by Norbert N Nelson This book leads you by W O Lawrence lion and hnng Glazes covered include ~t~me The best source for in through the actual stages necessary to sell suc- by Herben Sanders Covers the theory and formaLlon on productng flameware and ware earthenv, are. single.fire ~.~de firing oven- cessfully what you produce Covers such di- productton of crystals in glazes, the technique ware complete v.ath body and glaze formulas range porcelain slip salt and vapor glazing verse channels of sales as wholesale retail, mall of copper reduction glazes the accumulation A technical volume wntten and cup and spoon measure glazes ~2"~ ()(I for those having order and specialty markets $3 95 and use of ash for wood and plant ash glazes. limited science background $12 95 and embelhshments such as luster and under- CERAMIC ART THE KILN BOOK glaze decoration $14 95 Comment and Review. 1882-1977 A POTTER'S BOOK by Frederick L Olsen Covers m detail both by Bernard Leach N++~ ,n Its e~ghteenth edited by Garth Clark. A review of dominant the technical and aesthetic aspects of kiln con- POTTERY DECORATION Amencan edition thls b¢lr)k should be in the influences on contemporary ceramics An ex- structlon and finng Easy to follow and informa by Thomas Sharer Focusing exclusively on the tremely informative and thought-provoking library ot every prmer hvely illustrated Paperback $9.50 decorative aspects of pottery. This helpful text anthology $9 95 presents descriptive and explanatory interpreta- CERAMIC GLAZES CERAMIC FORMULAS: A Potter's tion of materials, tools, and techniques used to THE COMPLETE COMPENDIUM Book + uA~ by Cullen W Parmelee A carefully revised embellish clay. $17.50 edmtmc~n ,3f one of the standard texts by,John W Conrad This yen; useful text om IIL~J~ARD LEA¢.ll on glazes It I¢ Is a comprehensive study of every aspect THE PROFESSIONAL POTTER tams over 70~f tested formulas for clay bodles of the sublect with clear concise explanations by Thomas Sharer. This practical and glazes in all finng ranges Features special An es- book takes an sential reIerence $18 50 in-depth look at six potteries that all have one coded crdor charts $ l 0 95 PENLAND ROOK OF POTTERY thing in common: the potters are earning a POTTERY WORKSHOP living solely from selling their work. Nine master porters of The Penland School of $18.50 by Charles Counts. A study in the making of ,,,CG =~+_.J.+ + i+++++ ~if.....,~,i!iii ~ L..~ Crafts demonstrate their methods of working CERAMICS pottery from idea to finished form. Detailed with clay and :nclude glaze formulas sources of by the editors of Sunset magaane An excel- instructions in all areas, along with diagrams for supply etc $12 95 lent text for beginners and those teaching be- building your own kiln and wheel $5.95 HAMADA, POTTER THE LIVING TRADITION OF MARIA ginners Well-planned prolects carny the reader DESIGN MOTIFS OF ANCIENT MEXICO by Bernard Leach This weU-crafted volume con MARTINEZ through basic handbuilding and Ihrowing tech- rains 80 biocjraphical photos and an impressive niques using a mlmmum of topis by Jorge Enc~so A compdatlon of 706 exam by Susan Peterson. A major book about the $2 45 section of 40 full-page color photos of ware. a ples dw~ded Inlo geomemc natural and amfi. great potter of San l]defonso and her black-on- SALT-GLAZED CERAMICS selection of ware in black and white, and six black pottery Over 190 color plates. $39 95 oal forms ]nc[udes designs based on flowers by Jack Troy This is the first book on the birds pages of sketches $5500 hsh etc 170 pages $250 technique of salt glaang Techmca] informal:on SHOJI HAMADA. A POTTER'S WAY ELECTRIC KILN CONSTRUCTION FOR THE POTTER'S CHALLENGE deals with clays and slips, glazing and special AND WORK salt kiln Also discussed are sodmm-beanng POTTERS by Bernard Leach This text contains an analysis substitutes for salt $17 95 by Robert Fournier, If you felt that the ~ob of of a pot and the hallmarks of sound design by Susan Peterson. Contains a wealth of detail designing and building an electric kiln was too There is also an evalualave essay on ware by about Hamada's forming, glazing, and firing GETTING INTO POTS techniques and includes a difficult, then you will appreciate these clear. historical and contemporary potters including very useful glossary by George and Nancy We~auier A personal concise index A great gift directions. $ ] 0 95 Leach's own work $10 00 $19.95 dLrect style and awareness of 'real hfe' prob lems and solutions illuminate this appealing [] Fournier--Dictionary $1595 [] Penland Book--$1295 and very practical basic pottery book [] Hofsted--Step by Step $2 95 [] Peterson--Mada $39.95 $4 95 [] Homung--Designs $2.75 [] Petersorv--Shoji Hamada $1995 THE CRAFTSMAN'S SURVIVAL [] Kenny--Complete Book $15 00 [] Rhodes--Clay & Glazes $12.50 MANUAL Bo= 12448, Columbus, Ohfo 43212 [] Rhodes---Kilns $12 95 [] Knwanek--Keramos $5.50 by George and Nancy Wettlaufer This man. [] Andre--Restorer's Handbook $20 00 [] Lawrence~ScJence [] Rhodes---Stoneware $12.50 $1295 ual ts directed to those potters who wish to [] Ball--Pottery $16 95 [] Riegger--Raku $795 [] Leach--Potter's Book $15.00 make a full or part-time liwng Irom their craft [] Berensohn---Finding $1195 [] Sander~Japanese $1950 [] Leach--Hamada $55 00 Contains practical business and marketing in- [] Cardew--Pioneer [] Leach--Challenge $10.00 [] Sanders--Special Effects $14 95 $695 formation $3 45 [] Chappell--Clay & Glazes $25 00 [] Lewenstein--Ceramics $22.50 [] Sharer--Decoration $17 50 [] Clark--Ceramic Art $9 95 [] Lothrop---Pre-Columbian $3.50 [] Sharer--Professional $18.50 THE INVISIBLE CORE [] Conrad--Formulas $10 95 [] Nelson--Ceramics $19 95 [] Sunset editors--Ceramics $2.45 A POTTER'S LIFE AND THOUGHTS [] Troy--Salt-Glazed $17.95 [] Counts~Workshop $595 [] Nelson--Selling Crafts $3 95 by Marguente Wddenham A very [] Wettlaufer--lnto Pots $4.95 readable [] Enciso---Design Motifs $2.50 [] Olsen--Kiln Book $9.50 book In which the author offers her philosophy [] Wettlaufer--Sunaval $3 45 [] Fournier~Electnc Kiln $10 95 [] Parmelee--Glazes $18.50 and strong opinions about an and artists an [] Wildenhain--lnvisible $12.95 education and nalure $12 g5 NAME [] Woody--Handbui]ding $20.00 I enclose [] Check ~ Money Order HANDBUILDING CERAMIC FORMS ADDRESS Apt #_ [ )!11 , -, ~:,l,,r :. ~!~ 4 r'; ~ah,- Fax) by Elsbeth Woody. Provides information on the nature of clay and the various tools one can CITY _~TATE ZIP use Explains the different hand-forming ...... methods. A yew practical book. $2000

70 CERAMICS MONTHLY WHERE TO SHOW Continued [rom Page 1l Juried by 5 slides. Fee: $30 per 6- x 9-foot space. Entry deadline: April 9. For addi- tional information write: Village Artists and Craftsmen, Box 292, Hamilton 13346.

NEW YORK, NIALONE July 7-8 "4th Annual Northern New York Crafts Fair" is open to craftsmen. Juried by 5 slides. Fees: $5 entry, $15 booth for those who demonstrate, $20 for those who do not demonstrate. Entry dead- line: May 15. For additional information write: Fair Committee, Ballard Mill, Ma- lone 12953, or call: (518) 483-4016.

NEW YORK, NEW YORK June 30-July 1, July 7-8 "The 3rd Annual American Crafts Festival" is open to craftsmen. Juried by 5 slides. Fee: $60 per weekend. Cash awards. Entry deadline: April 27. For additional information write: American Concern for Artistry and Crafts- manship, Box 20, Hasbrouck Heights, New Jersey 07604.

NEW YORK, PouND RIDGE May 19-20 "9th Annual Gallery in the Park Art and Craft Festival" is open to craftsmen. Juried by slides. Fee: $35 for 2 days. No commission. Cash awards. Entry deadline: April 20. For additional information write: Thorsten Cook, Upper Shad Road, Pound Ridge 10576.

NEW YORK, ROCHESTER March 31-April 1 "The 9th Annual Finger Lakes Craftsmen Spring Arts and Crafts Show and Sale" is open to all. Fee: CERAMIC ART $50 to $85. No commission. Entry dead- AT line: Until show is full. Write: Ronald L. IDYLLWILD SCHOOL Johnson, 25 Seneca Street, Shortsville, New OF MUSIC AND THE ARTS York 14548. (ISOMATA)

NORTH CAROLINA, FAYETTEVILLE SUMMER 1979 May 6 "Sunday on the Square" is open INDIAN POTTERY to all. Registration fee: $20. No commis- Blue Corn and Family sion. Entry deadline: April 20. For addi- San Ildefonso Pueblo tional information write : Arts Council, Box Lucy Lewis and Family 318, Fayetteville 28302, or call: (919) Acoma Pueblo 323-1776. CERAMICS ONE OHIO, CI,EVELAND HEIGHTS IC ART PRODUCTIOI July 21-22 "Cain Park Arts Festival" ~ n PetersoBF is open to artists and craftworkers. Fee: _o~iI~UTH CERAMICS $20. Juried by slides. Entry deadline: June t~ Charlene Weisberg 1. For additional information write: Cleve- land Heights Parks and Recreation De- ~PANESE CERAMICS partment, 2953 Mayfield Road, Cleveland ~eo Miz,ueo..~ Heights 44118.

OHIO, COLU l~,IBU S June 1-3 "ArtsAffair '79" is open to all. IDYLLWILD ...... Juried by 5 slides. Fees: $2 jury, $50 space. No commission. Entry deadline: SCHOOL OF I Pleasesend me your 1979 Catalog. ------;I March 27. For entry form write: Greater MUSIC AND [ I Columbus Arts Council, 630 South Third THE ARTS Name Street, Columbus 43206, or call: (614) (ISOMATA) I l 224-2606. I °°re s I OHIO, DAYTON City State Zip I May 26-27 "Art in the Park" is open Continued on Page 73 USC*ISOMATA*Box 38=ldyllwild*CA. 92349 I

March 1979 71 THE BIG NAME IN D¢ LARGE ELECTRIC FIRED Precision K S designed for Firing • £ ,e ¸ to CONE 10 in a wide Selection of Types and Models. Can be used for glaze or bisque firing... Produces beautiful oxidation fired glazes. Will fire large pieces or a complete load of smaller pieces in one fire (rather than many firings in a small kiln). Can be used for bisque only, there- by saving gas for reduction firing in your gas kiln. An excellent choice for areas facing natural gas shortages.

