2 Ceramics Monthly William C. Hunt...... Editor Barbara Tipton ...... Associate Editor Robert L. Creager ...... Art Director Ruth C. Butler...... Copy Editor Valentina Rojo ...... Editorial Assistant Mary Rushley...... Circulation Manager Connie Belcher .... Advertising Manager Spencer L. Davis ...... Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year SI 8, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con­ sidered for publication. A booklet describing procedures for the preparation and submis­ sion of a manuscript is available upon re­ quest. Send manuscripts and correspondence about them to The Editor, Ceramics Month­ ly, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap­ ple Macintosh computer system. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature articles, Sugges­ tions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s arti­ cles are indexed in the December issue. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Copies in micro­ fiche are also available from Bell & Howell, Micro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Copyright © 1985 Professional Publications, Inc. All rights reserved December 1985 3 4 C eramics Monthly Ceramics Monthly Volume 33, Number 10 December 1985

Feature Articles A Rational View of Wood Ash by Robert Tichane ...... 24 Ceramic Criticism...... 26 Patrick Crabb ...... 29 An Architectural Clay Studio by Peter King...... 30 Kentucky Clay...... 37 Judy Trim...... 38 The National Craft Showroom by Leta Clark ...... 40 Faenza Prizewinners ’85...... 44 Bad Manners by Marilyn Lysohir...... 48

Departments Letters to the Editor...... 7 Questions...... 11 Itinerary...... 13 Where to Show...... 16 Suggestions...... 19 Comment: Ceramic Art and Communication by Rodger Wood...... 21 News & Retrospect...... 53 Technical: Evaluating Clay Bodies by Robert Schmitz...... 69 New Books...... 75 Classified Advertising...... 76 Film & Video...... 77 Ceramics Monthly Index: January-December 1985...... 79 Index to Advertisers...... 80

The Cover Detail of “Bad Manners,” a life-size installation sculpture by Pullman, Washington, ceramist Marilyn Lysohir. Handbuilt food and flowers, thrown plates, cups, saucers and candlesticks were underglazed, clear glazed and fired to Cone 04 in an electric kiln. Figures were slab built, coated with colored terra sigillata, burnished and fired to Cone 04 in a gas kiln; chairs and table substructure are made of wood. For more information and a view of the whole installation, see the article beginning on page 48. Photo: Rick Semple. December 1985 5 6 Ceramics Monthly Letters Bartering Your Work trade. After I had won the “Golden Hands” was scraping clay under his fingernails as he Well, well. I just returned from Japan award two years in a row, they were worried weighed it. Later, he would clean his fin­ to find that Ross Murphy, famed for his widely that I would win it a third time and they gernails and bank his “profit.” No one knows unread but widely commented on article would have to retire the trophy. Naturally, just how much he got away with. dealing with selling (“How to Sell Your Pots this caused a bit of resentment and a number It was a world gone mad. Clay! Clay! Clay! Profitably,” June/July/August, 1984), hasof death threats. It was all that mattered. With each fresh finally seen the light and given in to the sur­ Well, I was worried; I admit it. I’m just strike the whole region broke out in a new vival instincts of the egalitarian potters’ com­ a potter; I have feet of clay. At least it looks epidemic of clay fever. munity. The IRS will undoubtedly do a lot like it until I wash them. Everyone was occupied with either getting of auditing of potters because of “Bartering I heard that the diggings were good in it, gambling it or hiding it away. One old Your Work” (November CM). Knowing the New York, so thither I slunk. I had several miner became a recluse; we used to see him U.S. government and its machinations, they good years there, but then the clay ran out. scurrying down alleys, searching through trash will want to check up on everyone who has As luck would have it, I heard they had cans, and collecting old newspapers and bot­ read this article. So if you haven’t read it, struck clay in Kansas. I painted my wagon tles, which he piled up all around his house. you’re safe; but if you have, just pretend thatand off I went, arriving right at the peak of Everyone thought he didn’t have a dime. He you can’t read—remember, you’re an artist the clay rush. I wish you could have seen it. disappeared finally, and after a while they and just visual. Prospectors and miners, camp followers, all figured he must have gone off and died, But back to my main point: It was good whiskey peddlers, cardsharps and swindlers, or was bushwhacked. They searched his house to see Murphy do a double back flip with a and all with that greedy glint in their eyes, and made a surprising discovery: he didn’t full twist out of the neocapitalistic, profit- all believing they were going to strike it rich. have a dime. oriented, nonfunk marketing strategy to be­ I bought me an outfit and soon had staked That’s the way it was: some made it big come a worth-based, new-right-survivalistic, three claims. Two of them didn’t pan out, and some didn’t. well-groomed, ceramics accountant with and I sold the third for a pittance. If I had Of course, I finally got lucky and won the nonsocialized dental care. The only compa­ only worked that claim two more days. .. but Claymore Mine in a showdown game of Cra­ rable ceramics gymnastics which comes to what good does it do to ponder the impon­ zy Eights. I’ve never tried to work it real mind is the time I watched Herbert Fliffis derable, to think the unthinkable, to screw hard, being content to produce just enough try to modify his potter’s wheel. Fliffis had with the inscrutable? Folly, I say! But if Ito keep the sheriff from the door. just received plans from John Branney for had just dug a little more, do you think I Wellsir, I guess I saw it all. When the the use of an AC, sync-generated polarized would still be here? No, I would be in Monte bottom dropped out, everyone left for the next motor to drive a kick wheel. Herbert and his Carlo, or Sydney or Paris instead! boomtown, still with that hopeful glaze in friend, Big Daddy Don Grogletts, decided Of course others were hitting respectable their eyes. They all took off, that is, except that if it worked for that type motor it would veins. I’ve seen many miners come into town those that are sleeping peacefully in Potter’s be better to use an old dragster’s alternator. with lumps of clay as big as your fist. The Field. Fliffis only made two errors. First, he forgot saloons were booming. I was there the day I’m all done with chasing rainbows. So to remove the alternator from the super­ that George van Loon, now known as “The what if they call me “Old-Timer.” I use my charged, fuel-injected, bored and stroked 1962 Crazy Dutchman,” brought in the 32-pound clay my way and I stick my neck out for Chrysler 426-cubic-inch hemi. Second, when chunk and laid it on the bar at the Black nobody. he put his feet to the wheel, he was remiss Cat. “Drinks for everyone!” he said, and you I still make an occasional pot. That’s about in not taking the Hurst Snap Shifter out of should have heard the gasp that escaped from all that’s left to me. That and the memories. reverse. This catapulted Fliffis in violent those collective lips. Until then no one had Ross Murphy somersaults down ¾ mile of his drive in an believed his wild stories about striking the De Soto, Kans. elapsed time of 8.578 seconds and set a new Mother Lode. track record for stock-modified potters. Everyone gathered around to stare. Successful Overglazing Murphy’s article has not matched the “Mamma mia!” said an immigrant, A.P. In reference to the question by S.K. (page elapsed-time record, but at least it has made Giannini. This is why that famous clay nug­ 11, October issue) concerning overglaze fir­ sure of not receiving as much harsh criticism get is known to this day as the “Mamma ings: I worked with overglazes for several from either those the IRS is watching (be­ Mia.” It assayed out at 2000 pounds to the years without any incidents of cracking, and cause they are now talking to their CPA’s), ton. Of course it’s now in the Tower of Lon­ I fire at 35 minutes on low, 35 minutes on or those who are convinced that Murphy will don, but they still have the replica of it in medium, then on high until Cone 017 is over— soon corner the Midwest market of hair care the window of the Clay County State Bank. total firing time about 3 hours. One must fire appointments, making it implausible for him I go over sometimes, just to look at it and quickly when using reds or they have a ten­ to gain admission to the 1986 Haight-Ash- think about the old days. dency to burn out. I prefer oil-based over- bury Reunion. I quickly reasoned that the real money glazes, thinned with paint thinner, because Ersatz Soubriquet wasn’t to be made by prospecting or working they dry more quickly than water-soluble Mason, Mich. the mines. I started the Mercantile Exchange overglazes or oil-based overglazes thinned with to sell picks and shovels and Levis to the turpentine. Remembering the Glory Days miners. It’s imperative to not open the kiln or re­ People often ask me how a former high- Those were the glory days; eggs were sell­ move the peephole plug(s) until the kiln has class potter came to find himself living in ing for 90^ a dozen; you could get SI for a cooled sufficiently; otherwise cracking may Kansas. Well, it’s a long story, filled with single loaf of bread. occur. Stoneware and porcelain, when fired drama, danger and romance, but I will tell In the casinos, you could play roulette or properly to maturity beforehand, should be it just briefly: poker and make your bets with chips or clay. able to endure the stress of successive over­ I was run out of California. It was my What a mess. I’ve seen them haul their win­ glaze firings. I do anywhere between two and own fault. Over several years I had developed nings away in a wheelbarrow. eight overglaze firings to get desired results my skill to the point that I was winning all They caught one of the cashiers high- and have never had a cracking problem. I the art awards and dominating the pottery grading the clay the miners brought in. He Continued December 1985 7 8 Ceramics Monthly Letters September issue. “The little brown pot” is more like it. Try that for a characteristic! Do therefore tend to think that there are struc­ have mercy on our aesthetic values, dear Ce­ tural flaws in S.K.’s works themselves, the ramics Monthly—and such a big photo! pieces are improperly fired to stoneware tem­ Irini Constantinidis peratures or the kiln is being opened too soon. Dolton, North Devon, England When firing, I put the peep in at 500 °F, close and lock the lid at about 1100°F and never Subscribers’ Comments even peek until the kiln has cooled down to I have had commissions and gallery sales, about 200 °F. but nothing substantial enough to keep from Joann Spamer working most of my time for someone else. McLean, Va. Currently I’m a full-time waiter and occa­ sional helper for a local production potter. CM for All All this pays the bills but isn’t leading much I’m a trained potter (by Bill Pitney, Wayne to my career. I would like to see an article, State University) teaching at Northwest De­ or series of articles, geared to people who troit YWCA (30 years) and did teach for 20 feel young and helpless like me. years at the Detroit Brightmoor Community Tommy Meaders Center. My classes have always been full and Fernandina Beach, Fla. they have often had waiting lists. Some of my students throw but most hand- Both coasts and the upper Ohio Valley build. We share ideas and use any ideas we seem to be alive with innovation while the see. I am not trying to make potters or artists South, in general, seems to be wallowing in out of the people who come to my classes; I apathy towards clay. In spite of this apathy, am teaching people to have fun—have a hob­ in my travels I have seen some exciting, new by. One of my students makes thin, perfect ideas. Spotlighting the U.S.A. by region might pots that look thrown; another has a charm­ make us all more aware of our need to ex­ ingly funny flair in clay. A new student from plore and grow. Nigeria is learning how to make some jew­ Yvonne George elry in Egyptian paste and raku. An ac­ Houston countant comes to class and it’s his only time to relax in a whole week. We have a great The potter-versus-artist controversy has time. I send my really serious students on to been fun to watch, as it is a reflection of what Pewabic Pottery or Henry Ford Community modern art has had to deal with after pho­ College. tography plunged a knife into the heart of The real reason for this letter is to ask to realism. Conceptual ceramics is a logical out­ share some of CM’s space. The magazine is growth of modern art. CM’s coverage of both supposed to be for all of us, but CM has sides must be done, for that is today’s reality. forgotten the teachers. In the past we made Also a word for the future: The cracks are some handsome planters, a fountain, a bird getting wider and the criticism stronger against house, etc., all inspired by CM. It’s true, “less is more” and the Bauhaus mind-set in some of the early decorated greenware was architecture. “The times they are a chan- awful, but no worse than flocked mugs side­ gin’ ” (again), and pottery will soon reflect ways in satin fiber glass boxes. There must this. be room for us all. Gregg Lindsley Eleanor Brown Sheiko Lakeport, Calif. Wixom, Mich. To keep up the newest controversy of ce­ Boxed Pots ramics in outer space—what would throwing After reading Brian Moeran’s Comment and handbuilding be like in zero gravity? (“Exhibiting in Japan,” March and April Maybe the first artist/potter/astronaut is out 1985), I would be interested in hearing from there somewhere. other Canadian and U.S. potters who have Matt Hampton tried, or who are currently involved in some Blanchester, Ohio form of packaging [supplying presentation boxes, etc.] for their pots. Eliminate Letters Lillian Dyck I think the complaints and criticism print­ Port Alberni, B.C., Canada ed are a waste of space. It could be put to better use with worthwhile information. I New Zealand Impressions would appreciate CM’s consideration of John Glick incorrectly wrote (May issue) eliminating the Letters section completely. that Takeichi Kawai is Kanjiro Kawai’s son. Marion Padgett He is his nephew. Grants Pass, Ore. Tom Cannon Sasuyama, Taki, Japan Share your thoughts with other readers. All letters must be signed, but names will be Have Mercy withheld on request. Address: The Editor, “Visual richness” is not the term that de­ Ceramics Monthly, Box 12448, Columbus, scribes the stoneware mug on page 34 in the Ohio 43212. December 1985 9