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72 C~RAMmS MONTHLY WHERE TO SHOW envelope to: Michael T. Strailey, 824 Fair- Fair '79" is open to all. Fee: $2 per exhi- way Road, State College 16801. bition entry, $25 booth. Cash awards. Continued [rom Page 71 Entry deadline: April 15. Write: Linda to craftsmen. Juried by slides. Fee: $20. SOUTH CAROLINA, CAMDEN Clark, 308 South Main Street, Paris 75460. Entry deadline: May 14. No commission. May 5-6 "Historic Camden Crafts Fes- Write: Pat Shoop-Lowry, Director, River- tival" is open to all craftsmen. Fee: $20. VIRGINIA, RICHMOND bend Art Center, 142 Riverbend Drive, No commission. Entry deadline: April 20. May 5-6 "Carillon Civic Association Dayton 45405, or call: (513) 225-5433. For additional information write: Walter Arts in the Park" is open to artists and Sprouse, Greater Kershaw County Cham- craftsmen. Fee: $20 outdoors, $30 indoors. OHIO, MARIETTA ber of Commerce, 700 West Dekalb Street, No commission. Entry deadline: April 16. September 21-22 "Indian Summer Arts Box 605, Camden 29020, or call: (803) For additional information write: Mrs. & Crafts Festival '79" is open to artists and 432-2525. R. S. Lovelace III, 1112 Sunset Avenue, craftsmen. Juried by slides. Entry fee: $35. Richmond 23221, or call: (804) 353-8198. Entry deadline: July 14. For a prospectus SOUTH CAROLINA, MURRELLS INLET write: Indian Summer Festival '79, Arthur April 27-29 "Murrells Inlet Festival of WASHINGTON, RICHLAND Howard Winer, Marietta College, Marietta the Arts" is open to ceramists. Juried by 5 July 27-28 "Allied Arts Sidewalk Show" 45750, or call: (614) 373-4643, ext. 275. slides or photographs of work plus one of is open to artists and craftsmen. Entry booth. $3,000 in awards. Fee: $45. Entry fee: $15. Commission: 15 %. Entry dead- OHIO, WARREN deadline: March 15. For additional infor- llne: June 1. For additional information September 7-8 The Western Reserve mation write: Kay V. Burdette, 513 write: Sidewalk Show, Helen Jones, Ceramists 18th annual show, "Zoo Ani- Forestbrook Drive, Myrtle Beach, South Chairman, 2525 Allegheny Court, Rich- mals," is open to ceramists. Juried. Entry Carolina 29577, or call: (803) 293-3341. land 99352. fee: 50¢ per item, up to $5. Commission: 10%. Entries will be received September 7 SOUTH DAKOTA, RAPID CITY WEST VIRGINIA, CHARLESTON at the Packard Music Hall, 1703 Maho- August 6-12 "Central States Fair" is June 3 "Art and Craft Festival" is open ning Avenue Northwest, Warren 44483. open to all artists and craftsmen. Booth to craftsmen over 15 years of age. Fee: $6. For additional information write: Mrs. fee: $50-$200, depending on space. No No commission. Entry deadline: May 10. Thomas Peura, 2921 Bazetta Road, Cort- commission. Entry deadline: May 1. For For additional information write: Eleanor land, Ohio 44410. additional information write : Kathie O'Brien, Central States Fair, Box 2560, Chandler, 3804 Noyes Avenue Southeast, Rapid City 57709, or call: (605) 342- Charleston 25304, or call: (304) 925- OKLAHOMA, GUYMON 3364. May 5-7 "Artists Studio NW 4th An- 8325. nual Pioneer Days Art Show" is open to artists and craftsmen. Free. Cash and TENNESSEE, KNOXVILLE WISCONSIN, MILWAUKEE purchase awards. Entry deadline: April 30. June 2-3 "Southeastern Arts Fair" at May 5-6 "15th Wisconsin Festival of For additional information write: Artists the Knoxville Zoo, is open to craftsmen. Arts" is open to artists and craftsmen 18 Studio NW, Box lll4, Guymon 73942, or Juried. Fee: $40-$70, depending on booth years or older. Juried by 5 slides. $2,500 call: (405) 338-3232. size. Slides due: March 15. For a pros- in cash awards. Entry fee: $60. No com- pectus write: Jerry Reynolds, Knoxville mission. Entry deadline: April 2, or until 175 entries are accepted. Slides should be PENNSYLVANIA, DEVON Zoological Park, Box 6040, Knoxville accompanied by a current resum6 and a September 21-23 "Devon Craft Fair" is 37914, or call: (615) 637-5331. self-addressed, stamped envelope. open to craftsmen. Juried by 5 color slides. "6th Art Fair USA" is open Fee: $80-$110 for booth, $3 for applica- TENNESSEE, MEMPHIS July 28-29 to artists and craftsmen 18 years or older. tion. Entry deadline: June 10. For applica- June 2-3 "The First National African- tion form write: National Crafts Ltd., American Crafts Festival" is open to Afri- Juried by 5 slides. Entry fee: $35. No commission. Entry deadline: June 1, or un- Gapland, Maryland 21736. can and African-American artists over 18 years of age. Juried by 5 slides. Fee: $10. til 250 entries are accepted. Slides should be accompanied by a current resum6 and PENNSYLVANIA, PHILADELPHIA Cash awards. Commission: 10%. Entry deadline: March 15. For application send a self-addressed, stamped envelope. November 15-18 "The Third Annual November 3-4 "16th Wisconsin Festival Philadelphia Craft Show" is open to all self-addressed business size envelope with a 30¢ stamp to: African-American Crafts of Arts" is open to artists and craftsmen U.S. craftsmen. Juried by 5 slides. Fees: 18 years or older. Juried by 5 slides. Entry $5 entry, $125 booth. No commission. Festival, Office of Continuing Education, Shelby State Community College, Box fee: $60. No commission. Cash awards. Cash awards. Entry deadline: May 15. For Entry deadline: October 1, or until 175 additional information write: The Wom- 4568, Memphis 38104. For additional in- formation call: (901) 528-6778. entries are accepted. Slides should be en's Committee, Philadelphia Museum of accompanied by a current resum6 and a Art, Box 7646, Philadelphia 19101, or self-addressed, stamped envelope. For in- call: (215) 232-1171 or 763-8100. TENNESSEE, MURFREESBORO formation on all of these fairs write: Den- April 21-22 "Spring Arts and Crafts nis R. Hill, Director, 1655 South 68 Street, PENNSYLVANIA, PITTSBURGH Show" is open to ceramists. Juried by 3 West Allis, Wisconsin 53214, or call: June 8-17 "Three Rivers Arts Festival" slides. Fee: $10, plus 10% commission. (414) 774-1639. is open to artists 18 years or older from Entry deadline: March 20. For additional western Pennsylvania and surrounding information write: Harry Sullivan, Box 141, Murfreesboro 37130, or call: (615) areas. Juried by slides. Cash and purchase INTERNATIONAL awards. Entry deadline: March 30. For 890-5886. entry form send return address and 2 first- SV¢ITZERLAND, ZURICH class stamps to: Three Rivers Arts Festival, TEXAS, CORPUS CHRISTI Fall 1979 "American Clayworks '79" is 4400 Forbes Avenue, Pittsburgh 15213. April 29 "Art Jamboree" is open to all an exhibit and sale representing all forms artists. Fees: $50 for one artist, $35 each of contemporary American ceramics. Ju- PENNSYLVANIA, STATE COLLEGE for shared booth, $85 for gallery. Entry ried. Fee: $I0 (international money order July 12-15 "The 13th Annual Sidewalk deadline: April 1. Write: Yvonne Hipp, only). Deadline: May l for 5 color slides Art Sale and Exhibition" is open to all 4906 Elder, Corpus Christi 78413. indicating artist, size of piece and approxi- media. Juried by 3 slides of each medium mate selling price. For additional informa- entered. Entry deadline: March 16. For TEXAS, PARIS tion write: Hutmacher-Bollag, Zurlinden- application send a self-addressed, stamped April 28 "Sixteenth Annual Paris Art strasse 84, CH-8003 Zurich.

March 1979 73 ix "New" Clay, Reclaim Scraps and~Mistakee~Add~Gro~ !~ I Pour In Dry. CIEy r i AddriM~ifna;~s' ~ Add Grog ~ Add Water ~ Use or Store Mixed Clay

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74 CERAMICS MONTHLY NEWS & RETROSPECT

IN SYRACUSE the field. In order to ensure greater indi- In accepting the presidency, now an The Everson Museum of Art and Syra- vidual participation, the number of dele- unpaid vohmteer position, Ted Nierenberg cuse University, New York, will be the gates is being limited to 600. declared: "Our goals are straightforward venues for three major events in the ce- "The Ceramics Symposium" is being co- ramic arts: the exhibitions "A Century of ordinated by ceramist Ann Mortimer in Ceramics in the United States 1878-1978" cooperation with the Everson Museum of (May 5-September 23), "Adelaide Alsop Art, the Clay Institute of Syracuse Uni- Robineau" (June 1-September 23), and a versity and the Institute for Ceramic His- three-day conference, "The Ceramics Sym- tory "switchboard" for academic activities posium: 1979" (June 1-3). in the field with its secretariat in Clare- The "Century" exhibition is the first of mont, California. It is planned that a its kind, bringing together over 400 master- similar conference be held every two years works by 120 artists and spanning one and therefore monitor progress in the field. hundred years of achievement. These For further information contact: Everson works, both vessels and sculpture, will be Museum of Art, 401 Harrison Street, Com- installed in a decade-by-decade presenta- munity Plaza, Syracuse, New York 13202. tion and occupy the sculpture court and / five galleries of the museum. It will give SAN FRANCISCO EXCHANGE the viewer a visually coherent look at the A multimedia exhibition by students at stylistic development of the medium as an the California College of Arts and Crafts, art form. The accent has been placed on Oakland, was held in the Diego Rivera those artists for whom ceramics is the Gallery of the San Francisco Art Institute primary medium but the "visitors" from late in 1978. The show, part of an other media, whose contribution is signifi- exchange exhibition organized by the two Ted .\':, ~, td,, ~;., cant, have also been included and amongst colleges, featured a range of work, includ- and clearcut--to balance our budget, re- those represented are Elie Nadleman, Alex- examine and identify the new directions ander Archipenko, Louise Nevelson, Helen and purposes of the American Crafts Frankenthaler, Friedel Dzubas and Ken- Council, and find a new and permanent neth Noland. home for the council and museum." The objects have been selected by co- In other changes within the ACC, Lois curators Margie Hughto and Garth Clark Moran has been appointed vice-president to ensure that each artist is represented by for operations. major works and that the pieces contribute to the narrative of each decade. About one CAA TOPICS DUE quarter of the objects are drawn from the The deadline is March 31, 1979, for Everson collection of American ceramics. those members wishing to propose topics for This collection, comprising over six hun- sessions at the 1980 annual meeting of the dred pieces, is the largest of its kind and College Art Association. Scheduled to be has been acquired since 1931. held in New Orleans January 30-February In conjunction with the exhibition, E. P. 2, 1980, proposals from members should be Dutton will be publishing a 416-page book, submitted to Caecilia Davis-Weyer, 60 "A Century of Ceramics in the United Newcomb Place, New Orleans 70118 (for States 1878-1978," by Garth Clark with Art History topics); or for studio sessions contributions by Margie tlughto. write Lin Emery, 7520 Dominican Street, The exhibition of the porcelains of Ade- New Orleans 70118. laide Alsop Robineau (1865-1929) will open in June and has been curated by the Everson's Curator of Collections, Peg VICKI SMITH Weiss. This show pays tribute to a Syra- "Selections '79," a group show high- cuse resident, whose influence as an inter- lighting artists for this year's exhibition nationally acclaimed artist-potter, editor season at the Artists Gallery, Seattle, was Bob Kau[man of the ceramics journal "Keramik Studio" on view through December 16, 1978. (founded 1899) and as a teacher at Syra- ing ceramics. Shown from the exhibit is Among the work displayed was one of a cuse University, was one of the major "Tube Piece," an arrangement of low-fire series of white earthenware environments influences on the development of a studio cast cylinders, each 24 inches in height, by by Vicki Smith. The sculptures contain pottery movement in the United States. Bob Kau[man, Berkeley. immior f~a~ment< door~, light sockets, Included in the exhibition will be many of the masterworks from Robineau's own col- NEW ACC PRESIDENT lection including the legendary "Scarab Ted Nierenberg, founder and president Vase" that took the artist one thousand of Dansk International Designs, Ltd., is the hours to incise. newly appointed president of the American "The Ceramics Symposium: 1979" will Crafts Council, replacing Samuel Scherr be held on "Mount Olympus" at Syracuse who resigned to pursue other professional m University and will open on the first of interests. June with a keynote address by writer and art critic, Clement Greenberg. The purpose "Interior .\umh~p Th~cc" Send news and photos about people, of the conference is both to present impor- windows and molding. Shown, above, is places or events o[ interest. We will be tant historical papers and to initiate debate "Interior Number Three," six feet in pleased to consider them [or publication on the concerns of the contemporary ce- length, white earthenware with acrylic in this column. Send items to: News & ramic artist, ranging from aesthetic theory paint. According to Patrick Orton of the Retrospect, CERAMICS MON'rrlLV, P.O. Artists Gallery, human forms were domi- and the standards of criticism, to dealing Box 12448, Columbus, Ohio 43212. with the shifting patterns of patronage in Continued on Page 77

March 1979 75 You can make a lot of things out of clay.

We've made a way of life out of it.

The art of pottery-making is almost as old as the land. Maybe the only thing older that's connected with the land is farming. We've only been mining clay for ceramics since 1916, but from the beginning we combined it with our farming. We'd mine the land, restore it, and then plant it. With respect, you can make a lot of things out of the land.

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76 CERAMICSMONTHLY NEWS & RETROSPECT firing--the better ones were chosen for Continued [rom Page 75 pottery and construction of the kiln. Most of the clay for our ware was found in nant in Vicki's work two years ago but they low-lying areas off the side of the road and STBY are now gone, leaving behind shirts, news- in the woods. papers, mirrors, wall sockets, light switches The clay was dug and transported back KILNS and door knohs. "'The ~pace~ are remi- to camp where it was dried and strained. To mix it for use, we dug a small pit, laid down a heavy plastic sheet and put the clay inside; water and sand were added in appropriate quantities. Introducing our Before the actual construction of the kiln, smaller models were made (one is shown), and the group selected a design. All New 3-inch Brick The interior of our kiln was 6 cubic feet; the firebox was located on the right side with a chimney built onto the structure at ELECTRIC the opposite side. The flue opening was approximately 8 inches square; its channel ran underneath the length of the ware CONE 10 KILN KITS chamber floor from the chimney to the with the addition of a 28" wall, dividing the ware chamber and fire- 10 cu. ft. Cone 8 Kiln Kit. box. We found the chimney had to be at Thicker Insulation Means u niscent of the last image one has when least 10 feet in height to establish a good leaving a favorite room for the final time." draft. • Lower firing cost Masonry bricks from demolished build- Shown, above, is "Interior Number Six," • Higher firing temperatures 6 feet in length, of white earthenware with ings were used on the floor, scavenged acrylic paint overlay, by Vicki Smith. metal rungs or rods were allowed for the • Stronger construction Photos: Roger Schreiber. grate. Various materials such as tin, earth- enware drain pipes, or wired tin cans • Safer operation could be used for the chimney but every • Cools slower u but can still kiln had to have its arch constructed PRIMITIVE in be fired daily. KILN BUILDING clay. We solved this problem with young On Beaver Island, thirty miles off the saplings covered with clay, which burned coast of Charlevoix on Lake Michigan, out midway through the firing, leaving the students from Central Michigan University arch intact. have had the opportunity to participate in Handbuilding the kiln walls at about a primitive kiln building, tinder the direction NOW! three-and-one-half inch thickness proved to of lay Shurtli[[. This two-week ceramics be the best method of constrtiction. They course is offered to those interested in had to be built gradually, allowing each level to firm before continuing. When the A Good Kiln kiln was completed and the clay leather hard, holes were cut for the ware chamber, stoke hole and primary air source. Need Not Be The kiln was allowed to dry gradually in the sunlight and was covered at night to prevent moisture from creeping back Expensive into it. Cracks were repaired daily. During kiln construction we had kept up continu- otis production of pottery, and our forms Save up to 37% using a few had to be watched and turned, or the sun pleasant hours to fit together would have quickly dried them unevenly, one of our easy-to-assemble causing cracking. In the evening when we kiln kits. Fun to do m efficient made our bonfire, pots were placed around to use. Step by step instruc- it to aid drying. tions for assembly and easy Individual firing experiments were con- beautiful firing. ducted using wood, cow or horse dung, sawdust, pine needles, and combinations of These Are Kilns Made By these. Bedsprings were used to prevent the People Who Do C•ramlcs and pots from directly touching the hot coals Know What a Kiln Has To Do. and burning dung. Saggars were made from materials scavenged around the Super 28 island. 28"x28"x27" deep ...... $395.00 When it was time to prepare for firing Commercial Kiln Kit the group kiln, one cord of wood was ob- 24"x24"x27" deep ...... $299.95 Stoking a clay kiln tained and split to stoking size of about Ixlxl2 inches. Studio Kiln Kit learning about various aspects of digging 18"xlS"x18" deep ...... $165.95 The kilns were loaded and cone packs and refining island clay for constructing distributed in the front and rear of the and firing a wood-burning kiln. Send for free brochure. kiln. We fired gradually, stoking at regular After arriving at the town of St. James intervals until wood was fed continuously last summer, groups of five to seven people WESTBY INDUSTRIES, INC. to attain our goal of cone 06. were established; each of these then left Later, after unloading the kiln, cleaning 620 N. 85th St., Seattle, Wash. 98103 to set up camp close to the lake. Clay tip the campsites and packing tents and samples from various locations were tested (2061 783-9333 for plasticity and color before and after Continued on Page 79

March 1979 77 MAKE YOUR OWN KILN Save money.., add flexibility with Johnson burners Johnson has gas burners to meet all kiln sizes and tem- Simply add Johnson burners and kiln refractory as your perature requirements. They are made of rugged cast iron needs change. with heavy brass valves. They are easy to install and op- Cut your investment. Look into Johnson burners now. erate, and best of all, the cost of a "custom-made" kiln They are available in two basic types: (1) Atmospheric with Johnson burners is a small fraction of the cost of a -- recommended for small kilns and kilns with low tem- manufactured model. perature requirements; and (2) Power (blower operated) The size of your "custom-made" kiln is easy to enlarge. -- recommended for larger kilns.

How to choose the right burners for your "custom-made" kiln: Figure the volume of your kiln in cu- bic feet by multiplying internal length by width by height. For ex- ample, a kiln two feet square and three feet high would be 12 cu. ft.

Exact number and type of burners and burner locations wdl depend on kiln construction, size and tempera- ture requirements. The examples shown here are typical. For factory recommendations, send interior kiln dimensions, wall construction and top temperature required.

Johnson Adjustable Power Burners '=" The most popular type for ceramic studios and art departments, these rugged burners are equipped with powerful, quiet Johnson blowers with continuous duty 7 CU. FT. ~ j ,._,,1x motors, and heavy brass shut-off valves. Specially designed flame retention noz- zle allows for wide adjustment of gas input and easy flame adjustment for obtain- ing desired reducing and oxidizing atmospheres. On large kilns two or more burn- B..... s U q=~X ers, or torch tips with manifold, can be used for uniform distribution of heat. BURNER TOTAL BLOWER TORCH GAS INPT. SHPG. WT. PRICE NUMBER LGTH. MTR. SPECS TIP BTU/HR. LBS. W/SAFETY* 321 30" 1/3 H.P. 1½'" 200,000 42 $387.00 CONTDUTY ' =:~x 342 30" 1/3 H.P. 2" 400,000 45 $396.00 type Burners CONT. DUTY =::Ix 323 34" 1/3 H.P. 2--1½ " 400,000 75 $520.00 CONT. DUTY W/MFLD. Bag Wo --) ,:=~x 343 34" 1/3 H.P. 2" 800.000 120 $745.00 CONT. DUTY I 345 34" I~H.P. 2--2" 800,OO0 150 $875.00 CONT. DUTY W/MFLD. "SAFETY EQUIPMENTFOR: 321,342, 323 -- Thermocouple System (baso pilot, basoswitch and solenoid) 343. 345 -- Flame Safeguard System (flame rod. spark ignition) I8to 10 CU. FT t Flame Safeguard Systemis available for 321, 342 and 323 at extra cost. PowerOne No.Burner 321 1 U 10 to 20 CU. FT. One No. 342 PowerBurner 20 to 40 CU. FT. One No. 343 PowerBurner Johnson high volume blowers with continuous duty motors Johnson 1-1/2" Venturi Tube with Retention Nozzle and Valve These rugged, compact blowers, devel- 10 to 20 CU. FT. These cast iron Venturis, when One No. 323 PowerBurner oped by Johnson, have a reputation for Assemblywith single equipped with Johnson retention delivering constant, high volume air blower, burnermanifold nozzles and heavy brass valves, give and two torchtips pressure plus quiet operation. Blower 20 to 40 CU. FT. perfect combustion for extra effi- housings are sturdy aluminum for long One No. 345 Power ciency. Complete with accurate, life. BurnerAssembly with easy-to-adjust air shutters with posi- single blowerand BLOWER TYPE MAX. BTU* PRICE torchtips tive locks. Can be used singly or in NUMBER MOTOR' CAPACITY gangs depending on kiln size and 1203 1/3 hp. 400,000 Btu/hr. $265.00 temperature requirements. Length, 115 volt incl. valve -- 14-1/4"; Gas input -- 75,- 1204 1/3 hp. 800,000 Btu/hr. $286.00 000 btu/hr. Price w/Valve, Ret. 115 volt Note: Burners also supplied for kilns OZZle and Safety System n $98.00. firing from two sides. *Capacity based on proper burner size.

Johnson also makes a complete line of crucible furnaces for melting bronze, aluminum and other soft metals. Or, for metal bend- ing and forging, select Johnson forge furnaces. Johnson Since 1901 Gas Appliance Company 520 E Ave. NW Cedar Rapids, Iowa 52045 78 CERAMICS MONTHLY Get acquainted with the

NEWS & RETROSPECT Continued [rom Page 77

NOW AVAILABLE canvases, we set up a display of our pottery NEW 1979 CATALOG in St. James. The total dedication to work together n Pr:l C RHAJCnON • RAW MATERIALS was a remarkable and unforgettable expe- " BLENDED & BASIC CLAYS rience. We not only learned about primi- KILN tive pottery, but also about other facets of • FRITS AND GLAZE STAINS life associated with primitive man: camp- now at • LEAD FREE CERAMIC GLAZES ing, cooking and prospecting. Text: Beth- any A. Thurston. • SPONGES, HANDLES & BRUSHES Creek Turn • MOROCCAN SAND GLAZES DICK EVANS • KEMPER TOOLS Bradley Galleries, Milwaukee, recently Enjoy single source savings • OHAUS SCALES presented the ceramic sculpture of Dick Evans. The exhibition included 32 wheel- from our new complete listing " CORKS 11/2". 6" thrown and sliced porcelain works with • KILN ACCESSORIES • OSCAR PAUL & SKUTT WHEELS GLAZE FRITS • LOCKERBIE KICK WHEELS ... Pemco, Ferro, and O'Hommel • SHIMPO WHEELS Complete 60 Page Catalog "Try us for those hard.to.find items." GLAZE STAINS CATALOG $2.00 Raw Materials (Free To Schools & Institutions) Ceramic Materials Pugged Clays Casting Slip

Dick Evans low-fire glazes and airbrushed lusters. The KILNS from stock Choose " artist is shown with "Segments XXXIII," California Gas Kilns 10 inches in height, porcelain with low-fire glazes. Also shown is "Segments XXXI," Cone 6 J J Cress t om 5 inches in height, with low-fire matt Cone 10 Crusader L~ Cone 10 Evenheat dte best. Stoker Electric Reduction

Alpine Max Brent Pacifica POTTER'S WHEELS Conway Randall Amaco Robert Brent Crusader Skutt Creek-Turn Crusader Shimpo West North Star Pacifica The rigi~t wheel EXTRUDERS • SLAB ROLLERS to fit your need. "Segments XXXI'" Kemper Tools • OHAUS Scales glazes of blue, purple, gray and brown. Sponges • Brushes • Slip Mixers 11416 Shelbyville Road Dick Evans is currently an associate pro- fessor of art at the University of Wiscon- Louisville, Kentucky 40243 Hours: Man-Sat, 10.4 502-245-1282 sin, Milwaukee. Photos: Leslie Thompson Lacktman and courtesy of the artist. Free Literature Phone: (609) 267-1170 ALLEN LANDINGS ( wl Creek Objects of supposed extraterrestrial ori- gin were recently exhibited in "Further CREEK-TURN Pottery Proof of Alien Landings in Oklahoma," at CERJUvUC SUPPLY the University of Oklahoma Art School. Dept. CM Portfolio $1.00. Free to institutions. The show resulted from a project given to Rt. Continued on Page 81 38, Hainesporf, N.J. 08036

March 1979 79 WCS MEANS CLAY PLUS

Meet Ken Catbagan, our liaison/consultant between resident artist and official Westwood and the studio WCS and Institutional Sales potter and/or teacher Manager! Ken brings working with high fire Westwood fifteen years of stoneware. Ken is available diverse experience in the at Westwood to assist you ceramics field that enables with most ceramic-related him to fill a unique position needs that you might have. here. Ken first came to In his studio at the Westwood eleven years ago Westwood plant (as shown) after a stint as a production Ken's primary direction is potter and the creation of working with sculptural his own pottery and forms in porcelain. He also ceramic sculpture studio, spends a great deal of time Jacinto Designs. At that and fairs in Los Angeles, on the road in the time, Ken acted as San Francisco, Florida, and Los Angeles area which Westwood operations Tennessee. Ken's firsthand enables Westwood to offer manager and also developed experience in these areas you the most effective type (his namesake!) our Kenji makes him sympathetic to of service. So, if you have Porcelain clay body. Since the needs of a wide range of a question or need a 1968 Ken has taught college craftspeople involved in solution just remember, level ceramics and design stoneware. He functions as Ken's back! while exhibiting at galleries

m[f~ ImB ~ i ~ KENJI' S BACK!

WCS Pottery Equipment & Supplies 14400 I,omitas Ave. Dept. B037, Industry, CA. 91746 80 CERAMICS MONTHLY POTTERS' NEWS & RETROSPECT SUPPLIES Continued [rom Page 79 ceramics students, then advertised as an in the Delaware Valley actual exhibit of scientific findings. Par- A OHAUSscales ticipants were encouraged not to restrict themselves to clay as a primary medium; DINACK wheels documentation of each object was stressed R to "prove" authenticity. Since it was con- BRENT wheels sidered "top secret," many works didn't C materialize until the morning when stu- LET ME SHIMPO wheels dents and faculty set up the show. Dan H Steinke displayed a six-foot aluminum foil- L & L kilns covered alien suspended over a wet clay pyramid, connected with neon tubes. An T. KEMPER tools unfired alien by Wendy Kime disintegrated KINGSPIN turntables BYRNE'S CLAYS F NORMAN kilns & equipment ARE SUPER! L STANDARDCERAMIC moist days

O ORTON cones For Magic at the Wheel m "Alien Warrior Busts" W WALKER JAMAR pug mills For Sculpture or Modeling m throughout the exhibition (undoubtedly E due to exposure to the earth's atmosphere). Corks, Sponges Terrence Heckart exhibited "Alien Warrior For Successful High Firing. R Prepared Lead-Free Glazes Busts," above, each 8 inches in height. A continuous slide show of UFO's, land- Glaze Chemicals & Colorants ing sites and related "authentic un- YOU CANNOT BEAT THEM! C retouched photos" were part of the open- Oueen St. & Ivy Hill Rd. ing preview, which drew art and other Philadelphia, Pa. 19118 Stoneware Raw Materials O (215) 233-0653 university students believing, from adver- tising, that the exhibit might be authentic. Text and photos: V'Lou Oliveira. Earthenware Minerals Color Chemicals ilnnlullinillmllunlil Porcelain CELIA CANTOR Glazes Work by Los Angeles potter Celia Can- Raku tor was featured at Garendo Gallery in Low & High Studio City, California, during February. Reduction Firing SLIPS Shown (below) from the exhibition is a REIB wheel-thrown stoneware bowl, 9 inches in Black Clay Wheels & Kilns ( LETTER DAYS) Groggecl Clays Tools etc.

IAILIm[RT CUSTOM BLENDING IN 1979! Free catalog with quantity prleesl JULY 26, 27, 28 The 18th Annual AS WE HAVESAID FOR YEARS: National Ceramic Manufacturers Association Trade Show Celia Cantor diameter, with airbrushing. The artist, pre- EVERYTHING A Make plans now to attend the only man- viously a painter, throws and handbuilds ufacturers' trade show in the industry. At stoneware and porcelain, often cutting and the Chase-Park Plaza Hotel, St. Louis, Mis- reassembling the forms. Much of her work POTTER NEEDS souri. Open to studio owners, dealers, dis- is decorated with sprayed and stenciled slip under transparent glazes. IS AT tributors, teachers (for the trade only).

For further information and hotel res- FLORIDA SHOW A presentation of ceramic works by ervation forms write or phone, NCMA. native Floridians Gall Corcoran and Chris 59 E. Ma|n Street, Moerestown, New Sibley was held in late 1978 at the Potted CERAMIC SUPPLY CO. INC. Jersey 05057. Phone: (609) 234-0330 Plant, Limited, Atlanta. The exhibition grew from a realization by the two artists 95 Sartley Road, Flanders, N.J. 07836 (201) 584-7492 III IIII II i II i II IIII II II i i II II II II II I Continued on Page 83

March I979 81 THE BIG NAME IN CERAMIC ~~iI~I~QUIPMENT WARE TRUCKS Ware trucks are very useful in any ceramic work. Ware may be accumulated on the ware truck and then moved to the kiln for loading (saving unnecessary handling of ware) . , . may also be used for moving the fired pieces from the kiln to a point where they can be displayed for pickup by the student or potter. One or several trucks will serve surprisingly well in the studio or classroom. I;- GLAZE FORMULATING TABLES Each table will provide a clean, compact working area. No more sacks of material which might be spilled or broken - - - a variety of materials is placed at your fingertips. Each tilt-out bin will hold up \ to 150 pounds of material. Bins are engineered to open with mini- mum effort when completery filled. WRITE TODAY (OR CALL) FOR COMPLETE INFORMATION ~ TO DEPT. B

OCMULGEE 8 CERAMIC ART FILMS for Junior High, Senior High, College, and Adult Audiences The eight color films in thls series are a wonderful RED CLAY opportunity ¢o supplement your art program. Pro- ducers of all eight films are Richard-and Marj Ocmulgee Red Clay is a naturally-occurring Peeler, both production poffers and former teachers plastic stoneware clay used by potters and with many years' experience. of cone 5 to cone schools. With a firing range Four Instructive Films 10, it has a rich red color in oxidation, while I. CERAMICS: WHAT? WHY? HOW? reduction firinff gives an attractive blue-grey. 2. THE COIL METHOD Mixes of red with Kentucky Ball, manganese, 3. HANDBUlLDING METHODS feldspar, kaolin and sand are available in any 4. CREATING MOSAICS AND TILES proportion. Four Films for Ceramic Art Appreciation S. POTTERS OF JAPAN, part ] Ocmulgee Red Clay is furnished in airdried Filmed on location in Japan in the workshops of outsfandincj form ground to minus 10 mesh. Red Clay is poH'ers. $4.35. Mixed Clays are $6.50 per hundred 6. POTTERS OF JAPAN, part II pound bag, FOB Macon, GA. Samples and clay 7. POTTERS OF THE U.S.A., part I analysis available upon request. Includes: Charles Lakofsky, William Wyman, Vivika and OH'o Heino. 8. POTTERS OF THE U.S.A., part II Includes: Warren MacKenzie, Paul Bogafay, Toshiko Takaezu, Frans Wildenhain. CO. All films in this series are color, sound, 16mm. BURNS BRICK For brochure, rental, and sales information, write to: Attn: M.W. VICKERS CERAMIC ART FILMS P.O. Box 4787, Macon, Georgia 31208 Box 320, leelsvllle, Indiana 46171

82 CERAMICS MONTHLY If DUNCAN LESLIE CERAMICS NEWS & RETROSPECT manufactures or Continued [rom Page 81 SUPPLY CO 1 of their many similarities and background. publishes it... Since 1946 From the show is "Palm Tree Mirror," 16 inches in height, handbuilt white stone- WE stock it/ ware with underglazes, by Chris Sibley. E-Z FLOW ...... Glazes TM & HM ...... Molds COVER COAT ..... Underglaze E-Z STROKE ...... Transparent Underglaze BISOn-STAINS... Unfired Stains BRUSHES KILNS Joy Reid Catalocj ...... $2.00 Duncan Catalocj ...... $1.95 Complete Chemicals CeramiCorner Decal Catalog ...... $2.00 Raw Materials & Equipment Glass Decal Catalocj ...... $ .50 plus 25c ea. Postage