Questions Answered by the CM Technical Staff Q I’ve been experimenting with oxidation-fired glazes in the stone­ the safe use of potentially toxic materials such as barium before ware range, but find my results are just not up to snuff. I’ve seenformulating with this glaze flux. 5) When using colorants in oxi­ beautiful oxidation-fired glazes formulated by others and figure there dation glazes, metallic carbonates and commercial stains are pre­ surely must be some basic advice or guidelines for developing these. ferred because they generally disperse better than oxides, thus avoid­ What do you recommend? —N.F ing a kind of colorant acne, which is often offensive visually. In There are thousands of ways that suitable oxidation-fired glazes addition, it is useful to mill or screen oxidation glazes in the wet can be formulated, so consider the following generalities as starting state in order to insure the further dispersal of the glaze’s constit­ points for developing good glazes on stoneware: 1) Many of the best uents. 6) Finally, try developing crystalline glazes, the rococo royalty oxidation-fired glazes are based on Albany slip or some other com­ of the oxidation glaze family. For further information on these, see plex, secondary, surface clay (Barnard slip, Michigan slip, red Cameron Covert’s article “Crystal Glazes” in the recent September earthenware, etc.). That is, they have a large amount of Albany issue. sliplike clay in the glaze formula—70% to 90% by weight. Try using and altering such recipes, or develop your own such glazes Q I’ve noticed within some formulas published in Ceramics Month­ (by adding one or two glaze materials to Albany slip) which tend lythe material “Additive-A” mentioned. Could you tell me what this to have interesting and diverse surface/coloring. 2) Many of the material is? —L.N. best oxidation effects commonly result from layering glazes one on Additive-A is an aid in improving workability of low-moisture top of another. Try this with your current glazes, layering up to clay bodies with additional higher green and dry strength. It has four glazes deep. Severely thinning each batch allows for the extra also been found useful in preventing sulfate scumming and reducing coats of glaze without encouraging crawling from excessive glaze breakage on firing, according to a research and development source surface tension. 3) Dipping and spraying are usually the most pro­ at Reed Lignin, Inc., producers of the material. Additive-A is com­ ductive oxidation glaze application processes, because such glazes monly known as calcium lignosulfonate, a 100% soluble brown pow­ generally show every nuance of thickness which is achieved more der with a pH of 3. See your ceramics supplier for information. evenly using these methods. 4) Another approach to discovering recipes which are especially useful in oxidation is to seek those high Subscribers’ inquiries are welcome and those of general interest will in barium and magnesium, as the matt surfaces produced by these be answered in this column. Due to volume, letters may not be fluxes, and the color reaction with common colorants, can be both answered personally. Send questions to: Technical Staff, Ceramics handsome and unusual. Ceramists should note cautions regarding Monthly, Box 12448, Columbus, Ohio 43212.

December 1985 11 12 Ceramics Monthly Itinerary conferences, exhibitions, workshops, fairs and other events to attend