Catalog - $1.00 Free to Schools & Institutions

1212 San Pablo Ave. BERKELEY, CA. 94706 CeramicStudio (415) 524-7363 P.O. Box $367 "Palm Tree Mirror" 2016 N. Telegraph (US-24) Also on display were vignettes of fantasy Dearborn, Mich 48128 • Phone LO 1-0119 creatures, such as life-sized porcelain mer- maids lying on sand amid pink satin flamingos, surrounded by tropical plants with flying "Lady Fish" of clay and satin. In a more conventional gallery setting, the artists displayed a variety of thrown and Craft Administrator S handbuilt works inspired by Florida exotiea and kitsch. The opening reception was in Conference the same spirit, as "Nick's Flamingo Grill" Arizona's Sponsored by SOUTHERN HIGHLAND Largest HANDICRAFT GUILD Ceramic Supplier April 19, 20, and 21, 1979 To be held at Blue Ridge Assembly KEMPER OHAUS Conference Grounds near Black ROBERT BRENT RAW MATERIALS Mountain, NC AMACO PARAGON This is a conference designed to help WESTWOOD LOCKERBIE craft administrators advance their knowl- CLAYS BLUEBIRD edge of management of their organiza- tion's finances. Moreover, if will bring DUNCAN RANDALL craft leaders together so that they may SHIMPO MIXERS establish a llne of communications; share in problem solving; exchange ideas; and WALKER PUG MILL become better aware of the resources that are available to them. Experienced craft and business leaders will conduct workshops in the areas of fund raising, budgeting, shop operation, and fair/fes- MARJON tival production. Chris Sibley For further details contact: Craft Admin- band played jazz under an imported ten- istrators Conference, Box 9545, Asheville, Ceramics,Inc. foot palm. Souvenir items such as silk- NC 28805. screened "Florida Show" T-shirts and 3434 West Earll Dr., Phoenix, AZ 8S017 This program is made possible in port by a painted straw fans were sold to the "tour- gramt from the National Endowmen~ for the f602| 272-6SeS ists" at the opening. Shown above is a Arts thraucjh ~he Southern Arts Federation and by n grant from the Appalachian Regional 426 West Alturas, Tucson, AZ 85705 bamboo table with "Bird of Paradise" tile Commission. (602) 624-2872 i Continued on Page 85

March 1979 83 Ever see a potter throw pots and mix clay at the same time?

We haven't either; that's why we spent two years refining a mixing system... so that a potter can throw pots and mix clay on the same wheel!! We started with the power source E most potters already have... ~4 their wheel. u~ Our mixer is stainless steel. d. It has three bearings. It is fast, efficient, simple. And best of all, it'll fit your wheel! the fronske'" 'wheel power' mixer price: $425.00 plus shipping E

0 E

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A POTTER NEEDS .... v A i • The most complete ceramic chemical inventory in I I the Southeast at competitive prices • • • A large selection of deaired moist and dry clay •

A " b:rdk~S--r°ughandsm°°th'teap°thandles'spig°ts A • • Studio furniture--cabinets, carts, tables--Ohaus • [ g scales,Kemper tools, reference books, brushes V ¥ • Orlon cones, kiln shelves and posts, v • • Wheels by Shimpo-West, Robert Brenl, Skull, • I SpinningTiger, Amaco and Pacifica. I • • Electric kilns by Skull, Cress, Paragon, Norman, • V Olympic, Crusader, and Amaco. V • • California gas kilns, Walker pug mills, and Soldner • • mixers • I • Complete line of Amaco glazes I g • Suppliers to schools, institutions and studio potters. • v Let us bid your school needs r er v A Catalog $1.00 -- Refundable with first o d A • Price List Free • V Visa -- Master Charge V -- BENNETT POTTERY SUPPLY, INC. -- A 707 Nicolet Avenue P.O. Box 1554 A • WinterPark, Fla. 32789 Miami, Fla. 33143 • g 305/644-0078 305/667-4791~ creed, n~ltlOllaJ or ethnic origin, nl,lClta[ or parent,ll status or handH,]~~ v.,o,,. .,Om,. .,O~ .,OP. .,O~

84 CERAMICS MONTHLY Standard Cane SUPER SIEVES NEWS & RETROSPECT For Ceramic Materials Continued [rom Page 83 Teapot Handles top, 20 inches in diameter, with under- glaze decoration and Cone 10 clear over- glaze, by Chris Sibley.

KURT WILD An exhibition of ceramics by Kurt Wild was shown in September at the University of Wisconsin, River Falls. The works were the result of experiments and explorations Fine mesh brass screens permanently joined to tough flexible polyethylene plastic bawls. Rugged • Easily Cleaned New from Phoenix Rustproof • Ligh~veight Phoenix is proud to announce the arrival Long lasting • Practical of our newest product for the professional Guaranteed never to come apart. poffer. We are offering the following sizes teapot handles (outside diameters) 3", 4", 11 din. 5", 6", 7". Diameters may vary slightly 1/211 din. screens because of natural material. These handles screens have been selected from white skin palasan in one gallon in lt/2 quart bowls (best variety of raffan) and steam banded. capacity bowls 30-40.60-80 mesh, All only ...... S6.S0 sizes are $1.50 per handle. Orders over 30 mesh $ 9.00 I00 mesh. .$7.00 $400 receive n 25~/o discount. Minimum 40 " 9.S0 order $25.00. All orders shipped F.O.B. 60 " 10.00 Shipping charges Chicago. (Customer pays freight) Please 1 ~to 4 sieves $1.23 80 " 10.50 Each additional enclose check with order. Canadian cus- 100 " 11.00 tomers please remit in U.S. funds. sieve add 2Sc

Kurt Wild Cole Ceramic Laboratories Phoenix Design Ltd. Box 248, Sharon, Conn. 06069 Box 29048. Chicago, III. 60629 (312) 436-1977 of various primitive firing techniques. In- Dealer Inquiries Invited eluded were examples of pit-fired, barrel- fired, sawdust- and charcoal-reduced pots. Shown from the exhibition is a pit-fired vase, approximately 10 inches in height, handbuilt with burnished slip decoration.

mIAmi MILLERSVILLE INVITATIONAL Nearly 24 ceramists participated in the Millersville State College (Pennsylvania) Third National Ceramics Invitational Ex- CLAY hibition, held recently. Seventy-seven clay 2 YEAR GUARANTEE COmPANY, INC. HIGH OUTPUT, 11/2 HP EHPORTI EASY CLEANING A FULL LINE OF POTTERY SUPPLIES Er EOUIPMENT CLAY. CHEMICALS. GLAZEL KEMPER TOOLS. BRUSHES. PETER OHAUSSCALES. BOOKS. CORKS. ORTON CONES. TEAPOT HANDLES KILN/" PUGGER AIM. A-I GAS, CRESS, LEr L, NORMAN, PARAGON. SKUTT WHEELS BREflT. PACIFICA. SHIMPO. RANDALL. SOLDNER. SKUTT write for free catalog i 18954 N.E. 4 Ct. 4446 SW.74 Ave. 9460 CARMEL RD. Miami,Fla. 33179 Miami,Fla. 33155 William Alexander 305 651-4695 305 266-8024 works represented a cross-section of ce- ATASCADERO, CA. TELEX- 803208 ramic approaches and visions. Shown from 93422 Continued on Page 87

March 1979 85 61 de lore Kit

Announcing the Glyde Torc you can build - ONLY $285.00 SAVE OVER $I00 includes all our top quality parts except the table.

Our uniquely quiet With a 2x4, some control, efficient plywood and a drive system, long little carpentry swing pedal,strong you can build a 13" head, powerful wheel as good as motor. the Glyde Torc 400 and save $I00

Built from our illustrated, detailed instructions which include wood design and also a steel frame plan. P. 0. 50x 1407 The molded top and splash pan are extra.

Library Binders

Designed especially for Ceramics Monthly, these handsome binders hold a year's supply (I0 issues) of the magazine. Steel blades hold each issue firmly in place -- new issues are quickly and easily inserted. These durable casebound binders are black with Forced-air Burners Ceramics Monthly stamped in gold on the cover and backbone Reasonably Priced! for immediate identification. Your binder will provide a convenient way of keeping your copies of CM orderly and easily accessible. . Qrder today for only $5.95 each, postpaid. 60 CFM - Up to 400,000 BTU's 100 CFM - Up to 700,000 BTUs

Each model includes: CERAMICS MONTHLY 1. 2" flame retention nozzles Box 12448 • Columbus. Ohio 43212 2. Continuous duty blowers 3. Brass valves Please send me binder(s) (~ $5.95 postpaid each. 4. Atmospheric pilot burners (can be used for preheating kiln) Name Both models are quickly adaptable for use with either Address natural gas or propane at high or low pressure by simply unscrewing and changing the orifice. . City State Zip __ I enclose [] Check [] Money Order Write: Kilns (Ohio re,dentsadd 24~ per bulderfor OhioState Sales Tax. Thank you Dick Butz (Add $1 per bidder oui~lde USA) P.O. Box 8659 Portland. Maine 04104

86 CERAMICS MONTHLY The WRAP-ette Raku Kiln I In ten minutes it fires NEWS & RETROSPECT Little gas it requires.. Continued from Page 85

the exhibition is an untitled salt-glazed form, 26 inches in height, by William

Rt. I. Box 62. Sperryviile, Vo. 22740 / (703) 987-8625

Fox Run pottery Inc. Don't Mess Up Your Ilotfom! Stoneware bodies moist dry qlazes, chemicals, DEATON'S DING BAT Skutt-Crusader whue s and k ns. Good kilns. Special Sale Walker pugmill $1300, plus shipping 731 Troy St., Dayton, Ohio 46404 (513) 461.2218 Best Bat you will ever use. Our unique surface causes pots to pop loose when leather hard. No foot trimming or finishing necessary. Gare goes Hi-Fire to cone 10 12" BATS 14" BATS Gare has cone 10 electric kilns available• 1 • 10 $3.00 each 1 - 18 $4.S0 ec~:k il - 20 $2•7S " 11 - 20 $4.30 " Extra insulation keeps heat in kiln. Bat Wings also available for sliding small Simple switches to operate• Write for pieces off Ding Bat ...... 75¢ each. price information, then check our prices. Enclose check with order -- Shipped frolgM collect. GARE INCORPORATED 12918 Mayer Hcmsfoe, TX 7704S 165 Rosemont St., Box 830, Haverhill, Ma~s. 01830

THE AUSTIN GRAM-KILO • :... electric clay : • ,.*¢ 5 varieties to choose , SCALE Weighs up to 12,5 kilos Ervln Dixon - J clay CO.714-44zl-e396 : Complete $35.00 pp. • 886 gable way , Alexander, and a salt-glazed "Milk Con- SAM TERR ASSOC. el csjo~, as. ~O~O 626 W. 34 ST. AUSTIN,TX.78705 ********************************* tainer," 14 inches in height, by Ervin Dixon. Photos: Gary Minnix.

12" ALUMINUM WHEELHEAD EGYPTIAN PASTE-- 20 colors RINDA METZ with one-inch bore "Ceramic Sculpture by Metz and Cam- Send $1.00 for sample, instructions and calm" barus," an 8-foot-diameter circle of ar- $21.00 sheet. Greonflower c.m., P.O. Box 88143, ranged crawfish chimneys (below) was ex- ~r~dell~i~il~sol~ ~l~ottery Tukwila, Wa. 98188 hibited recently by Rinda Metz, instructor at Newcomb College. Entitled "Personal Kt. I. Box 62, SperryviDe. Vo. 22740 / (703) 987-8625 Monuments, an Artists' Burial Ground," the show opened Halloween night and rep- resented 21 artists. Accordiz~ to Rinda, her 1,,,i,,,,,,,,,,,,i,l,,,,,,i,,,,,,,,°,,,,,,,° LARGEST INVENTORY IN OKLAHOMA L • L KILNS THE POT SHOPP p" • . . the most complete line! POTTERY SUPPLY and EQUIPMENTCO. CLAY BODIES, RAW MATERIALS and MISC. POTTERSSUPPLIES The only kilns with patented DYNA-GLOW element holders. Write for information. FUEL LINE OF EQUIPMENT and A LARGE STOCK OF CONE 5 PRE-MIXEO GLAZES L and L MANUFACTURING CO., Box 348 144 Conchester Rd., Twin Oaks, Pa. 19104 FOR PRICE LIST WRITE:THE POT $HOPPE, P.O. BOX 433 NOBMAN, OK. 73070 (405) 364.3732 ,,tl,,et,t,lit illll,,,,,l,,,,=,ttt,t ,,,,,t l,~

,% Wide Firing Range /~ Rinds Metz CONES O6-12 work "was an expression of the simplicity with which I envision my own burial-- ashes scattered through the woods or swamp--in reality no monument at all. WESTERN CERAMICSSUPPLY COMPAHY It is an expression of my own devotion and 1601 HOWARD ST. love for the natural world . . . a monument SAN FRANCISCO,CALIF. 94103 in seriousness and in fun, to these won- Continued on Page 89 Easy Step by Step Methods for Adhering Bars to Wheelheads.