Send announcements of conferences, exhibitions, Kentucky, CovingtonDecember 6-January 4, “Holiday Expo & Sale 85”; at Guilford Hand­ workshops, juried fairs and other events at least 1986 Marsha Karagheusian, raku; at the Car­ crafts, 411 Church St. two months before the month of opening to: The negie Arts Center, 1028 Scott Blvd. Connecticut, Middletownthrough December Editor, Ceramics Monthly, Box 12448, Columbus, Massachusetts, Boston through December 6 15 “Wesleyan Potters Annual Exhibit and Sale”; Ohio 43212; or call: (614) 488-8236. Add one Mary Kaye, reinforced concrete and clay sculp­ at Wesleyan Potters, 350 S. Main St. month for listings in July and two months for those ture; at the Art Institute of Boston, 700 Beacon St. Connecticut, New Haven through December in August. through January 4, 1986 Jerry Berta, “City Lights,” 23 “Seventeenth Annual Celebration of Ameri­ ceramic and neon cityscape; at Alianza Gallery, can Crafts”; at the Creative Arts Workshop, 80 140 Newbury St. Audubon St. Minnesota, Minneapolis December 1-31 D.C., Washington through March 9, 1986 “The International Conferences Thomas Kerrigan, vessels and wall reliefs; at the Treasure Houses of Britain: Five Hundred Years New Zealand, Christchurch May 16-18, 1986 Friends Gallery, 2400 Third Ave., S. of Private Patronage and Art Collecting,” includes The New Zealand Society of Potters annual con­ Nevada, Las Vegas December 9-January 3, 1986 Meissen, Sevres, Chelsea, Derby and Chinese vention; at Christ’s College. Guest artist: Austra­ Suzanne Klotz-Reilly, multi-media sculpture; at porcelain; at the National Gallery of Art, Fourth lian salt-glaze potter Janet Mansfield. Accom­ the University of Nevada, 4505 Maryland Park­ St. at Constitution Ave., NW. modations can be arranged with potters. Contact: way. Georgia, Gainesvillethrough February 1, 1986 New Zealand Society of Potters, “Canterbury ’86,” New York, Buffalothrough December 11 Rick “Pieceworks,” national competition of works in­ Box 29-208, Christchurch. Dillingham, nonfunctional pottery; at Nina Freu- spired by quilts; at Georgia Mountain Crafts, 311 denheim Gallery, 560 Franklin St. Green St., SE. New York, New Yorkthrough December 7 Elsa Hawaii, Kaneohe through January 31, 1986 Conferences Rady, altered porcelain bowls; and Henry Varnum “Ban Chiang: Discovery of a Lost Bronze Age”; California, Oakland June 4-7, 1986 “Art/ Poor, ceramics; at Garth Clark Gallery, 24 West at the Hawaii Loa College. Culture/Future: American Craft ’86,” organized 57 Street. Illinois, Chicago through January 4, 1986 by the American Craft Council, will include work­ December 3-20 Susan B. Wood, architectural “Possibly Functional”; at Esther Saks Gallery, 311 shops, demonstrations, films, exhibitions and tours. claywork; at Greenwich House Pottery, 16 Jones W. Superior St. ACC has announced an open call for papers. For Street. Illinois, Highland Park through January 16, details consult November CM Itinerary. Entry New York, Syracusethrough January 5, 1986 1986 Polly Hart and Mayer Shacter; at Martha deadline for summaries: January 15, 1986. Send Lydia Buzio, wall forms; at the Everson Museum Schneider Gallery, 2055 Green Bay Rd. self-addressed, stamped envelope to: ACC Forum of Art, 401 Harrison St. Indiana, Indianapolis through January 19, 1986 Program Chair, c/o V.P. for Academic Affairs, Ohio, Delaware through December 19 Alvin “Recent Acquisitions 1982-1985,” includes an­ California College of Arts and Crafts, 5212 Broad­ Sher, architectural sculpture; at Lynn Mayhewcient Chinese ceramics. December 8-January 12, way, Oakland, California 94618. For further con­ Gallery, Ohio Wesleyan University. 1986 “Christmas at the Lilly Pavilion,” includes ference information contact: Susan Harkavy or Ohio, Westervillethrough December 21 Curt 18th- and 19th- century porcelain Christmas dec­ Patricia Greenhill, American Craft Council, 45 W. Yoder, pottery; at the Brass Lock gallery, 9020 orations; at the Indianapolis Museum of Art, 1200 45 St., New York, New York 10036; or call: (212) Columbus Pike. W. 38 St. 869-9425. Pennsylvania, Pittsburgh through December Iowa, Ames December 15-January 26, 1986 Louisiana, New Orleans April 3-9, 1986 The 26 Jack Troy, “The Fire as Decoration,” stone­ “Clay and Fiber Show,” a national juried exhi­ National Art Education Association annual con­ ware and porcelain; at the Clay Place, 5600 Wal­ bition; at the Octagon Center for the Arts, 427 vention; at the Hyatt Hotel. Contact: The Na­ nut St. Douglas. tional Art Education Association, 1916 Associa­ Iowa, Mason Citythrough January 5, 1986 tion Dr., Reston, Virginia 22091; or call: (703) “Iowa Crafts: 18”; at the Charles H. MacNider 860-8000. Group Exhibitions Museum, 303 Second St., SE. New York, New YorkFebruary 13-15, 1986 Arizona, Mesa December 3-28 “Boxes, Bas­ Iowa, West Des MoinesDecember 6-January The 1986 annual meeting of the College Art As­ kets, Containers Exhibit,” a national juried mul­ 4, 1986 Tom Benesh, Marsha Berentson, David sociation of America. For details, consult CM Oc­ timedia show; at the Galeria Mesa, 155 North Dahlquist, James Jansma, Shirley Koehler, Jens tober Itinerary. Contact: College Art Association Center. Morrison and Steven Prettyman, “Clay Invita­ of America, 149 Madison Ave., New York 10016; Arizona, Tucsonthrough December 29 “Spec­ tional”; at Olson Larsen Galleries, 203 Fifth. or call: (212) 889-2113. tacular Vernacular: Traditional Desert Architec­ Louisiana, New Orleans through January 12, Texas, San AntonioMarch 19-22, 1986 The ture in West Africa and Southwest Asia,” photo­ 1986 “Selections from the Campbell Museum annual conference of the National Council on Ed­ graphic documentation of clay dwellings; at the Collection,” soup tureens; at the New Orleans ucation for the Ceramic Arts (NCECA). For de­ University of Arizona. Museum of Art, City Park. tails, consult CM October Itinerary. Contact: Steve California, Hayward through December 21 Maine, Portland through January 7, 1986 Reynolds, Division of Art and Design, University “Hayward Area Forum of the Arts Membership Woody Hughes and Kazuko Matthews, pottery; of Texas, San Antonio 78285; or call: (512) 537- Exhibition”; at 1015 E St. and Blythe Collins-Kretschmer, Laurie Eisen- 4867 (home), or 691-4382 (school). California, La Jolla through December 31 hardt, Sandi Fenton, Constance Harper, Georgia “Cookie Jar”; at Gallery Eight, 7464 Girard Av­ Landau, Sheila Ruen and John Tormey, dolls; at enue. Maple Hill Gallery, 367 Fore St. Solo Exhibitions California, Los Angeles December 7-January Maryland, College Parkthrough December 8 Arizona, Tempe December 9-13 Gayle Fich- 8, 1986 Akio Takamori, Carmen Collet, Linda “New Vistas: American Art Pottery, 1880-1930, tinger, figurative earthenware sculpture; at Harry Gun-Russell, Wally Keeler, Rita Duvall, Neil From the Cooper-Hewitt Museum”; at the Uni­ Wood Art Gallery, Arizona State University. Williams, Paul Dresang, James Lawton and Mark versity of Maryland Art Gallery. Arizona, TucsonDecember 7-21 Gail Kris- Pharis, “Rituals of Tea: An International Invita­ Massachusetts, Bostonthrough December tensen; at Eleanor Jeck Gallery, 6344 E. Broad­ tional”; at Garth Clark Gallery, 170 South La 31 Sculpture and tableware by British artists; at way. Brea. Westminster Gallery, 132A Newbury St. California, San FranciscoDecember 3-January California, San Diego through February 23, Massachusetts, Cambridge through December 4, 1986 Roseline Delisle, porcelain; at Dorothy 1986 “Water: Liquid of Life,” artifacts docu­ 26 A group exhibition with Larry Page, hand- Weiss Gallery, 256 Sutter St. menting water rituals in the ancient Americas; at built work; at Mobilia, 348 Huron Ave. D.C., Washington December 7-January 9, 1986 the San Diego Museum of Man, 1350 El Prado, Massachusetts, Lexington December 7-21 Rob Barnard, wood-fired functional ware from a Balboa Park. “Holiday Market Place”, multimedia works by traditional Japanese anagama; at Anton Gallery, California, San Franciscothrough January 21, members of the Lexington Arts and Crafts Society; 415 E. Capitol St., SE. 1986 “The Art of Wine in East Asia,” includes at the Parsons Gallery, Society Building. Illinois, Chicago through December 8 John Shang dynasty wine vessels, Han period wine cups Massachusetts, Northamptonthrough January Wolfrum, “Spiral Revisited,” stoneware bowls in­ and jugs, Tang and Song dynasty ewers from China; 5, 1986 Sixth annual “A Tea Party”; at Pinch stallation; at Alchemie Gallery, 286 Congress St. sake bottles from Japan; and wine storage con­ Pottery, 150 Main St. through January 4, 1986 Philip Cornelius, pa­ tainers from Korea; at the Asian Art Museum of Michigan, Detroit through January 2, 1986 per-thin porcelain; at Esther Saks Gallery, 311 W. San Francisco, Golden Gate Park. “Christmas Invitational”; at Pewabic Pottery, 10125 Superior. California, San Pedro through January 12, E. Jefferson Ave. through January 16, 1986 Alexandra Kochman, 1986 “Contemporary Crafts”; at the Angels Gate through January 5, 1986 “Italian Renaissance sculpture; at the Ukrainian Institute of Modern Cultural Center, 3601 S. Gaffey St. Sculpture in the Time of Donatello,” includes ter- Art, 2320 W. Chicago Ave. Connecticut, Guilfordthrough December 24 Continued December 1985 13

through February 16, 1986 “High Styles: Twen- “Clay: Everyday Plus Sunday”; at the John Mi­ Itinerary tieth-Century American Design”; at the Whitney chael Kohler Arts Center, 608 New York Ave. Museum of American Art, Madison Avenue at ra-cotta sculpture; at the Detroit Institute of Arts, 75th Street. 5200 Woodward Ave. December 10-January 11, 1986 Enzo Borgini, Fairs, Festivals and Sales Michigan, Lansing through December 22 majolica tiles; and Carmen Collell, burnished Arkansas, Little Rock December 6-8 The “7th “Marketplace ’85”; at the Lansing Art Gallery, earthenware vessels; at Garth Clark Gallery, 24 Annual Christmas Showcase”; at the Statehouse 425 S. Grand Ave. W. 57 St. Convention Center. Missouri, Saint Louisthrough December 6 “Saint New York, RochesterDecember 7-January 11, Connecticut, MiddletownDecember 7-8 and Louis Clay Artists”; at the 39th Street Gallery, 1986 “Small Works National ‘85”; at Zaner Gal­ 14-15 “Wesleyan Potters 30th Annual Invita­ 2207 S. 39 St. lery, 302 N. Goodman St. tional Exhibit and Sale”; at 350 S. Main St. New Hampshire, Concordthrough January 18, Ohio, BlufftonDecember 2-20 “Faculty Show,” Maryland, GaithersburgDecember 13-15 1986 “Unearthing New England’s Past: The includes ceramics by Gregg Luginbuhl; at Mar- “Eighth Annual Winter Crafts Festival”; at the Ceramic Evidence”; at the New Hampshire His­ beck Center, Bluffton College. Montgomery County Fairgrounds. torical Society, 30 Park St. Ohio, Parma through December 11 “Natural New Jersey, Demarest December 6-8 The through January 3, 1986 The “11th Annual Ju­ Elements” includes Rob Mihaly sculpture; at Gal­ “11th Annual Invitational Pottery Show & Sale”; ried Exhibit: New and Innovative Work”; at the lery West, Cuyahoga Community College, 11000 at the Old Church Cultural Center School of Art, League of New Hampshire Craftsmen Gallery, Pleasant Valley Rd. 561 Piermont Rd. 205 N. Main St. Ohio, Toledothrough January 5, 1986 “The New Jersey, East RutherfordDecember 6-7 New Jersey, Newark through December 31 Amasis Painter and His World: Vase Painting in “Super Craftstar Show”; at the Meadowlands Sta­ “Treasures from the Collections,” includes Greek Sixth-Century B.C. Athens”; at the Toledo Mu­ dium Club, Giants Stadium, Meadowlands Com­ pottery and terra-cotta figures, English art pottery, seum of Art, 2445 Monroe St. plex. and 18th- and 19th-century Chinese export por­ Oregon, Portlandthrough December 23 “Holi­ New York, New YorkDecember 6- 7 “Annual celain; at the Newark Museum, 49 Washington day Collection 1985”; at Hoffman Gallery, Oregon Holiday Sale”; at the Greenwich House Pottery, Street. School of Arts and Crafts, 8245 S.W. Barnes Rd. 16 Jones St. New Jersey, Oceanvillethrough December 15 Pennsylvania, Belle Vernonthrough December December 7-8 Michael Boyer, Barbara Haring “All Join Hands—A Celebration of Crafts in 31 An invitational featuring works by ten pot­ and Rinny Staber, “Fourth Annual Holiday Show”; New Jersey”; at the Noyes Museum, Lily Laketers; at Unique Aura, Finley Rd. at Westbeth, 155 Bank St. Road. Rhode Island, Providencethrough December December 13-15 and 20-22 The 14th annual New York, Brooklynthrough February 3, 1986 29 “Forty-Five Alumni”; at the Museum of Art, “WBAI Holiday Crafts Fair”; at Columbia Uni­ “Contemporary American Prints and Ceramics,” 224 Benefit St. versity, 115 St. and Broadway. includes works by Rudy Autio, Christina Bertoni, Vermont, Middleburythrough December 27 Ohio, ColumbusDecember 5-8 “The Colum­ Judy Chicago, Rick Dillingham, Ken Ferguson, “Treasures from the Heart,” an exhibition of mul­ bus Winterfair”; at the Ohio State Fairgrounds. Maija Grotell, Wayne Higby, Gertrud and Otto timedia works; at Vermont State Craft Center at Washington, SpokaneDecember 4-7 “Yuletide Natzler, Edwin Scheier and Beatrice Wood; at the Frog Hollow. ‘85”; at the Spokane Art School, 920 Howard. Brooklyn Museum, 200 Eastern Pkwy. Virginia, Alexandria December 4-January 5, New York, New Yorkthrough January 10, 1986 The Kiln Club of Washington’s “Gifts of 1986 Nicole Johns and Geoffrey Swindell, Clay”; at Scope Gallery, Torpedo Factory Art Cen­ Workshops “British Pottery”; at Graham Gallery, 1014 Mad­ ter, Union and King Sts. California, MendocinoJanuary 18, 1986 ison Ave. Wisconsin, Sheboyganthrough December 30 Please Turn to Page 74

December 1985 15 Send announcements of juried exhibitions, fairs, festivals and sales at least four months before the entry deadline to: The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212; or call: (614) 488-8236. Add one month for listings in July and two months for those in August.

International Exhibitions April 8, 1986 entry deadline Golden, Colorado The eighth annual “North American Sculpture Exhibition” (June 1-July 8, 1986) is open to artists in the U.S.A., Canada and Mexico. Juried from glossy 8x10 photographs of a maximum of 3 entries, up to 3 views each. $6000 in awards. Jurors: Albert Wein and Sebastian. Fee: $12.50 per entry. Send self-addressed, stamped en­ velope to: The Foothills Art Center, 809 Fifteenth St., Golden 80401; or call: (303) 279-3922. April 16, 1986 entry deadline Vallauris, France The tenth “Biennale Inter­ nationale de Ceramique d’Art de Vallauris” (July 4-September 30, 1986) is juried from up to 2 works, or a single large work that does not exceed 175 pounds or 59 inches square if a panel. Application deadline: March 30, 1986. Awards include a F40,000 grand prize (approximately $4800). Con­ tact: Mairie de Vallauris, 06220 Vallauris; or call: 64-24-24. April 30, 1986 entry deadline Mino, Japan “The 1st International Ceramics Contest ’86” (November 2-9, 1986) is open to in­ dividuals or groups working in ceramic design and/ or ceramic arts. Juried from up to 3 works, each category. Jurors: Yusuke Aida, Nino Caruso, Lloyd E. Herman, Yoshiaki Inui, Takuo Kato, Masahiro Mori, Timo Sarpaneva, Rudolf Schnyder, Peter Voulkos and Carlo Zauli. Awards include a “Grand Champion” per category: ¥2,000,000 (approxi­ mately $8440) and a study trip; gold medals: ¥1,000,000 (approximately $4220); and silver medals: ¥500,000 (approximately $2110). Fees: ¥3000 (approximately $13) for one entry, ¥5000 (approximately $21) for two, ¥7000 (approxi­ mately $30) for three. Contact: The 1st Interna­ tional Ceramics Contest ’86, 2-15 Hinode-machi, Tajimi City, Gifu Prefecture, 507; or call: (0572) 22-1111. National Exhibitions December 6 entry deadline Mesa, Arizona The “8th Annual Vahki Ex­ hibition” (March 14-April 19, 1986) is juried from slides. Awards. Contact: Galeria Mesa, Box 1466, Mesa 85201; or call: (602) 834-2242. December 12 entry deadline Nashville, Tennessee “Political Statements” (January 26-February 18,1986 and one year travel) is juried from slides. Fee: $10 for up to 3 works. For further information contact: JoEl Logiudice, 402 Sarratt, Vanderbilt University, Nashville 37240; or call: (615) 322-2471. December 31 entry deadline Washington, D.C. “Looking at Earth” (May 8-October 31, 1986) is juried from a maximum of 6 slides of up to 3 works that focus on the world as seen from above. $5000, $3000 and $2000 awards. For further information contact: Looking at Earth Art Contest and Exhibition, Room 3162, National Air and Space Museum, Smithsonian Institution, Washington 20560. January 1, 1986 entry deadline Belle Vernon, Pennsylvania “Artist Celebra­ tion 1986” (May 23-June 15) is juried from slides of 2 works, up to 3 views each. Fee: $15. Awards. Send self-addressed, stamped envelope to: Unique Auras, R.D. 3, Box 6A, Belle Vernon 15012; or call: (412) 929-8877. 16 CERAMICS MONTHLY Where to Show exhibitions, fairs, festivals and sales

January 15, 1986 entry deadline March 1, 1986 entry deadline (April 25-26) is juried from 5 slides. Jury fee: $5; Saint Louis, Missouri “Japanese Tea Cere­ Gainesville, Florida “Spotlight ’86” (May 21- entry fee: $75. Contact: Minnesota Crafts Council, mony” (April 6-26, 1986) is juried from 5 slides 24, 1986), in conjunction with the annual Amer­ Hennepin Center for the Arts, Room 210, 528 and a resume. Contact: Diane Gray, Craft Alli­ ican Craft Council Southeast Conference, is open Hennepin Ave., Minneapolis 55403; or call: (612) ance, 6640 Delmar, Saint Louis 63130. to residents from Alabama, Florida, Georgia, Ken­ 333-7789, or Bill Kaufman (612) 922-8316. January 17, 1986 entry deadline tucky, Louisiana, Mississippi, North Carolina, January 24, 1986 entry deadline Radford, Virginia “Clay, USA 1986” (Feb­ South Carolina, Tennessee, Virginia and West New York, New York The “3rd Annual WBAI ruary 28-March 16, 1986) is juried from slides of Virginia. Juried from slides. Contact: Ray Fer­ Spring Crafts Fair” (April 25-27 and May 2-4, 2 works, up to 3 views each. Juror: Paula Wi- guson, College of Education, University of Flor­ 1986) is juried from 5 slides. Entry fee: $15; booth nokur. SI000 in awards. Fees: $10 for 1 entry; SI 5 ida, Gainesville 32611; or call: (904) 392-0761 fee: $375. Contact: Matthew Alperin, WBAI Crafts for 2. Send self-addressed, stamped envelope to: May 9, 1986 entry deadline Fair, Box 889, Times Square Station, New York Felicia Lewandowski, Art Department, Radford Los Alamos, New Mexico “Fourth Biennial 10108; or call: (212) 279-0707.^ University, Radford 24142; or call: (703) 731-5324. Juried Craft Exhibition” (Jjune 20-July 27, 1986) January 31, 1986 entry deadline January 25, 1986 entry deadline is open to craftspeople residing in Arizona, Col­ New York, New York The “10th Annual Amer­ Carbondale, Illinois “The Clay Cup” (April orado, New Mexico, Texas and Utah. Juried from ican Crafts Festival” (June 28-29 and July 5-6, 4-May 2, 1986) is juried from slides. Awards. Fee: slides of up to 3 entries. Fee: $12, nonmembers 1986) is juried from 5 slides. Entry fee: $8; booth $10 for up to 3 entries. Juror: Marjorie Levy. Send $15. Send a self-addressed, stamped envelope to: fee: $280-$320 per weekend. Send self-addressed, self-addressed, stamped envelope to: Student Cen­ Craft Biennial, Fuller Lodge Art Center, Box 790, stamped envelope to: Brenda Brigham, American ter Craft Shop, Southern Illinois University, Car­ Los Alamos 87544; or call: (505) 662-9331. Concern for Artistry and Craftsmanship, Box 650, bondale 62901; or call: (618) 453-3636. Montclair, New Jersey 07042; or call: (201) 798- February 1, 1986 entry deadline 0220. Elk Grove, Illinois “The A.R.T. Clay box Show” Fairs, Festivals and Sales New York, New York The “3rd Annual Au­ (April 11-May 11, 1986) is juried from 3 slides January 1, 1986 entry deadline tumn Crafts Festival” (August 30-September 1 of a work not exceeding 12x11x6 inches. Jurors: Belle Vernon, Pennsylvania “Artist Celebra­ and September 6-7, 1986) is juried from 5 slides. John Glick, William Hunt and Martha Schneider. tion Festival” (May 23-24) is juried from 3-5 slides Entry fee: $8; booth fee: $265 for one weekend. Awards. Send a self-addressed, stamped business or photos. Fee: $75 for a 15x15-foot space. Con­ Send self-addressed, stamped envelope to: Brenda envelope to: Sam Rosby, A.R.T., 1555 Louis Ave., tact: Aura Cavanaugh, R.D. 3, Box 6A, Belle Ver­ Brigham, American Concern for Artistry and Elk Grove 60007. non 15012; or call: (412) 929-8877. Craftsmanship, Box 650, Montclair, New Jersey Saint Louis, Missouri “Contemporary Inter­ January 10, 1986 entry deadline 07042, or call: (201) 798-0220.^ pretations of Native American Art” (May 3-30, Birmingham, Alabama Third annual “Magic February 1, 1986 entry deadline 1986) is open to Native American artists. Juried City Art Connection” (April 11-12,1986) is juried Evansville, Indiana “Ohio River Arts Festi­ from up to 4 slides. Fee: $5. Contact: Craft Al­ from 3 slides. $12,000 in awards. Entry fee: $5; val” (May 10-11, 1986) is juried from 3 slides. liance, Native American Exhibit, 6640 Delmar, booth fee: $60. Contact: Eileen Kunzman, Magic Awards. Entry fee: $10. Booth fee: $50 for ap­ Saint Louis 63130; or call: (314) 725-1177. City Art Connection, Operation New Birming­ proximately a 10x12-foot space. Contact: Joyse February 15, 1986 entry deadline ham, Suite 501 Commerce Center, 2027 First Ave., Briding Kramer, 16½ S.E. Second St., Suite 210, Sheboygan, Wisconsin “Boats” (June 8-August N., Birmingham 35203; or call: (205) 254-2626. Evansville 47708; or call: (812) 422-2111. 17) is juried from slides of available work and a January 13, 1986 entry deadline Frederick, Maryland The 12th annual “Fred­ resume. Work should allude to the boat form in Gaithersburg, Maryland The 11th annual erick Craft Fair” (May 15-18,1986) is juried from imagery or symbolism. Send self-addressed, stamped “Spring Arts and Crafts Fair” (April 18-20, 1986) 5 slides. Entry fee: $10. Booth fees: $175—$275. envelope to: John Michael Kohler Arts Center, is juried from 4 slides. Fee: $100—SI 65. Send 66^ Contact: Noel Clark, National Crafts Ltd., Gap- Box 489, Sheboygan 53082. in postage to: Deann Verdier, Sugarloaf Mountain land, Maryland 21736; or call: (301) 432-8438. February 21, 1986 entry deadline Works, Ijamsville, Maryland 21754; or call: (301) Kansas City, Missouri “Brookside Art An­ Lenexa, Kansas “Second Annual Lenexa Na­ 831-9191. nual” (May 2-4, 1986) is juried from 5 slides. Fee: tional 3-Dimensional Art Show” (May 2-4, 1986) Gaithersburg, Maryland The 11th annual $85. Contact: Bonnie Clow, 10941 Lydia Ave., is juried from 2 slides each for up to 3 entries. “Autumn Crafts Festival” (November 21-23, 1986) Kansas City 64131. $4500 in awards. Fee: $15. Contact: William H. is juried from 4 slides. Fee: $110-$200. Send 66^ February 3, 1986 entry deadline Nicks, Jr., City of Lenexa, 12350 W. 87 St. Pkwy., in postage to: Deann Verdier, Sugarloaf Mountain Boynton Beach, Florida “Boynton’s G.A.L.A. Lenexa 66215; or call: (913) 492-8800. Works, Ijamsville, Maryland 21754; or call: (301) (Great American Love Affair)” (February 28- February 28, 1986 entry deadline 831-9191. March 2, 1986) is juried from 2 slides of work Lancaster, California “Desert West Juried Art Gaithersburg, Maryland Ninth annual “Win­ and 1 of display. $8000 in awards. Fee: $50. Con­ Show” (April 19-25, 1986) is juried from slides. ter Crafts Festival” (December 12-14, 1986) is tact: Eleanor Wollenweber, Box 232, Boynton Beach Fee: $5. Send self-addressed, stamped envelope to: juried from 4 slides. Fee: $110—$200. Send 66^ in 33425; or call: (305) 734-8120, ext. 432. Desert West Juried Art Show, Box 2811, Lan­ postage to: Deann Verdier, Sugarloaf Mountain February 14, 1986 entry deadline caster 93539; or call: (805) 948-5886 or 945-5611. Works, Ijamsville, Maryland 21754; or call: (301) Worcester, Massachusetts “Worcester Craft 831-9191. Center 16th Craft Fair” (May 16-18, 1986) is Timonium, Maryland Ninth annual “Spring juried from slides. Fee: $15. Contact: Worcester Regional Exhibitions Crafts Festival” (May 2-4, 1986) is juried from 4 Craft Center, 25 Sagamore Rd., Worcester 01605; January 6, 1986 entry deadline slides. Fee: $150. Send 66 i in postage to: Deann or call: (617) 753-8183. Ann Arbor, Michigan “Michigan Ceramics ’86” Verdier, Sugarloaf Mountain Works, Ijamsville, February 21, 1986 entry deadline (February 14-March 14, 1986) is open to current Maryland 21754; or call: (301) 831-9191. Guilford, Connecticut The “29th Annual Guil­ and former Michigan Potters Association mem­ Timonium, Maryland Tenth annual “Mary­ ford Handcrafts Exposition” (July 17-19, 1986) bers, and residents of Michigan and Windsor, On­ land Crafts Festival” (October 17-19, 1986) is ju­ is juried from 5 slides. Fee: $12. Awards. Contact: tario. Juried from 3 works. Juror: Ruth Duck­ ried from 4 slides. Fee: $165. Send 66^ in postage Guilford Handcrafts, Box 221, 411 Church St., worth. Awards. Fee: $10, nonmembers $20. Contact: to: Deann Verdier, Sugarloaf Mountain Works, Guilford 06437; or call: (203) 453-5947. Michigan Ceramics ’86, 445 Evergreen, Ann Ar­ Ijamsville, Maryland 21754; or call: (301) 831- March 31, 1986 entry deadline bor 48103. 9191. Baltimore, Maryland “Artscape ‘86” (July 18- Murfreesboro, Tennessee The ninth biennial Manassas, Virginia Sixth annual “Manassas 20, 1986) is open to craftspeople from Delaware, “Currents” exhibition (March 3-28, 1986) is open Crafts Festival” (June 13-15, 1986) is juried from Washington, D. C., Maryland, New Jersey, New to craftspeople residing east of the Mississippi River. 4 slides. Fee: $100-$150. Send 66 i in postage to: York, Pennsylvania, Virginia and West Virginia. Juried from slides. Juror: Nancy Saturn. Fee: $15 Deann Verdier, Sugarloaf Mountain Works, Juried from 5 slides. Fee: $75 for a lOxlO-foot for up to 3 works. Contact: Currents ’86, Middle Ijamsville, Maryland 21754; or call: (301) 831- space. Send self-addressed, stamped envelope to: Tennessee State University, Art Department, 9191. Artscape ‘86, c/o Mayor’s Advisory Committee on Murfreesboro 37132; or call: (615) 898-2455. Manassas, Virginia Sixth annual “Virginia Art and Culture, 21 S. Eutaw St., Baltimore 21201; January 17, 1986 entry deadline Crafts Festival” (September 19-21, 1986) is juried or call: (301) 396-4575. Columbia, South Carolina “Annual Juried from 4 slides. Fee: $100-$150. Send 66^ in postage April 10, 1986 entry deadline Exhibition” (April 16-June 29, 1986) is open to to: Deann Verdier, Sugarloaf Mountain Works, Biloxi, Mississippi The “3rd Annual Inter­ present and former residents (for at least a year) Ijamsville, Maryland 21754; or call: (301) 831 - national Crafts Festival” (May 30-June 1, 1986) of South Carolina. Juried from 5 slides. Awards. 9191. is juried from 5 slides. Fee: $125. Contact: Eileen Contact: Columbia Museum of Art, 1112 Bull St., January 15, 1986 entry deadline Za, 1000 Washington Ave., Ocean Springs, Mis­ Columbia 29201. Minneapolis, Minnesota “Clay Minnesota ’86” sissippi 39564; or call: (601) 875-3900. December 1985 17 18 CERAMICS MONTHLY Suggestions from our readers Slab Tool The ravioli cutters sold in many gourmet kitchen shops make excellent slab scorers. Simply roll the cutter along the beveled, leath- er-hard edge. —Ron Tschudy, East Jordan, Mich. Hole Cutter While making holes in clayworks is easily done with a variety of tubes, etc., it usually requires two hands to get the clay out of the tube. For a one-handed operation, purchase an amalgam carrier