March 1979 87 THE IMCO VARIETY OF COLORS IN FORMULATED CLAYS ARE UNSURPASSEDBY ANYTHING AVAILABLE

OUTSTANDING WORKABILITY, SUPERIOR DRYING TO PROVIDE THE OPTIMUM IN QUALITY OF FIRED CHARACTERISTICS, AND CONE RANGES TO MEET OBJECTS. RECOGNIZED AS THE STANDARD FOR THE MOST DISCRIMINATING POTTER ARE FUNDA- FORMULATED CLAY BODIES BY MANY SCHOOLS, MENTAL ELEMENTS OF OUR CLAYS. OUR CLAYS COLLEGES AND PROFESSIONAL POTTERS. FIRE TO WHITE, LIGHT BUFF, OR TO A RICH RED BROWN WITH IRON SPECKING. IMCO CLAYS EN- ASK YOUR NEAREST IMCO DISTRIBUTOR OR COMPASS EARTHENWARE, STONEWARE AND THE DEALER FOR THE FULL COLOR DATA SHEETS AND LATEST DEVELOPMENT OF PORCELAIN BODIES. PRICE LISTS ON IMCO CLAY BODIES AND CERAMIC ALL POSSESS GOOD THERMAL SHOCK RESISTANCE CHEMICALS. OR WRITE US. P.S. EXCLUSIVE DISTRIBUTORSHIPS AVAILABLE IN SELECTED AREAS. INI~I I~;TOIAI MINI:PAl ~; I"i3

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EXTRUDEi &HANDLE MAKER A time saving must for professional potters. ideal for schools. Easily makes handles, foot rims, kiln furniture, tubes, mirror frames, pots without a wheel and many other forms. Savesmany times its cost in a few months of use. Solid steel construction, lifetime guarantee. Extruder, one-inch round die, and two blank dies with instructions CKC has provided the user with a choice of rugged, $75.00 F.O.B. Scott Creek. high quality gas kilns. All models have been engineered to meet the requirements of those quality in shapes. Solids, hollow tubes from 1" to 2~5 "" who demand the highest standards of in diameter. Squares, cylinders, triangular tubes construction, excellence in performance, and or any combination. Blank dies available to high efficiency. cut your own shapes for beads, handles, tiles, flutes, etc. Complete sot of 12 dies, inserts Write for your free copy of our complete catalog. and bracket $32.00 F.O.B. Scott Creek. Patent Pending Add 6% sales tax in Calif. Send check or money order to: SCOTT C]L:t~--EZ4: ]PO'JL"T~--]L:I,Y 4 82 Swanton Rd. Davenport, Ca. g5017 (408) 426-5091

88 CERAI~IlCS MONTHLY CELEBRATING OUR 10th YEAR! POTTERY Soldner, SkuLL, Max, ~,.._~ ~ Montgomery Crusader, Aim, Brent, Technical Institute NEWS & RETROSPECT Walrus, Shimpo-West, L&L. Kickwheel kits, r ...... Troy, NC 27371 Continued [ram Page 87 tools, clays, glazes, YEAR ROUND CLASSES i-' ~dl derfully industrious crustaceans who spend corks, sponges, spig- their entire existence moving clay around." ots and a variety of by the craw- j~. ~ STONEWARE The chimneys are formed teapot handles. fish as they burrow underground, remov- JliJ~ ~ ---- ~li SALT ing the soil and stacking it in tiny pellets • Free iron-on wi+h each order J INDIVIDUAL "BLACK" • Send for 90-pacje cafalocj $1.50 I INSTRUCTION POTTERY J An equal opporfunity THE SALEM CRAFTSMEN'S GUILD L Educational Institution 3 Alvin Place, Upper Montclair, NJ 07043

CERAMIC EQUIPMENT KRAFT KORNER PARAGON and DUNCAN kilns -- ROBERT pu NK-K-N~e ckmg"Aristocrat of Crafts" BRENT slab roller - WALKER-JAMAR New Catalogue $2.00 mills - Sllp mixers plus a complete sfoc~ of pofferss and sculptors' hand fools. e for sckools & insHtutiom or more CAPITAL CERAMICS, INC. 10% discount with first $10 order 2174 South Main St. Salt Lake City, Utah 04115 Specialists in Supplies for (801) 466-6471 or 466-6420 Phone Enameling, Leaded Glass, AEGEAN SPONGE CO. Decoupage, Tale Painting, Imports from Greece. Silks, Elephant Silver Smithing. Ears, Wools & Synthetic (Fine-Pore) School discounts g/van Sponges -- Write for Price List ~ e)'s Margo Wennerstrom Decals Crawfish chim Imported Original Watermount S864 Mayfield Rd., Cleveland. OH 44124 NEW COLOR DECAL CATALOG $2.S0 to create a tube ranging in size from an 12161 442-1020 & Sample Assarlment SS.00 Cataloq in height (above). The artist 4459 West 56 St., Cleveland, Ohio 44144 inch to a foot says she fired some of the chimneys to Cone 06 but "they are somewhat delicate due to the large quantity of organic matter in Louisiana silt. I am planning a crawfish WEBCO True show but it is really redundant in that FOR Venturi Burners crawfish set up galleries all over the area-- DISTRIBUTORS along the highways, on lawns, in the woods c Alpine a Amoco • Bluebird c Brant These efficient cast iron burn- and swamps." • Cress • Debcor • Lockerbie • Lyman ers are guaranteed not to back • Max c Norren • 0haus • 0neco • 0rton burn even when using propane. They are rated at over 85,000 AWARD • Paragon • Randall • Soldner • Shimpo- BTU/hr., and can be turned BOOK RECEIVES down to a very small candle Modern Art 19th and 20th Centuries, West • Walker • Walsh ° Webco flame. by Meyer Schapiro (George Braziller, Inc., SILICON CARBIDE SHELVES the POSTS 13/4" TRI & 11/2" S9 "Write Jar literature" Publishers, New York City) was among CLAY five best books of 1978 selected from more FOR IMMEDIATE DELIVERY. CALIFORNIA KILN CO., INC. than 40,000 titles by the National Book FOR FREE PRICE LIST WRITE: Critics Circle. The presence of a book on P.O. Box 6054 Tyler, Texas 75711 3036 S. Oak St., Santa Ana, CA 92707 214/$95-3426 (714) 546-3071 visual art among these prestigious titles is good news for all involved in the contem- porary art world.

SAN DIEGO - Xlckwheel kit -- Mod.B Honey Twirlers for honey pots! ROBERT WINOKUR (metal parts) $59.50. Full line of potter's Salt-glazed forms by Robert Winokur wheels, gas and electric kilns. Gas kiln parts, were recently exhibited in a winter show pug mill, chemical, scales etc. CatoloQ $1.25. at the Detroit Gallery of Contemporary Brochure on selected items free. Ph. 424-3250. Crafts. The artist, associate professor of WAY-CRAFT crafts at Tyler School of Art, Philadelphia, 394 Delaware St., Imperial Beach. CA 92032 reflected on his work: "I built a small salt kiln with about an 18-inch cube stacking area out of leftover and secondhand brick. That was a few $2.10 each (plus 5% shipping. $1.00 minimum years ago. Most of my work at that time EVERYTHING WONDER WOODS was conventional stoneware and I used the FOR THE POTTER! kiln for a few things as a kind of 203 Oliece Dr., West Monroe. LA 71291 salt Clays - Chemicals . Dry GIc~es (318) 323-4523 diversion against the predictability of KILNS ~ Crusader, Skutt, Gall, I liked what happened with the Paragon & ¢ontempo stoneware. WHEELS -- Brant, Randall. Skuf,, salt so much that I applied for and got a Lockerb[e, Crusader & Shimpo to build a larger Pugmills . Mixers . Kemper Tools grant-in-aid for research Ohaus Scales - Corks . Books TUSCARO Y SCHOOL salt kiln. There were very few other deci- sions for me to make in the changeover to • • • Much. Much More salt. I had a clay body, glazes and slip for Catalog S|, Free fo Instifsfloas stoneware and rather than throw all that out, I just used it all, eliminating some L & R SpECiAlTiES things that did not seem to survive the salt 202 E. Mf. Vernon, P.O. Box 309 834 Continued on Page 91 Nixa, Mo. 65714 (417) 725-2606

March 1979 89 ~ ,~,,~-~ ;~.,,:,~

[ -,/ ~,.

• 7 ~

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90 CERAMICS MONTHLY Ei'IVEBIIO CREEKINWORKSHOPS POTTERY] NEWS & RETROSPECT Continued [rom Page 89

firing. That seemed a kind of evolutionary process. I suspect, had I started salt with- At BIG CREEK In 1979: out anything preceding it, my palette and what I do now would look very different John Reeve Ruth Duckworth • . . but that is really of no consequence-- Warren MacKenzie Bruce McDougal L Write for information

Call 9 ~ -

write, DISTRIBUTOR FOR: Hanovia Lusfers & precious metals Paragon Kilns Duncan Ceramic Products or stop. IN STOCK: Large selection of Alberta • Arnel n Atlantic on • Fres-O-Lone n Holland n Jamar-Mallory n Kentucky • Kimple • Ludwig.Schmid • Weaver & White Horse Molds Slip.O.Mofic representative Our new enlarged There Complete ceramic supplies. greatest of ink-monochrome painters. were a lot more than six bottles made . . . '79 supply catalog is WHOLESALE AND RETAIL the six keep changing. The arrangement in now available. 113 49th St. South, St. Petersburg, Fla. 33707 this photograph is pretty formal and has little or nothing to do with persimmon Robbins Clay Company painting. The arrangement is important. "My work is very much involved with 1021 West Lill Street the relationship of surface to form. The Chicago, !il. 60614 • POTTERY color of the surface is crucial. Even color (312) 477-0701 photographs miss this• It is a very interest- ing point because our whole existence-- • SCULPTURE jurying, jobs, portfolios, grants--hang on • ENAMELING

1025 N. MAIN ST. io DAYTON, OHIO pplq 45405 BALDWIN (513) 228-6777 POTTERY 54.0 LA GUARDIA PLACE NEWYORK, N.Y. 10012 DRY CLAY SALE 212 475 7256 Air Floated Kentucky Ball Clay S0 Ibs bag ...... $3.00 10 bags or more ...... $2.50 a bag Talc 50 Ibs bag ...... $3.00 EQUIPMENT 10 bags or more ...... $2.S0 a bag YSERN TILE SHOP AND 4650 Old Winter Garden Road Orlando, Fla. 32811 Phone (305) 295-3773 SUPPLIES

WE ARE BUTORS FOR "Vessel with Two Heads" DISTRI slides these days. What we applaud and revere is the slide, not the work itself. Size, feel, weight, presence, are all absent. 01f/gl5 "I still don't know what to say about 'Vessel With Two Heads' (above, 17 SCALE CORPORATION inches in height). Of all things my least concern is with function or utility. My primary concern is with the abstract ele- DEALER INOUIRIES INVITED ments of edge, line, volume, shape, space, Continued on Page 95

March 1979 91 pm Jag tiger Potter's Wheels • Complete portability - utterly rigid • Solid state feedback speed control circuitry - 0-200 RPM's • Maintain any desired speed with the foot pedal control - ~ infinitely variable. • 3 wire grounding for your protection ~, • 12 inch diameter aluminum wheel head

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THOMPSON Offers All Of The first (and last) word on paper!

This For Only $81.95 ...... :::: WASHI !'~-~ The World of \ woful, JapanesePaper ~i{ i=~ rArE~s,~ ,',~ ./,~ by Sukey Hughes foreword b'v Isamu Noguchi

Thompson's cafalo 9 introduces a new package consisting of an electric kiln {ins;de d;mensions -- 5" wide, 7" deep, 4" high} and including e CAREFULLY SELECTED group of supplies that wi]l get you started enameling immediately . . . for only Comprehensive and well-illustrated, this $81.95, plus shipping charge. Send your order today wifh payment for prompt shipment. volume, by a practicing papermaker, covers The new Thompson catalog, along with its famous Color Guide, the history, materials, techniques, types, is waiting for you . . .ius¢ mall the coupon and if will be on papermake, s, and aesthetics its way . . . absolutely FREE. of this ...... disappearing craft. 360 pages $45.00 Thomas C. Thompson Co. Also available in a deluxe edition limited to Dept. CM.3 m 1539 Old Deerfield Road Highland Park, illinois 6003S 1000 copies with more than 100 paper samples. $250.00 nonreturnable [] Enclosed is payment for new kiln package (Illinois residents add 5% sales 'l'ax.) At bookstores or direct from publisher [] PJease rush FREE Thompson Catalog KODANSHA Name [~ INTERNATIONAL 10 East 53rd Street, New York, Address N. Y. 10022 prices slightly higher in Canada City State Zip prices s,&ject m change without notice

92 CERAMICS MONTHLY MY VOLKS WHEEL WAS A GREAT DEAL LETTERS Continued from Page 7 FOR ONLY $199.S0 had intended the different molds to be one design, surely he would have stipulated that they were to be sold as one piece . . . leaving no room for imagination in assem- blage. Not knowing if "Assemblage" was a FROM category at the show, it is possible that Howard Kottler's entry was incorrectly labeled. Anna Powell Taft, Calif. INI Outstanding artists (past and present) are born with a divine gift, and from ob- serving Howard Kottler's efforts it is sad that he isn't one of these fortunate indi- FULLY GUARANTEED viduals. Inez Goodyear Taft, Calif.

A complete, variable The main purpose for Howard Kottler's sculpture was one of humor and to give his speed, electric potters viewers some pleasure. Ruth Poris was wheel kit. rather rash by accusing him of being dis- honest. I didn't get the feeling that he was trying to put the sculpture across as being Write now-free brochure entirely his own creation. I'm sure Ruth Poris has used ideas, words and things that Box 635 were from another source without giving exact credit every time she used them, and "~~~eel L°s Gat°s I don't think she considers herself a Ca. 95030 dishonest woman. One cannot say it is entirely right or wrong to borrow from someone else. It depends on the circumstances and purpose of its use. Judy Kidd Taft, Calif.

Howard Kottler is right and you need not say anymore. Kiminnette May Taft, Calif.

WORD ORIGINS Curious about the word pitcher and its A New origins in the craft, I ran into this explana- tion in a museum in Victoria, British Columbia a few years back: Water jugs in Catalog the middle ages were sometimes made of leather, and in order to hold liquid, they were coated with tree pitch and called Specifically pitchers. The name stuck, even when pot- tery was available to the common folk. Ric Swenson For Schools / Anchorage, Alaska SUBSCRIBERS'COMMENTS & Institutionsl Drop "how to" articles, inane letters to the editor on art versus craft, or "funk" We are leaders in the ceramic The most complete line of potte~ versus traditional; they bog the magazine and metal enameling supplies and down to a petty level. Serious, well industry. Our catalog is full of equipment available anywhere, thought-out comments challenge one's exciting and challenging prod- Write for free catalog and the point of view. Stay on a professional level. ucts. Order your copy today! name and address of the AMACO William R. Bowser Geneseo, N.Y. stocking distributor nearest you. Let's stress a little more beauty and a WRITE OR CALL: The FIRST name little less shock. Thal Maitland OHIO CERAMIC SUPPLY in ceramics. Santa Rosa, Calif. P.O. BOX 630 AMERICANART CLAY CO., INC. Share your thoughts with other readers. KENT, OHIO 44240 All letters must be signed, but names 216/296-3815 4717 W. 161h ST. will be withheld on request. Address." The Editor, CERAMICS ~{ONTHLY, Box 12448, Columbus, Ohio 43212.

March 1979 93 "ve Industrms Here, at Creative Industries, we have been producing a professional quality potter's wheel for over seven years. During this time. our wheel has evolved into one with a level of quality and ruggedness unequalled in the field today. The quality of the components and craftsmanship is consistently superior. Our extraordinarily low prices prove what dealing direct with the manufacturer can mean. Our wheels offer performance superior to all others on the market, regardless of price. But, when you do consider price, you begin to understand the total value of our "machine. The Ci, Medium Power Wheel is powerful enough for centering at least 35 pounds of clay. It's an excellent choice for 90~ of all potters. Price: $290.00 plus shipping If you're one of the 10% who needs more power, the ~L, High Power Wheel is for you. Producing 1 1/3 horsepower, this wheel is stronger than you are/ Price: $395.00 plus shipping Both wheels offer welded steel construction and smooth variable speed control.