from your dentist or a dental supply house. The carriers come in a variety of tip sizes and are available either double or single ended. The lever pushes the clay out. Current prices range from about $8 to $40. — Pauline Lurie, Morristown, N.J. Paint Decoration For a dug-out-of-the-cave look, paint acrylics on your pots after bisquing. Refire to Cone 8 oxidation. The colors will completely change. Burnt sienna becomes dark brown, certain grays turn to ocher. The final effect is crusty, earthy and exciting. [Be sure to provide for good kiln ventilation, as some acrylics may give off potentially toxic fumes.] —Marilyn Goodlet, San Jose, CaliJ. Bat Tool After reshaping my wooden trimming tool for the third time, I decided to find something else to pry bats off my wheel. A look in my tool box found my son’s bicycle tire irons. These work won­ derfully as a miniature crowbar. One end is tapered like a screw-

driver and the other works well on stubborn bats after they have been started with the tapered end. They are small enough to use without removing the splash pan. —Don Bratcher, Waukesha, Wis. Power Cleaner One method to quickly remove glaze from the bottoms of dipped bisqueware prior to firing is to contact cement a 3- or 4-inch circular

foam slab to a Formica-clad throwing bat. By moistening the foam slab with water you can simply “power” sponge your day’s pro­ duction in short order. Slow rpm’s afford greater control. —John Guger, Lodi, Wis. Dollars for Your Ideas Ceramics Monthly pays $10 Jor each suggestion published; submis­ sions are welcome individually or in quantity. Include an illustration or photo to accompany your suggestion and we will pay $10 more if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can't acknowledge or return unused items. December 1985 19 20 Ceramics Monthly Comment Ceramic Art and Communication by Rodger Wood

ALTHOUGH galleries specializing in ce­ point for development of a theory of art ramics as well as museum collections de­ would be an understanding of how ar­ voted to presenting contemporary tifacts clay- can be defined as behavior. Such works have emerged and are increasing an approach is appropriate for ceramics in number, ceramic art forms have been because ceramic artifacts and technolo­ only partially incorporated into gies the are thoroughly treated in both an­ mainstream of contemporary art. Anthropology and archaeology, as the bulk understanding of art theory might help of cultural research has utilized ceramic explain how and why ceramics arrived typologies and chronologies for the de­ at its present position. velopment of theory. Indeed, a theory of Stated in an abbreviated form, a tra­ artifacts derived from the extensive re­ ditional view of art is that a work is an search already undertaken should be idealized expressive form created by an possible, one that is more comprehensive individual who has been trained in the than traditional approaches which are correct technical and aesthetic vocabu­ based on Platonic theories.* lary of a medium. A form must contain Looking at artifacts from the per­ formal aesthetic values (balance, har­ spective of social function, it is apparent mony, etc.). Utilitarian forms cannot be that artifacts are forms of perceptual art because their “meaning” or “value” expression, and are media of commu­ derives from utility rather than posses­ nication. Artists are communicators, in sion of the requisite formal values. addition to being craftspeople, teachers If we consider the implications of this or promoters. We could define com­ theory for ceramics, it becomes apparent munication as the most important be­ why clay forms (particularly vessels) havehavioral activity in any culture—each not fit within the same expressive tra­ culture having many types of social com­ ditions as painting or sculpture. An even munication media, including artwork. greater impediment to the acceptance of Research has shown that early hunt­ ceramic forms as art, however, is ab­ ing/gathering societies have limited forms sence of an aesthetic theory for ceramic of communication (they utilize few types art, based upon a body of aesthetic writ­ of visual expression beyond costume, ing and critical exposition. Few exhi­ natural containers and body painting), bitions of ceramics are given formal crit­ while pastoral or agricultural cultures ical reviews; or if reviewed, articles are develop a variety of artistic media to generally limited to biographical or communicate perceptual information, technical information. qualities, values and ideas. Most im­ Another factor limiting ceramics is the portantly for an understanding of art, absence of a comprehensive history. And though, is the fact that cultures do not even though a great number of books develop even the most primitive forms and articles on historical ceramic types, of written language until after there has archaeological artifacts, anthropological first been extensive development of ar­ developments and individual ceramists tistic media such as pottery, weaving, have been published in the past two dec­ basketry, carving, simple architecture, ades, there has been little treatment of painting and probably also public ritual, ceramics within art development overall. dance, music, poetry, etc. Art historians seldom treat ceramic forms Unfortunately, we still know relative­ as more than a minor adjunct of main­ ly little about how human communica­ stream art development, and ceramic tion works, how the brain perceives the history is not a part of art history degree sensations received, how sensations are programs. actually processed and differentiated, how What is required is a new method­ Continued ology and a more comprehensive ap­ * Especially the doctrine that objects are merely copies or proach for art. Because what we call art images of eternal ideas, which are the ultimate meta­ is a type of social behavior, a starting physical realities, the substance of true knowledge. December 1985 21

Comment Besides requiring understanding of communication media and their tradi­ categorization of sensate information is tions, and understanding of those con­ effected through electrical-chemical brain ceptual signs being expressed through mechanisms, and finally how the brain metaphor, decoding of communication is can store and then retrieve prior per­ affected by secondary perceptual con­ ceived information or sensations. What ditions associated with public presen­ is known suggests that language plays a tation. The setting in which an artwork significant role in both perception and is presented, including the physical con­ processing, for the ability of language ditions under which it is viewed and those to be transmitted through different me­ psychological factors influencing per­ dia and then remembered and learned ception of the work, contributes signif­ is perhaps the primary reason why Homo icantly to perception and decoding. Per­ sapiens is the only animal species to de­ ception originates as physical sensations velop writing, forms of aesthetic expres­ received by sensory organs, while fur­ sion and communication through met­ ther decoding is through internal psy­ aphor. chological mechanisms. Associated cul­ Metaphor is crucial for artistic de­ tural concepts of communication such as velopment because it allows expression correct times for communication, so­ of subjective perceptual signs and cul­ cially appropriate locations for perceiv­ tural concepts within the same struc­ ing or presenting communication, or the ture. It is possible to communicate com­ social rules governing who may or may plex perceptual concepts through not present or perceive artistic forms, metaphor, concepts derived from both also affect the perception of artistic com­ social and personal signs. Artifacts are munication. In some societies, the rules media of social communication trans­ governing expression and perception can mitting metaphorical information com­ be quite complex, and can be incorpo­ posed of culturally defined symbols and rated into social institutions, rituals or personal expressive signs. In ceramic ceremonial observances. In our culture, forms, particularly vessels, metaphor is rules pertaining to the creation or contained in those shapes having social presentation of artworks are usually meaning. Containers are social meta­ codified in laws, and derive from legal phors that communicate complex cul­ concepts of copyright, trademark, con­ tural verbal signs as well as personal tractual obligations and definition of le- information. These verbal signs are gal age. complex because concepts of social util­ In our culture, artists create and ex­ ity and cultural container tradition are hibit works initially in informal net­ involved. For noncontainer forms having works (such as local art fairs, exhibitions no utilitarian meaning, sign complexity or shops), and this informal expression derives from interpretation of identifi­ can be transmitted to and accepted by able symbols having cultural or personal formal network media (such as national meanings. magazines, juried exhibition competi­ Successful communication of artistic tions, museums, important galleries, etc.) messages involves public presentation for exhibition or publication. Accep­ (exhibition or performance), and this re­ tance by formal media represents a form quires both artist and public to share of legitimization, as institutions in the similar cultural/historical communica­ formal network lend credibility to in­ tion media and signs. Artists need to uti­ formal communications. Since institu­ lize culturally understood forms of com­ tions exercise social control over com­ munication (media) and common munication, one danger of acceptance to perceptual metaphors if their expressive artists is that they may become subser­ message is to be received and then de­ vient to institutional guidelines, and al­ coded in an intended manner. Totally low institutional values to influence the new or unfamiliar forms of communi­ type of works they will produce in the cation may be difficult to interpret, as future. time may be required for understanding Another important aesthetic issue for and incorporation into social conscious­ ceramists is that of function. As indi­ ness. An example of this occurred earlier cated, the traditional view is that the in this century with film: When African goal of art is creation of aesthetic form. tribes were shown their first movie, they Functional forms are not considered art ran from the screen as a closeup of a fly because utilitarian aspects of design or was shown, fearing these giant insects craft infiltrate or predominate over aes- which were outside their grasp. Please Turn to Page 54 December 1985 23 A Rational View of Wood Ash by Robert Tichane

If YOU RESIDE in a northern state, you Of course, there is no more futile ex­ sults in the following table are based on are living in halcyon days when it comes ercise than the careful analysis of an ash 0.43% ash from the trunk, and 1.45% to wood ashes for glazes. Even if you sample. There are so many variables that from twigs: don’t heat your home with a wood stove, can affect the chemical composition of a all you have to do is locate friendly, non­ fern, shrub or tree that it would be a BEECH TRUNK AND TWIG ANALYSIS gardening neighbors who do, and leave waste of time to attempt an analytical Oxide Trunk Twigs a metal ash can by their back door. Not precision of better than 10% (relative). Potassium 28.30 19.00 many things in life are free, but wood So instead of going through the task of Soda 1.90 1.40 ash is right up there with sunshine and reanalysis, we can use the rounded-off Lime 37.60 39.80 rain. figures from those 19th-century Euro­ Magnesium 11.20 8.60 Yet what should the rest of us do if pean studies. The wood ash analysis ta­ Iron 1.30 1.30 we happen to live in the sunbelt or a Manganese 5.10 4.80 ble at the bottom of the page shows that Phosphorus 6.80 13.00 city where wood is $200 per cord? Can the primary chemical constituents of ashes Silica 6.00 10.60 we get the same effects without genuine are calcium, potash and silica, while sec­ Sulfate 1.40 1.40 wood ash? I thought so, and have tried ondary elements are magnesium, soda, Chloride 0.01 0.04 a practical approach to find out what sulfur, phosphorus and chlorine. Minor wood ash really is. elements are aluminum, iron, man­ You will note that the analyses tables’ First, even before going to the library, ganese, titanium, etc. columns do not add up to 100%. In fact, I scooped up a bit of ash from a fireplace, Some of these figures are surely ques­ few of the analyses for ashes may seem put it on a plate and pushed it around tionable. I don’t really think spruce ash to make sense when compared to one with a spatula. It was apparent that one has 15.5% iron oxide in it, nor does fir another. This is not because of any lack of wood ash’s strong points is its fine ash have 24.5% soda. So use common of analytical expertise, but merely be­ particle size. (Okay, it is a little gritty sense when reading the literature. cause some analyses are calculated with in spots, but generally it is more like Another important aspect of ash com­ carbon dioxide and water present, while flour than sand.) Along the same line, position is the way that it varies from others are based on calcined samples. it is apparent that wood ash has low bulk source to source, from location to loca­ The original analyst would specify how density. Therefore, if planning to du­ tion, from climate to climate. For ex­ the sample was taken, but an extractor plicate wood ash, we must use the most ample, we could expect the mineral might not be as precise. powdery ingredients available. composition of one species of tree to vary Sometimes materials are reported as Next, adding some water to the wood depending on whether it grew on the the percent of the element, sometimes as ash and testing it with litmus paper north or the south side of a 10-acre lot. the percent of the oxide and sometimes proved that it is extremely alkaline (due The following table is an analysis of beech as a salt. For example, 100 parts bone to the presence of potassium carbonate). ash from different locales: ash would be equivalent to about 50 parts It even ranks higher on the scale than phosphorus pentoxide (P 0 ), and this laundry detergent. But this is no sur­ BEECH FROM DIFFERENT LOCALES same amount would only 2 represent5 about prise. After all, wood ash is what one Oxide Berchtesgaden Altenburg 25 parts elemental phosphorus. So you makes lye from when the soap supply is Potassium 12.5 18.3 would have to add 2% bone ash to a low. Soda 0.6 0.8 batch to get the equivalent of 1% phos­ So much for eyeballing. What does Lime 64.0 40.7 phoric oxide. the literature tell us? If we look at some Magnesium 14.1 4.8 We must consider what the percent­ pottery books, we may easily become Iron 0.9 2.3 ages should be if we are going to sub­ confused. On the other hand, the tech­ Manganese 0.2 13.0 stitute other materials for wood ash as nical literature is a gold mine of valuable Phosphorus 2.8 10.4 a glaze ingredient. For example, if we analyses. The bad news is that the best Silica 2.2 5.2 consider that silica may be only 20% of analyses were reported in 1871, written Carbon Dioxide 31.9 25.0 an ash’s composition, then using 10% in German in a book ( Aschen-analysen Emil Wolff even found differences be­ wood ash in the batch gives 2% silica to by Emil Wolff) that is not apt to be in tween ashes from the trunk and ashes the glaze. Potash as 20% of the wood the average public library. from twigs of a single tree. Analysis re­ ash would give 2% potash for every 10%

ANALYSIS OF WOOD ASH O CO

Wood Ash % CM K2O Na 2O CaO MgO Fe 2O3 P205 SO3 Cl Willow 2.90 34.00 41.10 6.00 0.50 13.00 2.70 0.10 0.50 Spruce 1.70 8.60 12.40 22.00 1.70 15.50 7.60 10.10 6.50 0.30 Fir 0.22 10.00 24.50 40.50 8.10 1.50 4.10 3.50 5.30 0.30 Mulberry 1.35 6.20 13.70 54.60 5.40 0.60 2.10 9.80 3.40 4.70 Beech 0.49 18.40 1.30 62.10 4.60 0.80 4.60 0.60 5.10 0.20 Oak 8.40 5.70 75.50 4.50 0.60 3.50 1.20 0.80 0.01 Olive 0.41 21.20 63.00 2.30 0.70 5.40 3.10 3.80 0.50 Pine 10.10 10.60 46.10 13.50 4.80 2.80 3.10 8.40 0.70 24 CERAMICS MONTHLY of wood ash in the glaze batch; lime at ate is soluble in water. Why would we micronized silica, salt, plaster and bone 50% would give 5%; soda at 4% would want to remove the bulk of this fluxing ash. The only truly unique component give 0.4%; magnesium at 6% would give element? I will concede that there are is the potassium carbonate; it is a must 0.6%; sulfate at 3% would give 0.3%; points in favor of washing wood ash. Po­ if you want the results of natural ash. chloride at 3% would give 0.3%; and tassium carbonate can deflocculate a glaze You need only to grind the desired in­ phosphate at 6% would give 0.6%. Ob­ mixture, and it does soak into clay bodies gredients separately into powders, stir viously, if you are using 50% wood ash and corrode them during firing. But that’s them together briefly, then fire the mix­ in a glaze, you are dealing with an en­ what ash glazing is all about. We are ture to 1100°-1475°F in oxidation. The tirely different composition than if you looking for an unusual effect. If we result is a decent substitute for use in are using 10% wood ash. wanted to get only the effect of silica or wood ash glaze recipes. Ash functions in several ways as a lime, we could use micronized sand or glaze constituent: primarily as a flux be­ limestone in our glazes. The author Robert Tichane is direc­ cause of its potash, lime and magnesium Thus, we see that the action of wood tor of the New York State Institute for content; secondarily as a mild colorant ash can be duplicated by using materials Glaze Research in Painted Post, New because of its iron, manganese and ti­ such as limestone, dolomitic limestone, York. tanium content; also as a bubble gen­ erator because of its water, air, chloride, carbonate and sulfate content; and fi­ nally as an opalizer because of its phos­ phate content. Making a “replica” wood ash requires simple substitution of individual ingre­ dients. First, for the silica, which will be at most 5-10% of an ash (as in spruce or pine ash), try using Minusil-5. Next, for the lime, which can be in the neigh­ borhood of 75% in oak ash, why not use limestone? Then there is magnesium, at nearly 10% in pine and fir ash; here you could use a dolomitic limestone. Sulfate is a maximum of 10% in spruce ash, but here you must decide if you need it. If you want the action of a sulfate in a glaze, try plaster. Chloride (another in­ gredient of questionable benefits) reach­ es about 5% in mulberry ash; if you wish, add salt to the batch. The soda level is almost 25% in fir ash, but that could be included as the carbonate. Phosphate is present in willow ash at a maximum of 13%; this can be replaced with bone ash or apatite. Finally, let us look at potash, which comes in at a maximum of 34% in willow ash. Why not use a frit or feldspar instead? Then the potash wouldn’t be soluble, and the results wouldn’t be like a wood ash. Soluble potash soaks into ceramic bodies wheth­ er raw or bisqued and performs the function of extracting material from the body. This special action can only be obtained from potassium carbonate (pearl ash). I have done tests in which various soluble potassium salts were painted on a body in alternating stripes, and each salt resulted in a unique reaction and glaze. Along that same line, I strongly rec­ ommend natural wood ashes not be washed. Remember potassium carbon­ December 1985 25 Ceramic Criticism