For detailed information write: This 125 pound pot was thrown by David Ferrin at Stoneware 'n Stuff in La Mesa, Calif. Creative Industries, P.O. Box 343, La Mesa, Ca. 92041

CORKS- CORKS - CORKS

~~ ROUGH CORK STOPPERS ~1~ These Stoppers are of the highest qualify and are available for im- eel_ 's mediate delivery at the present time. Please enclose check with order. We invite you fo compare our prices and ceramic service quality. DIAMETER DIAMETER TOP BOTTOM PRICE TOP BOTTOM PRICE The complete ceramic supply source 1" 1/2" $ .12 4" 3V2" S .60 for 33 years - huge stock of: 11/2'' 1¼" $ .15 4V2" 4" $ .70 2" 13/4" $ .20 5" 41/4" $1.05 Kilns 21/='' 2" $ .30 51/2" 4¾" $1.20 3" 21/2'' $ .40 6" S1/4'' S1.60 Potters' Wheels 31/= '' 3" S .45 Height of corks varies from 11/2'' to 1~'4". Clays Glazes and Stains SMOOTH CORKS WITH OR Molds WITHOUTLEATHER THONGS Phoenix is proud to introduce an ex- Brushes and Tools citing new product for the professional Equipment and Supplies potter. Phoenix is offering a finished cork stopper that has a genuine leather Manufacturers of Seeley's famous White thong attached to it enabling the cus*omer to remove the cork easily Velvet casting slip and porcelain slips. from any canister or spice jar the poffer creates. The corks are all handmade and we guarantee the leather thong will not come out Send for our General Catalog . when pulled, or your money will be promptly refunded. These corks will enhance your pottery line and con~ibufe to increased sales. free to schools and institutions - PRICE PRICE $1.50 to others. DIAMETER with without DIAMETER with wlfhout Top Bottom Hgt. Thongs Thongs Top Bottom Hgf. ThoncjsThonqs 1" 1/2" 1 " $.__ $.15 4" 31/2'' !" .65 .60 11/2" 1" 1" .20 .18 41/2" 4" 1" .80 .75 2" 11/~'' 1" .30 .28 5" 41/2" 1" 1.20 1.15 21/2'' 2" 1" .35 .30 SV2" 5" 1" 1.35 1.30 SEELEY'S 3" 21/a'' 1" .45 .40 6" 51/2'' 1" 1.65 1.60 31/2'' 3" 1" .55 .50 CERAMIC Please enclose check with order. All orders are shipped F.O,B. Chicago (Customer pays freight) Minimum order S25.00. Canadian SERVICE, INC. customers please send checks in U.S. funds. 9 River Street, Oneonta, New York 13820 Phoenix Design Ltd. Phone: (607) 432-3812 Box 29048, Chicacjo, IlL 60629 (312) 436-1977

94 CERAMICS MONTHLY r • USE THE NEWS & RETROSPECT Continued [rom Page 91 Orlon3 Cone gystem color, texture and all of those things in- herent in well-defined form. If it arrives at utility as a result of those elements put into relationship, well and good, if not, so what. I put down "Twig Art" a lot, not because I don't like any of it, but because FROM I am annoyed at the pervasive fadishness of its existence. In itself, the stick is a nice START element; it lends itself to gesticulation like few other forms do for me." Photos: Brad Summit Kilns offers extremely even Iverson. temperatures, stainless steel jackets, heavy-duty hinges and burner stand, adjustable pilots and portability. OTIS M.F.A. EXHIBITIONS Raku sculpture and container forms by M.F.A. candidates Rebecca Trela and OPTIONS: Layer of Fiber-frax, Baso Sally Wolk were recently exhibited at the safety shut-off & kiln sifters. Otis Art Institute, Los Angeles. The winter show included "Expanding Form," 10 Also available: Raku kiln. inches in height, handbuilt by Rebecca maim Write for more information.

Summit Kilns 11406 Wine Rood, Riverview, FL 33S69 (813) 677.7465 COMING SOON ~ Clay extruder and a pugmill.

SWIVEL TOOL ~ California residents add 6% fax TO BLUE SKY POTTERY FINISH 29211 Heather Cliff Road MolJbu, CA 90265 t ir~" Choose Orton Cones to visually indicate CeramicFiber Insulation Rebecca Trela the progress and Trela. Both artists work predominantly SUPERAMICS with modest sizes and a minimal amount the finishing point 2~ , GENt MUCH~ - PreS,~nt 1613 DIXIE HIGHWAY of decoration to achieve quiet, mystical • it13) 937277e HOLIDAY, FL 33590 qualities. of your firing. Sally Wolk, influenced by Japanese pot- tery and Asian handicraft, is currently involved with the nature of pattern and MOVING SOON? repetition. If you move, please notify us at Standard Since 1896 MICROWAVE POTENTIAL least 4 weeks in advance, giving Studio potters might wish to explore the both new and old addresses, and possibilities of producing ware for use in _~.,.~) NOW AVAILABLE 16 mm sound movie send your address label from "Cones for the Potter," Available for microwave ovens. According to ]. J. Svec, L~ ¢ ¢,1,i clubs, SChOOlS and st0dios. magazine wrapper to CERA),'IICS editor-in-chief of Ceramic Industry maga- _~J -~ Full color, running time 9 min- ]kIOI','THL'~', Box 12448, Columbus, zine, referring to a Business Week article utes. Order 30 days in advance Ohio 43212. from September 4, 1978, every oven sold creates a demand for 75 dollars in utensils, with a total cookware market of 250 mil- Sold only lion dollars estimated for this year. by Authorized DAVID MIDDLEBROOK Dealers Quay Ceramics Gallery, San Francisco, 1147 E, Elm presented ceramic sculpture by David Fuller~on, Calif. 92631 Middlebrook recently. The artist uses sur- Continued on Page 97

Mar(h 197!) 95 Throwing unique pottery or creating stoneware is your thing. Helping you to fire it to perfection is our thing. Crusader provides cone 10 kilns in 6 different models to satisfy your purpose--no DARD CERAMIC SUPPLY of Chem-Cley Corporation CO, matter what state of the art you are in. Division Each one is developed from 29 years P.O. BOX 4435 of know-how. Each one is U/L PITTSBURGH, PA. 15205 and CSA approved. (412) 923-165S if you are mastering Filthe throw... Upt KNOWN FOR QUALITY AND SERVICE

Call or write for your FREE :>, Corporation, 937 Washington Catalogue of Clay and Glazes " Avenue, Holland, Michigan <~ 49423 U.S.A. Colors and Supplies PH: (616) 392-1888

When there is a desire or a need--satisfy it! We WITH ODDS LIKE have. Crusader wheels give the smoothest performance at all RPM's and high torque action is engineered to respond to your task. Time IOOO TO I after time.There are two models and rotation YOU'D PROBABLY BET actions to choose. Each has a removable wheel head and a one-piece splash pan. The YOUR LAST CENT- whole works are completely enclosed for care- ESPECIALLY free operation and your safety. ON A SURE THING! if you are looking IO¢ CAN GET for the best... YOU OVER $1OO ive IN SAVINGS IF YOU' RE ABOUT TO BUY A QUALITY KILN, send for the AUTOMATIC FIRING CONTROL, CrtusadeC books OR POTTERS' WHEEL. All of them! Our books are loaded with facts on proper potter's wheel requirements to WANT TO BET? obtain professional results. It's SEND US A POSTCARD worth it to you! Write Crusader Corporation, 937 Washington Avenue, Holland, Michigan 49423 U.S.A. THB CLAYPBOPLB PH: (616) 392-1888 3345 North Halsted Chicago, Illinois 60657

96 CERAMICS MONTHLY THE POT FARM NEWS & RETROSPECT tearing the form. With slipcasting, the mold held the HAS Continued [rom Page 95 leather-hard shell while a framework of extruded clay rod or actual realist combinations of everyday objects thread coated with slip was used to form POTTERY LESSONS in an attempt to "undermine the rational another layer. Inner surfaces of some of the order of appearances" bowls were fragmented to recall the by piecing together process • Beginner • Intermediate • Advanced • Handbuilding Day and Evening Classes Special Introductory Offer Bring This Coupon For I FRI:P Lesson By Appf. only Altered sllp-cast bowl Offer Expires 4/30/79 of decay and deterioration. Shown, above, is an altered, slip-cast earthenware bowl, 6 inches in height, with airbrushed under- glazes of lavender and yellow orange, by THE POT FARM the artist. Photo: Torn Gilmour. 2909 Santa M0nica Blvd. Santa Monica Ca. 90404 CAROL RIDKER (2t3) 828-7071 Ceramics by Maryland potter Carol Ridker were recently exhibited at the Jewish Community Center in Rockville. Shown from the exhibition is a porcelain bucket, 12 inches in height, with clear feldspathic glaze and copper "Big Game Hunting" red decora- tion. Other exhibited forms included stone- realistic objects from unrelated parts. Matt and gloss glazes are used to fool the eye and heighten the illusion of unfeasible images. Shown from the exhibition are (above) "Big Game Hunting," 4~ feet in Robert Brent Kick Wheels are easy to assemble and extremely sturdy. The metal parts kit shown below .~ .~ , in the foreground costs $69.50 {plus tax and freight). The precut wood parts in the background make the job easier and cost $75.00 {plus tax and freight). Write 128 Mill Street, Hcaldsburg, Ca. 95448, for the name of your nearest dealer. Available From: LESLIE CERAMICS SUPPLY CO. 1212 SAN PABLO AVENUE BERKELEY, CALIF. 94706 (415l 524-7363

z

"Don't Fight the Feeling'" height; and "Don't Fight the Feeling," 28 inches in height, both of handbuilt and slip-cast low-fire clay. David Middlebrook is on the art faculty at San Jose State University, California.

JUDI FINEBERG "Clay Suite," a series of twenty earthen- Porc~ Iczi~z t,~ /~, t ware bowls by ]udi Fineberg, was recently shown at the Clay Place Gallery, Pitts- ware and porcelain tea sets, bowls, vases burgh. The artist began working with and bottles; stoneware and porcelain saw- pinched and layered bowls, but found dust-fired sculptural works; and a series of handbuilding limited her to piercing and Continued on Page 99

March 1979 97 Alfred Presents 501 Atlantic N. Kansas City, Missouri 64116 A/C 816-421-7011 P.O. Box 7556 Good Earth Clays moist & dry blended bodies now available thru the following distributors: OAK SLAB POTTERY 352 Adcock Road, Hot Springs, ARK 71901 A/C 501.624-3733 DOWLER ENTERPRISES,INC. 6700 South 78 Street, Omaha, Nebraska 68127 A/C 402-331-1744 C & CCERAMIC ARTS 962 Arcade Street, St. Paul, Minnesota 55106 A/C 612-774-7007 CRAFT INDUSTRIES 78 Woodlake Square, Houston, Texas 77063 A/C 713-789-8170

Would you like to be a Good Earth Distrlbufor with a protected area?

A NEW INTRODUCTION TO CERAMICS that isthorough, up-to-date, and easy to understand. The story of clay artistry from earliest civilizations to the present is presented as essential knowledge to inspire creative ideas today. & a A complete technique section covers all contemporary methods for low and high fire works. Hundreds of photos potter's warehouse illustrate and clarify each of the processes from the simplest to the most complex. new soutr~vv@st ,,rot@hObS@ of fir-,@ 500 black and white photos and 22 full-color plates make cerom,c ~',o:@rlors ONd @qbmB~-,er" this a beautiful as well as useful addition for your library, your students, or your customers. Order your copy today. iorg@ w,v@P,tc, ry -- low prices Please send check or money order and we will pay shipping and handling.

$13.95 / softcover / 352 pages / 1979 we FT" O lr ~to, r~ 0 ~OrCj@, r/'v@r-/tc,~/ TO Se@@ your irr- FT@OIOT@ rfle@QS Immmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm

m ALFRED PUBLISHING CO., INC. • • Dept. MO • Write - Call or come by • 15335 Morrison Street, Sherman Oaks, CA 91403 • • N"• for your free catalogue • Yes/ Please send me copies ofHANDS lN CLAY@$13.95ea. • • (Ca. res. add 84¢ sales tax per copy) • • • ,o store rjr~ by joox@rs for powers [-]money order, in theamount of $ • • I am enclosing 17check, • I-)Please send me quantity discount information (5 or more copies). I • • a & a potter's warehouse • • 21 O0 n wJinno+ rd. ur',TS 2,3~ 2C2 • Name • ,t, csor,, oz ~.57 ~ 2 Address_ • O02 :i.'c.536'~4 • City •

• State/Zip •"mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm -m 98 CERA.~IXCS3,'ION'X'HLY III II

NEWS & RETROSPECT viewers' reaction to unexpectedly seeing themseh'es after having examined a box Continued from Page 97 from the outside and lifting the cover. It landscape-related plates and bottles. Carol confronts them with their own image in Ridker uses the following clay body: relation to the image on the box," com- I t.~v'~ "~ mented the artist. Photo: Terry Barnum. I year-round& summer programs Stoneware Clay Body (Cone 9) in studioart. Phone5181523-2591 EXTENSIVE Ball Clay ...... 60 parts CLAY DOUGH Cedar Heights Goldart Clay ...150 CERAMICS PROGRAMS Cedar Heights Redart Clay .... 15 Sculptural ceramics by John Thomas now acceptingapplica- PBX Fireclay ...... 30 Bensing were presented recently in an tions for summer& fall 1979 Soda Feldspar ...... 15 exhibition at Murray State University, Flint ...... 24 Kentucky. Shown below is the artist con- Medium Grog ...... 12 structing a work for the show. "Cake" Sand ...... 24 consisted of a thrown cylindec and slab 330 parts "A CALIFORNIA COUNTRY POTTERY" by AL BOLTON The artist has been a studio potter for A beautiful, powerful and extraordinary ac- count of the spiritual iourney of the poller. 15 years, and has worked with indigenous Clays, Kilns. Pots, Wood Ash Glazes. 57 Color potters in India and the Far East. Plates. Hand bound. $20. Postpaid from: THE CENTER PRESS Box $4, Mendocino, CA 95460 BILL GILBERT A recent one-man show at Aarnun Gal- lery, Pasadena, presented four large-scale The CORNWALL BRIDGE POTTERY has open- adobe installations by Bill Gilbert. Accord- ings for assisfcmt potters prepared to commit ing to gallery director Edward Nunnery, for at least t~vo years to a work/study oppor- tunity in a production pottery with o wood- "All of the pieces evoked a sense of mys- fired kiln. Some throwing experience neces- tery, either through their construction, or sary. Only those with an interest in functional pofs need apply. their use of illusion." Shown from the exhi- Contact: Todd Piker CORNWALL BRIDGE POTTERY Cornwall Bridge, CT 06754. (203) 672-654S.