What is or is not said or written in schol­ changing hands as “seminal” works are aspects of clay art and disregard its his­ arly or critical circles about claywork is embossed on glossy stock and carried into torical connotations. of growing concern among ceramists. sacred vaults. Youth requires indulgence, but ma­ Some expect the work to speak for itself, What can we ask of the critic? First turation demands responsibility. Critics while others demand in-depth analysis of all, that he or she gather information. must see clay for what it is—not as the of historical and/or contemporary influ­ Whether trying to discover a model for new kid on the painting and sculpture ences and content. Last summer’s con­perception or simply pursuing a per­ block, but as a material capable of con­ ference on ceramic criticism at the Sun sonal curiosity, critics must be inveterate figurations, functional and sculptural, Valley Center for the Arts in Idaho pro­ stalkers of fact. From the smallest detail that engage us in issues at the forefront duced the following four views which were of an artist’s childhood hobbies to the of culture. The continued growth in our distilled by their authors after the con­ obvious data on education and training, field cannot be entirely linked to some­ ference. We offer them in the continuing research plays a large role in determin­ thing personal, or to novelty, popularity dialogue about the place of ceramics in ing the meaning of ceramic work. Such or success in the New York art world. the worlds of art and craft. —Ed. detailed study would extend to the object The case for acceptance or rejection of under scrutiny, where every scratch and ceramics cannot be built on individual ALTHOUGH significant art may come into shade of color have the potential to re­ taste, friendship or economics. When being in the quiet isolation of the studio, veal both its intellectual and tactile judgments are made, we must insist that it rarely remains surrounded by silence. “sense.” the standards used to arrive at them be Even the most informal social commu­ Very few of us have sprung full grown explained and substantiated. nication between artists engaged in sim­ from the head of Zeus, and very few I would suggest that there is a shared ilar pursuits can generate considerable obligation in the shaping of a new ce­ aesthetic noise in our culture. The ce­ ramic criticism. As ceramists, we cannot ramics world has recently and quite rap­ “Critical writing can be used to afford to be “recreational illiterates.” Most idly developed beyond private and peer- confront our own prejudices, of us know about important exhibitions group seclusion. It now has a public vi­ and this self-confrontation can from reading. The written word as an tality and stylistic variety as great as that interpretative vehicle obliges us, as read­ of any other medium. It is time for ce­ be healthy ers, to enter into the critical fray, to fur­ ramics to create some noise of its own ther our skills and abilities, including if it is to be heard over the general cul­ works are formed by spontaneous com­ those of language. Critical writing can tural cacophony. bustion. Critics can supply the cultural be used to confront our own prejudices, Current criticism tends to fall into one context for ceramics, including tradi­ and this self-confrontation can be healthy. of four categories: technical discussions, tions, cross influences and current trends It is difficult to know why clay criti­ historical surveys, descriptive documen­ in other media. This context of conti­ cism has been so harmonious for so long. tation or cheerleading promotion. These nuity and fashion has a powerful effect Ours is a discipline filled with dynamic characterizations, suggested by critics on how we understand ceramic art, on differences of opinion, and criticism themselves, reflect the urgent need for whether we prize or despise it. A broad should reflect that. In the push and pull reexamination, redirection and expan­ critical viewpoint striving to place works of contemporary ceramics, we may find sion of the critical apparatus. The future in this complex system can serve to check valuable allies in critics who aid us in of ceramics must include more than the the impulses of those who attempt only stretching our limits and strengthening sound of cameras clicking and money to identify the immediate, contemporary our vision. —Jim Romberg

Most writing devoted to ceramics ceramics in this general context, in ref­ amine large-scale sculpture can be help­ spends a great deal of time glorifying erence to the range of experience outside ful in discussing the inherent properties particular works, and wastes a lot of space ceramics itself. Criticism that applies the of both pedestal-scaled clay sculpture and elevating the makers to hero status. Very methods of both formal and historical pots. In the way that sculptors consider little attention is paid to ceramics in re­ analysis must be a priority if the latent the range of composing solutions offered lation to broader historical movements assumptions in a work of art are to be by the physical qualities of wood or steel, or the cultural phenomena informing revealed. the ceramist treats clay as a material in­ contemporary painting and sculpture. As artists, we all address the physical vested with working properties condu­ We need to challenge the sort of review­ aspects of material and give form to them. cive and sympathetic to various modes ing that fails to consider the place of The same formal vocabulary used to ex­ of expression. We must realize that a 26 CERAMICS MONTHLY shared language can serve to elucidate interest. But words alone do not build There will always exist that ineffable the connection between, say, what pot­ reputations. Exercising a “healthy skep­ element in the best art that eludes inter­ ters do with glazes and what painters ticism” while reading can temper the in­ pretation. But criticism can unravel parts do with paint. dulgences by the overly confident. The of the mystery and further endear the If we borrow terms from painting and ambition of critics should not lead us to object to the viewer. John Berger cap­ sculpture (instead of relying on an ex­ question the value of words or deny the tures this notion of ambiguity in Ways clusively clay-oriented vocabulary), some of Seeing: “The relation between what questions arise: What are the virtues and we see and what we know is never set­ dangers of criticism employing borrowed tled. Each evening we see the sun set. terminology? Would such criticism be “We need to challenge the sort We know that the earth is turning away able to make sense of what we do as of reviewing that fails to from it. Yet the knowledge, the expres­ ceramists? What are the implications of consider the place of ceramics in sion never quite fits the sight.” cross-disciplinary scholarship? general context, in reference Although we do not want highbrow These questions will remain unan­ . . . analyses that obscure the work and make swered as long as we continue to be fed to the range of experience us lose sight of it, we cannot dismiss the steady diet of jazzy epithets, flimsy outside ceramics itself analysis and interpretation altogether. verbiage and technical jargon so com­ Language is one tool at our disposal to mon in ceramic criticism. A sharp, in­ inquire into the nature of art. The task, sightful, authoritative and square-edged importance of criticism. Astute looking then, is to invite critics to rise to the criticism could alter this situation by and responsible, critical interpretation occasion—critics genuinely interested in tracing the lines of thought an artist has need not be in the service of mediocre, the arts who also have a curiosity about followed in developing an idea, by pro­ unworthy creations. ceramics. To elicit the kind of significant viding an extended social interpretation. It is instructive to recall what Susan scholarship that will raise the level of Writing that deals with artists in vac­ Sontag says in Against Interpretation and writing in the field, we need to put aside uums, as case histories, misses the whole Other Essays : “By reducing the work of our stereotype of critics as tweed-suited point. To enjoy a Kurt Schwitters col­ art to its content and then interpreting parasites who use artists to their own lage, you do not have to know something that, one tames the work of art.” But advantage. We need to establish dia­ about cubism, but you are the better for “the refusal to leave the work of art alone,” logue with them. Such discussions may it if you do. is not only the critic’s job; it is the view­ also incite artists to write, putting their There are those in every endeavor who, er’s, too. In contemplating an artwork, visual insights and composing faculties through their words, wield a great pow­ we search for meaning. When it cannot to work on paper. After all, good criti­ er and influence on impressionable minds. be found, is it because of some inade­ cism cannot only enrich our discipline, They champion one artist above another quacy in the object or because of our but, at its best, is creative in its own with assurance and, often, out of self- own conceptual limitations? right. —Barbara Diduk

If there is to be rigorous and disci­ up with an alternative that is more than most information is passed down from plined critical work in ceramics, there promotional backpatting. “master” to “student.” Anyone who has must be highly defined, closely argued The fundamental question is: do ce­ not taken part in this rather medieval points-of-view in conflict. There is now ramists want critical writing? Experi­ system, anyone who has not risen from no real ceramics criticism, which is tan­ ence in the last year leads me to doubt the “ranks” is looked upon with incred­ tamount to saying there are no public, that they do. The oral tradition in the ible suspicion. But, by definition, a critic substantive disagreements among indi­ ceramics community is very strong, and must be that person who maintains an viduals who are not themselves cera­ outsider’s distance, who must be on guard mists. to exercise enthusiasm and restraint. As Artists may not like it, but real critics resistance to the “uninitiated” is partic­ write for other critics. Don’t ceramists “There is now no real ceramics ularly rampant in the clay world, one consider their primary audience to be begins to wonder what is being so jeal­ made up of their peers? Well, it’s the criticism, which is tantamount ously protected. same for writers. This may account for to saying there are no public, The ceramics community must be the many artists finding criticism “jargon substantive disagreements most xenophobic I have encountered. laden.” But studio shop talk is equally among individuals who are not Whatever the causes of this fear, one of technical and riddled with insider’s cant. its most pronounced effects is the love/ It’s too easy to criticize criticism for being themselves ceramists hate relationship of ceramics to that tire­ incomprehensible. It’s tougher to come lessly invoked monolith, “the painting December 1985 27 and sculpture world.” As a purported in thinking they did something “first,” the part of the aesthetically virtuous op­ inhabitant of this mythical realm, I am as if art were a race to the finish line. pressed. acutely aware of the ambivalence cera­ A recent article vainly attempted to ar­ Ceramics itself has to get its own house mists feel toward it. On the one hand, gue that funk ceramics was the fore­ in order before it starts commiserating they revel in their independence from runner of postmodernism! But doing with painting and sculpture. Right now, that competitive, commercial, “corrupt” that house is a mess and no one really milieu (as if things weren’t just as bad knows what ceramics, as an historically in the clay world), and enjoy putting on “Will ceramists be willing to coherent body of work, is. Will cera­ the face of a big, happy family. On the give up their tedious,spiritual mists be willing to give up their tedious, other hand, ceramists continually be­ shticks and their earthy spiritual shticks and their earthy, sub­ moan the fact that they aren’t taken “se­ , verbal gruntings, and begin to entertain riously” by the very world they feign to subverbal gruntings, and begin the possibility of exacting analysis and reject. to entertain the possibility of critical interpretation? No matter that Ceramists want their cake served on exacting analysis and critical ceramics will be exhibited at fancy gal­ Art’s silver platter, but they want that leries, that they’ll continue to go up in platter to be made of mud. You can’t interpretation?” price or that they’ll occasionally play have it both ways. One frequently hears peekaboo with the competition in big ceramists clamoring for their rightful something first and doing it well (and museums and hallowed art journals. None place in art history. How many times for entirely different reasons) are not the of it will last without criticism. It is not have we heard someone say he or she same. Why this need to preempt other only objects that remain, but what is did such-and-such before so-and-so did media and styles when the history ofce­ written about them. If the record shows it in painting or sculpture? Yet these are ramics has been so utterly neglected? If that no one took the time and the care the same folks who desire to remain the “art world” has treated ceramics as to look and then write, chances are no “pure,” unsullied and uninfluenced by an inferior medium, that is no excuse one is going to bother looking a second that very history—so they find comfort for ceramists and their apologists to act time. —Jeff Perrone