WORKSHOPt IIIII I I I~¸ F F EIGHTEEN DAYS MASHIKO AND BIZEN- TWELVE DAYS TRAVEL-JUNE 28 TO JULY 27 UNITREX 1043 E. GREEN ST. PASADENA, CA. 91106 Bill Gilbert bition is "Collapse," 15 feet in length, of adobe and wood, evolved from a previous series of collapsible shelters. ¸ FLETCHERFARm- DAISY BRAND £RnFT SCHOOL/ / LUDLOW VERMONT 05149 / Oxidation-fired functional ware and | Sendon e= long ,~ CompleteArts and Crafts Program | o ~ 1Or I I sculptural "mirror boxes" were shown by LI ~.u~,..r¢ ~'.~..I,,, empn.,iz~ng.POTTERYand RAKU Daisy Brand in a recent solo exhibition at Glaze Composition • Kiln Conslrugtion SPRING, SUMMER and FALL SESSIONS Saks Fifth Avenue of Boston. Stoneware o :~.~(1 poz(elair~ ",.:~.e<. l>ottle, and soup peter: volley Layton, New Jersey 07851 blacksmithing, wood, fine metals, photography, textiles, ceramics resident program, internships, workshops, summer courses

Dais). B; a ~ d tureens were displayed, including her Constructing! "C akc'" wheel-thrown casserole (shown), I0 inches top with sfip "icing" applied from a in diameter, with Cone 9 glaze. pastry tube (John once worked in a Hanging and free-standing covered con- bakery). After firing, the cake was deco- tainers with sculptured facial images held rated with ceramic lusters and decals, then interior mirrors. "I am fascinated by the Continued on Page 10l

A[arch 1979 99 .------......

,I qp eaTLUe I, 1 Jill PU S~C/ITIaNS ,

in I , r I I the beginning teacher or the experienced professional I who wishes to bring something new to her students. Pro- I ANNOUNCEMENT f,Jsely illustrated. For the distributor, it can be used as a text in seminars for teachers and dealers. $7.00 each. I I TNEARTOFA,RBRUS.,. I FOR CERAMICS AND CRAFTS I GOOD EARTH By G. Maynard Clark. The author is a leading authority I on airbrushing and has pioneered in the creative use I of this tool in the ceramic field. His profusely illustrated |I I book includes instructions and comprehensive informa- | tion on equipment and techniques pertaining to one I stroke underglaze application, including glazing with a I CLAYS, INC. glaze gun. Bisque and craft decoration is explored I in detail. $4.00 each. I I I THE WONDERFUL BUSINESS OF CERAMICS I By Merle Peratla. It's the handbook for dealers and I NOW REPRESENTS teachers who need help in setting up and managing their I studios. It's a practical guide to profitable studio oper- I ation with 20 chapters brimful of information about studio I layout, obtaining customers, pricing wares, proper buy- I ing methods, record keeping, etc. This book can start new I A 7,,. dealers off properly or save some shaky businesses. I New edition, revised and enlarged. $5.00 each. I I I I I I IN THE STATES OF I Potluck Publications, P.O. Box 48643, Los Angeles, CA 90048 I lll~llll IIIIIIIIIIII IIIIIIII IIIIIIIIiiII II m Dml ml m g m u i m mlm P ARKANSAS [KEN FERGUSO-~ ]THE POTTER IOWA MAKING POTS FOR 23 YEARS HIS THOUGHTS, HIS WARE TEACHING, THROWING KANSAS GLAZING, FIRING IN KANSAS, IN WYOMING MISSOURI WORKINGI NEBRASKA A NEW FILM:J PROFESSIONAL m INDUSTRIAL SCHOOL ~ HOBBY GOOD EARTH CLAYS, INC. 501 Atlantic, Box 7556, N. Kansas Cify, MO 64116 (816) 421-7011

100 CERAMICS MONTHLY Summer School Alfred University NEWS & RETROSPECT objects featured applied clay "cookie cut- ter" cut-outs New York 14802 Continued from Page 99 of animals, such as the vase shown below, of iow-fired porcelain with displayed on a wheel-thrown, raku-fired Don Pileher Throwing plate. Other works in the exhibition in- Bill Brouillard Glaze Calc. cluded kites fabricated of sticks and large sheets of clay pressed into plastic screening. Dave Tell Firing A tricycle of clay and nylon mesh frame Sculpture with wooden spokes was also shown, its nameplate displaying a silk-screened self- portrait of the artist. Send for Catalog.

BARBARA GRYGUTIS :• , 1 The Hand and the Spirit Crafts Gallery, Scottsdale, Arizona, recently presented new PLAN NOW FOR works by Barbara Grygutis. The artist dis- played brightly colored tiles decorated with NEXT SUMMER AND BEYOND m ¢ STUDIO SPACE, SALES, LIVING QUARTERS FIND OUT HOW WE CAN HELP THE LAKE ERIE ISLANDS WORKSHOP (STUDIOS AT PUT.IN-BAY, OHIO] 208S Cornell Rood, 210, Clevelaad, Ohio 44106

"Cookie cutter" vase

Stoneware metate incising and underglaze pencil, 14 inches in height. Arizona landscapes and related three- and CRAFT SCHOOL (~ Alan Walter exhibited salt-glazed stone- four-panel murals. ware slabs with embossing Snd incising. CLAYTON, N.Y. 13624 Also included in the exhibition wag a Early Amer=can Decoration, Birdcarving. handbuilt "metate," the stationary stone Weaving. Spinning and Dyeing, Photography, used by Pueblo Indians to grind corn and CAVANAGH/ELLIS Enameling, Jewelry, Watercolor Painting. De- sign, Rug Hooking, Stained Glass, Quiltmak- seeds. The artist's stoneware metate with Handbuilt porcelain works were shown landscape glaze painting is 15 inches in ing, Basketry. Pottery, Handbuddmg, Wheel- in two separate exhibits at the Kiva Arti- throwing. height. Photo: Glenn Short. san's Gallery, Scarsdale, New York. During 1979 July 2 to August 24 January and February, Andra Ellis dis- LIND/WALTER played porcelain boxes and bowls with for detluls write to: Dept. CM3 Recently on exhibition at Hill's Gallery, dream-inspired landscape elements, glazed lOOO ISLANDS Santa Fe, were ceramics by Jenny Lind and lustered. "Couples," 9 inches in height, MUSEUM CRAFT SCHOOL and Alan Walter. Jenny Lind showed por- i. :~H~,h~ Tb.,' .],i,'~. lwi~ exhibited 314 John Street, Clayton, N.Y. 13624 celain, animal-theme works, such as the

i > SIRIDER~c. LE/~IIEr I Ceramics, Glaze Chemistry, Wheel Work I / plus 47 other Fine Arts and Crafts / J coecl courses and workshops | J ~ /B ,~ ,~"~,#l~ 610 Lexington Ave. | VW| ~ N.Y.C. 10022 ~=1 iwr '~'i 212as54soon60 f-

Henry Ca: anagh through March by Henry Cavanagh, Lo- montville, New York. The handbuilt sculp- ture is hlgh-fired, china-painted porcelain One and Two- on a walnut base. This artist selects pom- Week Sessions posity, bureaucracy, The American Dream, militarism and false comfort as targets for Jun 11-Aug 17 satire. The Arrowmont School of Arts and Crafts BROWN/CARTWRIGHT write for descriptive brochure• Porcelain teapot Concurrent solo exhibitions at the Col- Box 567 • Gathnburg. Tennessee 37738 rabbit teapot, above, of gray glazed high- lege of St. Catherine in St. Paul, Minne- Tel (615) 436-5860 fired porcelain, 7~2 inches in height. Other Continued on Page 106

March 1979 101 I(Ei AI/HCO$ o . CVan , lowe 1 O(01($

A DIVISION OF WESTWOOD CERAMIC SUPPLY CO.

I Gram Scale

O"='n0 W""°u'" S°"" by Verni Greenfield e~ 36 pages, $2.99 Ship. Wt. ½ lb. This concise and readable text is useful to all ceramic students. It explains how to convert glaze calculations from weight measurements to volume measurements. This book is the answer for the educator who does not have enough gram scales available for his students.

syllabus for beginning pottl~Py. |, c~rNon ball

~I1', "---~ Syllabus for Beginning Pottery by F. Carlton Ball =_5; ! .... 7s pages $4.00 - Ship. Wt. 1 lb. The Syllabus deals with various aspects of ceramic work. The book gives a great deal of information and presents it in a way easy to follow.

Other Titles From Keramos r~ THE CLASSIC Gas Kiln Firing The Kiln Book Olsen 24 Kiln Kit by Ralph W. Ritchie by Frederick L. Olsen updraft 81 pages, $5.95 172 pages, $9.50 AND THE NEW Ship. Wt. 1½ Ibs. Ship. Wt. 21bs. Syllabus for Advanced Ceramics Drinking Vessels 77 Olsen 36 Kiln Kit by F. Carlton Ball 20 pages, $3.00 68 pages, $3.95 Ship. Wt. '/4 lb. Ship. Wt. lib. Olsen 16 Kiln Kit ORDER FORM copies of Syllabus for Beginning Pottery $4.00 These 3 kilns offer you the utmost in quality and flexibility- copies of Syllabus for Advanced Ceramics $3.95 Compare and see. copies of The Kiln Book $9.50 =Natural gas or propane (L.P. gas). copies of Gas Kiln Firing $5"95 =Fires evenly to cone 10, oxidation or reduction copies of Glazing Without a Gram Scale $2,99 KIT INCLUDES: copies of Drinking Vessels 77 $3.00 =Angle iron frame =Flexboard cut to fit oK26 or K23 and K2O insulation bricks =Air set mortar =Burner manifold =Gas California Residents add 6% Sales Tax. burners with flame tubes =Damper guide =Pilot Assembly Please include appropriate postage: US, .48/lst lib., add .18/ea. add. PRICES 1 lb., after 71bs., add .11/ea. add. 1 lb. Foreign, .48/lst lib., .66/21bs., 16 cu. ft: from S1480 24 cu. ft: from $169S .84/41bs., add .42/ea. add. 2 Ibs. Please allow 2-3 weeks for delivery. 36 on. ft: from $209S Enclosed is a check/money order for U S $ .(Telephone F.O.B. Pinyon Crest, CA order accepted with approved credit). For further information Please send for our free brochure to further acquaint you contact Keramos Books. with these 3 kits. 50 & 72 cu. ft. Kilns also available. Name Pinyon Crest, Box 205 Address Mountain Center, Calif. 92361

City State Zip Keramos Books P.O. Box 2305, Dept. B0310 Bassett, CA 91746 (213) 330-7055

102 CERAmiCS MONTHLY" NEW BOOKS

BEYOND EAST AND WEST imperial ware of Sung dynasty China Memoirs, Portraits and Essays (A.D. 960-1279). Aided by the availability by Bernard Leach of authentic shards, plus optical and elec- Renowned English potter Bernard Leach, tron microscopy, he soon expanded the now 92, presents a potpourri of life experi- project to include Sung glazes in general, RUGGED & QUIET ences in this autobiographical book. Begin- with this volume as the end product. A Portable ning in 1903, the author offers a composite technical manual written in non-technical of the background and tales familiar to language, this book is intended for use by Leach followers, phts much that has not those wishing to develop their own celadon previously been revealed about this artist recipes. and his contemporaries. Following a short discussion of literature Part one includes Leach's early days at pertinent to this volume and a brief look the Slade with Henry Tonks, impressions at Chinese ceramic history, the author de- of Japan and China, plus chapters on his scribes characteristics of various Sung friends Kenkichi Tomimoto, Soetsu Ya- wares, illustrated with photographs depict- nagi, and more. ing typical pots as well as cross-sections of Part two opens in 1920, and includes glazes and bodies. Additional chapters dis- Leach's experiences in England, return cuss test kilns, glaze microscopy, glaze visits to Japan, the pivotal (for many thickness, glaze-body interactions, phase American ceramists) 1950-53 visits to separation, atmosphere reactions and raw I North America, and other world travels. materials. 214 pages, including appendix INVITED Sections are laced with Leach's philosophy, and index. 150 black-and-white photo- insights and sharply etched recollections. graphs, 12 maps and illustrations. $15 Presented throughout are extracts from (postage paid). The New York State Insti- OPTIONAL previously published, significant writings. tute/or Glaze Research, 511 North Hamil- CENTERING-T00L & LEGS The text is capped with a handwritten ton Street, Painted Post, New York 14870. note, "I have seen a vision of the marriage far off down the of East and West, and EARTH 'N' FIRE Halls of Time I heard the echo of a child- A Survey Guide to like voice. How long? How long? Contemporary Japanese Ceramics " 'Farewell.' " by Amaury Saint-Gilles 320 pages including chronology, index The author, a Tokyo gallery owner, assem- and an extensive table of contents. 24 bled this critical guide from a series of one black-and-white photographs, 17 graphics. hundred published newspaper articles to $15.95. Watson-Guptill Publications, 1515 aid for those wishing to visit Broadway, New York City 10036. serve as an active potteries in Japan. He gathered information over a five-year period, photo- ATTENTION: a spectrum of THE ART OF BERNARD LEACH graphing and interviewing potters. CERAMIC DEALERS, edited by Carol Hogben The guide contains 113 chapters, each PROFESSIONAL POTTERS, Based on a 1977 retrospective exhibition at dealing with a specific type of ceramics, the Victoria and Albert Museum, London, town or kiln site. Photographs of typical CERAMIC TEACHERS . . . (honoring the artisrs 90th birthday) this end-page map of Japan are ware and an Reliable glazes . Wide selection of book primarily contains images of pots, keyed with numbers referring to the cor- colors and effects • Finest quality = prints and drawings produced over the last responding chapters. 192 pages with index/ service. 70 years. The pottery (arranged with ap- glossary and list of potters. 153 black-and- Fast personalized proximate chronology) spans Leach's work- white photographs, 28 color plates, 4 Cone 06 ...... 116 glazes ing life, from his first forms made in Japan, illustrations. $9.99 (postage paid) in pa- through five decades at St. Ives. Clay- perback. Shu/unotomo Company, Ltd., 1- Cone 5 ...... 50 glazes works depicted are individuals bearing his chome, Surugadai, Kanda, Chiyoda-ku, Cone 10 ...... 55 glazes personal mark, as opposed to standard pro- Tokyo 101. 50 colors duction wares made at the St. Ires pottery Underglazes ...... and based on his designs. Supplemental writings were selected to show the pro- CONTEMPORARY CERAMIC TECHNIQUES gression of this potter's thinking as parallel by Joh• W. Conrad to his art development. The book also con- This volume, by the author of Ceramic Phone (213) 870-6000 tains an introductory essay on Bernard Formulas: The Complete Compendium, is 5894 Blackwelder St. Leach by its editor, and an essay on "Leach those who have basic ceramics intended for Culver City, CA 90230 as Author," written for this volume by and techniques, but who knowledge, skills ...... Edwin Mullens. 192 pages including bibli- would like to expand their interest into ography and appendix. 113 black-and- low-temperature glazes, glass and clay com- Write today for price list. white photographs, 30 color plates. $32.50. binations, raku, salt-glazing, luster, photo- Watson-Guptill Publications, 1515 Broad- sensitized ceramics and ceramic silkscreen Name _. way, New York City 10036. printing. Included are chapters about each technique, as well as testing procedures Address and suggested formulas. 180 pages includ- THOSE CELADON BLUES ing portfolio, biblography, list of suppliers City by Robert Tichane and index. 164 black-and-white photo- The desire to duplicate an admired Kuan graphs, 16 color plates, 22 illustrations. bowl inspired the author, a scientist at $14.95. Prentice-Hall Inc., Englewood State .... Zip Corning Glass Works, to begin research on Cli[[s, New ]ersey 07632.

March 1979 103 An Offer You Can't Refuse ! POTTER'S PRIDE

O Kiln Kits iiiii -- il ill I ilii Kilns

0 GAS CONE 10 Nat. or L.P. Gas Kiln Kits 4 cubic ft ...... $308. 8 cubic ft ...... $385. 12 cubic ft ...... $540.

WRITE FOR LITERATURE A-1 KILN MANUFACTURERS 369 MAIN STREET RAMONA, CALIFORNIA 92065 PHONE (714) 789 - 3310

The "MAGNUM"

$7. 05 POSTAGE AND I'LL SEND YOU A 776 PAGE CATALOG THAT DOUBLES AS A COLORING BOOK., .

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NCECA - Super Mud (FEB. 28 MAR. 3, PENN STATE)

unless you want 12" aluminum wheelheade 150 lb. re- a free Catalog/ inforced concrete flywheel • solid con- struction • studio tested • adjustable seat • price complete $225.00 plus freight A.R.T. STUDIO CLAY COMPAN Y STANDARD CLAY MINES 921 Oakton Street, Elk Grove Village, IL. 60007 Camp Meeting Avenue, Skillman, NJ 08558 Tel. 609-466-2986

104 CERAMICS MONTHIA" A.M., finish __ this exclamation 31. Exercise 37. Translucent 62. Pb before loading Ceramic Crosswords type of clay 64. Opacifier a kiln, or 41. Potassium suffix your back may by Ric S'~VENSON oxide, symbol Super be ____ later 42. Wood or metal or Zirco 32. A good estate tool for 65. Glasses fired for a potter shaping or on metal to own smoothing 66. State where 34. --hydrous pottery there are borax is 43. Sodium major kaolin waterless Chloride mines (abbr.) 44. Bismuth, 35. Symbol for symbol a yellow- 45. Symbol for Tin Down producing Answers will appear 2109°F (270OF/ installing a 49. The potter is rare earth in the next issue, hour increase) big commission paid with legal 1. Water column 36. You probably 12. To possess a inside the tender (abbr.) (abbr.) wouldn't walk of 2. Atomic wt. for Across kiln is to __ it building of a 50. Action this far traditional sodium 26.9815, symbol a camel's hair brick that 1. Clay lump 14. A supporter silicate on slip 3. China paint brush separating pots measures 26. An electric 55. Lithium (abbr.) may be 38. Symbol for in the kiln 9x2I/2x2~" wheel gets 56. Potters' films purchased in Einsteinium, 3. To become glassy 16. Retired pots D.C. from this may be found a_ atomic no. 99 7. B__, a are __times 27. To sour clay in university 4. Symbol for 39. Atomic no. measure of lost (poetic) 29. Condition of --__ depart- bases in a 57, symbol heat work in 18. One source of reduction or ments (abbr.) glaze formula 40. Same as the kiln. lithia oxidation in 58. Turn the gas 5. Glaze materials 25 down 9. Atomic number 22. Atomic number a kiln pressure that won't go 41. The potter's 17, a somewhat 75, symbol 33- A semi-rigid to into solution oven dangerous by- 23. A potter's colloidal raise the kiln are __soluble 45. Liquid clay product of mark gives the dispersion of temperature 6. Iron, symbol 46. Firing a kiln salt firing ware positive a solid with 59. For reduction, 7. What a potter without 10. Atomic wt. --__ (abbr.) a liquid or gas the damper might carry ventilation is 47.90, symbol 24. Potters might 35. Start an goes ___. tools in a safe 11. Orton cone hear this word electric firing 61. A funk pot 8. Pacific practice that bends at often when early in the might cause Northwest 47. "See 26 across school where 48. Graduated Patti Warashina disk; part of teaches (abbr.) a gas pressure 10. One of David gauge Gilhooly's 50. How oil is favorite little often fed to friends a kiln 13. Green 51. That which colorant, lowers the atomic wt. melting point 58.71 of glaze 14. Bernard Leach 52. Ancient dynasty lives in _~ for which Ives (abbr.) China was 15. Type of tin named often used to 53. Analysis cast round (abbr.) plaster bats 54. _ _ ware 17. __ans often contains Wildenhain spodumene 18. To form clay 57. After B.C. slabs you 60. Its silicate might use a is called rolling "water glass," 19. T____ Randall symbol 90. Eight mugs 61. Beginners might cost $38.40; consider putting that's $4.80 this element inside thrown, 21. Neon, symbol stoppered 25. Fr__ bottles, symbol 26. ___ Green 63. Symbol for refractories actinium, a 28. Atomic number supposed 32, symbol chemical 30. Implement element once for aqueous thought to cleaning of occur in the studio commercial zinc

March 1979 105 ¢ CENNINA NEWS & RETROSPECT TUSCANY, ITALY Continued [rom Page 101 Paper, Clay and Fiber ANDERSON RANCH sota, last year featured the handbuilt ARTS CENTER sculpture of Claudia Brown and Roy A Unique Interdisciplinary Seminar Cartwright. Sponsored by Snowmass Village, Colorado The former, an instructor at the college, the Old Church Cultural Center showed assemblages of unglazed raku clay Summer Workshops - 1979 and School of Art combined with rough boards and Early Sandra and/or Michael Simon Seminar Leaders: MIKHAIL ZAKIN Kay KRIS PHILIPPS, REED WALDEN Mura Davidson 3 Weeks July 6-27 Ruth Duck-worth $1,650.00" David Strong Robert Turner for further information write: June 18 through Aug. 17 O.C. CULTURAL (:ENTER 561 Piermont Rd. Other Media Demaresf, N.J. 07627 Wood, Photography, Fibers (2011 767-7160 Printmaking *price subject ~o change Painting, Sculpture Write for Brochure I)orothy Garwood, Director

Claudia Brown American-style punched tin shapes. Shown above is "Three Fishes," life-sized raku hands with tin and wood. Roy Cartwright, a professor at the Uni- versity of Cincinnati, exhibited fiberglass and handbuilt clay forms with grit-and-tar- coated surfaces. CRANEYHILL POTTERY WORKS ~ THROWINGWORKSHOPS Index to Advertisers A & A Aug. 6-31 ...... 98 Duncan ...... 14, 15 Pacific Kiln ...... 21 A-1 ...... 104 Eagle 5 Pacifiea ...... 86 A. R. T ...... 104 ...... The majority of developing pot~ers we Paragon ...... 16 Aegean ...... 89 Fletcher ...... 99 Paramount ...... 79 have come in contact with are using only Flower ...... a fraction Alfred Publishing ...... 98 68, 81 Peach Valley ...... 71 of their energy effectively in Fox Run ...... 87 Peter Pugger ...... throwing. In each of our intensive one- Alfred University ...... 101 85 Alpine ...... 72, 82 Franeoise ...... 91 Peters Valley ...... 99 week workshops, instructor Dave Robin- Fronske ...... son Amaco ...... 93 84 Phoenix Design ...... 85, 94 carefully analyzes each student's Pot Farm ...... throwing and, if necessary, works out Anderson ...... 106 Gare ...... 87 97 Arrowmont ...... 101 Geil ...... Pot Shoppe ...... 87 an entirely new approach. There are 3 ~ Potluck ...... or 4 sessions wlth instruction daily, with Artex ...... 103 Giffin ...... 100 time in between ¢o rest and prepare for Axner - ...... 87 Good Earth ...... 98, 100 Robbins ...... 91 the next session. We don't fire any pots: Greenflower ...... 87 Robinson ...... 87 Bailey-----[----_-_--_---_----- 9~ Rovin ...... 90 emphasis is on the process of throwing Baldwin Haystack ...... 99 rather than finished pots. Bat ...... 87 Salem ...... 89 Industrial Minerals ...... 88 Scott Creek ...... Bennett ...... 84 88 Seeley's ...... Most of our students consider last Big Creek ...... 91 J. Clay ...... 87 94 Shimpo ...... Cover year's workshops as pivotal, achieving Blue Sky ...... 95 Johnson ...... 78 2 Skutt ...... major breakthroughs and gaining Bluebird ...... 24 Joy Reid ...... 83 22 heightened sense of their potential a~ Book Department--20, 65, 70, 86 Soldner ...... 12 Kemper ...... ~ Southern Highland ...... potters. Boston University ...... 84 83 Keramos ...... 10 Spencer ...... Brent ...... 97, Cover 4 26 Kickwheel Pottery ...... 13 Spinks ...... Burns ...... 82 76 Tuition is S90.00 per week. Lodging is Kilns Supply ...... 27 Standard Ceramic ...... 96 Butz ...... 86 available for $20.00 per week in cabins Kilntronics ...... 68 Standard Clay ...... Byrne ...... 81 104 located in a beautiful rural setting. Board Kodansha ...... 92 Summit ...... 95 is avai able for S20.00 per week (stu- California Kiln ...... 88, 89 Kraft ...... 89 Sun Valley ...... 106 dents help wH~h cooking). No additional Campbell ...... 66 L & L ...... 87 Superamics ...... 95 fees or charcjes. Write for brochure. Capital ...... 89 L& R ...... 89 Terr ...... 87 Center Press ...... 99 Lake Erie Workshop ...... 101 Thomas-Stuart ...... 64 Ceramic Fiber ...... 10 Lake Placid ...... 99 Thompson ...... 92 Ceramic Films ...... 82 Leslie ...... 83 Thousand Islands ...... 101 CeramiCorner ...... 91 Manson Kennedy ...... 100 Tuscarora ...... 89 Clay Devil ...... 103 Marathon ...... 18 USC ...... Clay People ...... 71 96 Marjon ...... 83 Unitrex ...... Cole ...... 99 85 Max ...... 23 Contemporary ...... Van Howe ...... 102 7 Mayco ...... 67 Conway ...... Volks Wheel ...... 93 90 Menco ...... 92 Cornell ...... WCS ...... 91 Miami Clay ...... 85 80 Cornwall Bridge ...... Walker Jamar ...... 99 Minnesota Clay ...... 69 74 Craft Students ...... Walsh ...... 101 Montgomery Technical .... 89 90 Craney Hill ...... 106 Way-Craft ...... 89 Creative Ceramics ...... 69 NCMA ...... 81 Weheo ...... 89 Creative industries ...... 94 Ohio Ceramic ...... 93 West Coast ...... 64 Creek Turn ...... 79 Old Church ...... 106 Westby ...... 77 Cress ...... Cover 3 Olsen ...... 102 Western Ceramics ...... 87 Crusader ...... 96 Olympic ...... 25 Wolfe ...... 21 Dawson ...... 95 Orton ...... 95 Wonder Woods ...... 89 Deaton ...... 87 Owl Creek ...... 79 Ysexn ...... 91

106 CERAMICS MONTHLY The Amazing New Cress Kiln

• FX23 Model: New Cone 10- ~ 3-Coat baked process to f n sh Heavy duty fixed hinge with 2400°F. rating. Full 221/2" deep \lid; beveled to reduce chance automatic lid venting system. by 171/2" wide \of chipping No need to return to close lid i Locking, non-wobble lid support\ \ on most bisque and glaze loads for sturdy, full-opening lid ~ \ Premium, hand-selected, \ \ \ Fall-away, non-pinching, insulating firebrick for maximum.,. \ lid venting prop for ~ adjustable heat storage. decals, gold and lusters New Coating between lid and ~ ~ - ~-:~" ~" ===-.1 Kiln for longer wear~= ~~ i~-~tll I1'' i Ventilated panel for increa~~:~,=i ~=' Permanently attached operating wrong life ~ instructions always ready for use • Coated tapered peepholes for ~ ~ . wide view and less heat loss ~ MOTORIZED FIREMATE • Mirrorfinish, stainlessjacket, ! .... ~' POWER CONTROL (Exclusive form-fitted for strength patent pending, a Cress1st) • Chrome-plated, full-size handles not necessary to come back for easy lifting ------to turn kiln up! It turns itself up automatically. • Quality 392°F plated SF-2 wiring i i • Pilot lights~ i .~ Dawson Kiln S!tterand limit timer standard built-in extra safeguard. New fully illustrated two-color, step-by-step, 50-page instruction and service manual, complete wiring diagrams, firing ~ Exclusive push-to-turn safety with (a Cress 1st) schedule, firing record sheets, knob and parts identification. Exclusive Firemate electric q speed control (Patent pending, • Electrically welded, pre-assembled a Cress 1st) stand packed separatelyto avoid damage to kiln interior transit.~ r • Less heat shock on ware, due to during i~ gradual increase--not step • Special series circuit allows power increase. element to operate on 120 volts at all times and permits 3 wire ...... J, New UL & CSA approved extra grounded cord for less expensive heavy duty cord with right angle kiln installation. t cap Preprogrammed automatic for better ° -*%~ ~ The easiest kdn to fire manually minimum soaking one dial control reds and firing excellence-- ,! : /~ with Cress another exclusive andexclusve feature--patent pending ~ t ~ Tuned elements circuitry. : P'~ electric circuitrytodistribute feedback and precisely • Firemate automatically power evenly compensates for voltage where required for the most fluctuations (within design accurate temperature uniformity limits) during operating available. Better than any other nized steel base plate hobby kiln in the world! depth • Minimum length and for safety Another Cress exclusive element groove design to conserve energy and heat loss • Lower 11/2" of firing space is while improving element life. Mar-proof plastic feet usable

it the best firing, longest-lasting The Cress FX23 -- Its exclusive features, quality and new firing excellence make the enjoyment of perfect firing kiln you can buy -- also the easiest. We are excited most that FX kiln users will find ceramics. We figure that's results from the very top to the very bottom, better porcelain, better bisque, better exactly what you expect from a Cress. Contact us for a free catalogue and your nearest stocking Cress dealer at: CRESS MANUFACTURING COMPANY 1718 Floradale Ave. 201 Bradshaw Pike Ext. South El Monte, Calif. 91733 Hopkinsville, Kentucky 42240 (213) 443-3081 (502) 886°0208 Quality from the ground up.

The Brent footpedal. Completely adjustable for both high and low speed and range o! play. Sensitive enough to respond to the mood and throwing technique of every potter. It won't drift when set or stick when ~..~.,. ~ ,..-~,-. you move it. The Brent Iootpedal comes with all our electric wheels. See it at your ,r local Brent dealer or write for a free brochure to 128 Mill Street, Healdsburg, CA 95448.

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