Recently, a number of convergent ex­ opher Susan Langer states quite suc­ of time, we are seeing and demand to periences bearing upon contemporary cinctly, “Once ideas lose their capacity see more beyond, between and behind.” ceramics pressed me to reconsider some to recall or evoke the original experi­ Ceramics, a unique artistic mode with of the current attitudes toward criticism. ence, they not only become useless, but its own peculiarities and distinct history, One of these was a viewing of “Cali­ can be impediments to a wider view and must develop systems like those found fornia Clay,” a videotape made two years richer insight.” in painting and sculpture—ones that ago at Anderson Ranch in Colorado. It Another element that precipitated my unify and articulate the boundary be­ included interviews with the precursors thinking about the necessity for thoughtful tween sensory data and the analysis of and heros who, in terms of style and ceramic criticism was Jack Troy’s sum­ that data. Thinking, analyzing and in­ substance, are seen as contemporary role mer Comment in Ceramics Monthly. venting are not anomalous acts, but nor­ models. The often excessive theatrics of Implicit in his message was an unnerv­ mal processes of the creative mind. some of these artists confirmed my feel­ ing distrust for the written or spoken It is hoped that lucid discourse, ing that the vigor, the timely urgency, word in describing aesthetic phenomena. thoughtful argument and a broad range and the dynamic and once-liberating force His distressing notions hollowly echoed of viewpoints will become the rule rath­ of their ideas and activities have degen­ the anti-intellectualism that continues to er than the exception in any future models erated into an impoverished and atro­ reverberate throughout the ceramics supporting contemporary clay. phied game where the last cards are being system which has its roots partially in —Steve Reynolds played. (Perhaps it was only a particular the democratic foundations of craft ide­ bias in the editing, but Peter Voulkos’s ologies. This life-style/world view (in its bellicose posturings were sublimely ri­ attempt to evade hierarchical structures The authors Jim Romberg is director diculous.) of any kind, especially those of a rig­ of the Sun Valley Center for the Arts in Harsh words, I know. But the con­ orous conceptual nature) relies exclu­ Idaho; Barbara Diduk is assistant pro­ ceptual and perceptual framework that sively on retinal information. fessor of fine arts at Dickinson College informs many of these artists’ activities The difficulty with this position, to in Carlisle Pennsylvania; Jeff Perrone no longer seems capable of engendering quote Robert Smith (.Artforum, April is an arts writer} living in New York City; the appropriate correspondences that 1985), is that “...what you see is still and Steve Reynolds is associate professor would relate the practice and experience what we all, artist, viewer, writer and of ceramics at the University of Texas , of art to discussions about it. As philos- critic, must start with. With the passage San Antonio. 28 Ceramics Monthly Patrick Crabb

CALIFORNIA ceramist Patrick Crabb overly exaggerated loop-handled vessels. colors are dark to augment the shape,” finds artifacts “from pretechnological or Other pieces, which may contain char­ he explains. “Color is supplementary to so-called ‘primitive’ cultures more pow­ coal remnants, reinforce the primeval the form. The gold implies function. erful and stimulating than contempo­ imagery. In particular, the firing pit.” “The implication of utility is an im­ rary images. Ancient vessels which ex­ To augment the artifact effect, Patrick portant aspect. I hope questioning ‘How press a timeless quality, a simplicity of sometimes breaks the fired pots, gluing was this object used? How did it pour? form, and a display of bold technique them together again with epoxy and tile What was stored in it originally? Was are the models I try to emulate.” Pre- grout, usually leaving out a number of it for daily cooking or for rituals and Columbian, Jomon and early Oriental shards for “beauty mark” holes. ceremonies?’ heightens the viewers’ sen­ bronze works were inspirations for ves­ Assembled from altered thrown, sitivity to the forms. sels shown in recent invitationals at the handbuilt and extruded elements, the “Although the overall image is one of Laguna Beach Museum of Art and at stoneware forms are bisqued at Cone primordial/artifact derivation, certain Santa Monica College, plus a dual ex­ 1-2, then brushed with commercial glazes aspects are allusions to our environment. hibition at Mind’s Eye Gallery in Riv­ and Cone 10 recipes fluxed to Cone 06-04 Ancient rock paintings and wood carv­ erside, California. with 20-30% colemanite or Gerstley ings have been catalysts for graphic sur­ “My container shapes partially ex­ borate to achieve a dry, chalky, yet hard face designs. But interspersed among press in a metaphorical manner the roots surface. Multiple glaze firings are in an these ancient images are modern ‘pic- or the lineage of ‘first vessels,’ specifi­ electric kiln, until the final raku, low- tographs’—road traffic symbols, park­ cally the vessels derived from clay-reed temperature salt or saggar firing. ing lot markings and street signs—in­ basketry,” Patrick commented. “Allu­ Many forms have gold luster accents scriptions not too dissimilar from those sions to this antecedent can be seen in as an eye-catching device. “Most of my of primitive cultures.” “Pitcher Relics ” 10 inches in height, with Gerstley borate-fluxed Cone 10 glaze. An Architectural Clay Studio by eterP King

PURSUING degrees in philosophy and for production. This smooth surface religion at the University of West Flor­ proved perfect for laying out the large ida, I had virtually no art background panels typically involved in architectural when a fellow student first introduced ceramics. When the business outgrew me to clay. It was, as with most serious even this generous space in 1983, we potters, love at first touch. Graduating erected an additional 600-square-foot, in 1973, with experience from only two concrete-floored building. beginning pottery courses but a head full Access to excellent clay deposits in of ceramic visions, I returned to the con­ northwest Florida also proved advan­ struction trades which had put me tageous. Though we began mining our through school. Naturally, I gravitated own clay for aesthetic reasons, virtually toward architectural ceramics; the first free raw material does make it easier to work I sold was handmade tile for a commit a ton or two for an experiment foyer. which might not survive. To process the Kathy Allen’s introduction to ce­ clay, we built a vertical-shaft cutting mill, ramics followed similar lines. One se­ modeled after those used in traditional mester shy of a degree in social work at Southern potteries. Powered by a 5hp the University of West Florida, she signed motor, this machine is really designed to up for a beginning pottery course and mix slaked clay; we soak our local clay immediately became fascinated. The more in a concrete vat before mixing. While she learned, the more she realized that it will not readily mix large quantities her plans for a career in social work of powdered clay, it can blend large blocks would have to give way to full-time oc­ of leather-hard clay in minutes. cupation with clay. Architectural-scale ceramic construc­ When Kathy and I met in 1977, we tions do require a special clay, but noth­ decided to establish a studio—Stone- ing particularly exotic. We needed a haus—in Pensacola, Florida. Working slightly porous body that would not crack full time as potters gave us the freedom or warp, and which wouldn’t explode to develop our individual skills and styles, even when single firing glazed sections while working as partners afforded us up to 5 inches thick. The clay also had the luxury of constant exchange of ideas to have a predictable rate of wet-to-fired about new directions. Initially, we fo­ shrinkage so that custom installations cused on functional ware, sold at art shows could be accurately sized. All this may and through our showroom, but our ul­ sound like a tall order, but a mixture of timate goal was always clearly set. Sales one part medium grog to two parts na­ of more traditional pottery would pay tive clay easily fulfilled the require­ the bills while we developed our plans ments. A similar mixture can be made for architectural ceramics—wall mu­ from equal parts fireclay, stoneware clay rals, fireplace fronts, door frames, sinks and medium grog. and bathtubs. When doing large-scale work, single Our location and facilities proved to firing is practical. By experimenting, we be ideal. Some architectural projects can either found or were able to adjust a be fashioned in a relatively small studio, number of suitable glazes. The addition but large ones require more work space. of 3% bentonite will render many glazes The building we had acquired was an Peter King and Kathy Allen turned an applicable to greenware, and we have oversized, two-story garage apartment oversized, two-story garage apartment in found that an open body will accept a in a commercial/residential district. Us­ Pensacola, Florida, into a studio and wider variety of glazes than a tight body. ing the second story as our residence and residence. Though their hardbrick kiln uses In making fireplace facades, murals a small portion of the ground floor as a more gas than a better-insulated structure, and panels, we first carefully measure retail outlet still left us with about 1000 they feel their reduced losses pay for the the space where the finished work is to square feet of concrete-floored work space extra fuel. be installed. Added to these dimensions 30 CERAMICS MONTHLY is the shrinkage factor of the clay. The adjusted measurements are then drawn onto the concrete floor, after which a light coating of grog is sprinkled within the perimeter. The outlined area is then covered with 1-inch-thick slabs (made on a 30-inch slab roller), pounded to­ gether at the seams. Any clay lapping over the outline is cut away, leaving a single, unified slab ready for decoration. When the surfacing is completed, the still-wet panel is cut into tile sections, with consideration being given not only to the design, but also to the practical handling of those sections through the remainder of the process. Usually the tiles are left on the floor until completely dry, but occasionally we find it necessary to move them. This is a risky procedure which could result in uneven drying and Door frames, fireplace fronts, murals, etc., are made from slabs laid out and warping. More problematic is the dan­ joined on a grog-dusted concrete floor. ger of breaking a tile in a situation which requires a 100% survival rate. Once the sections are bone dry, they are sprayed with glazes (accents may be applied with a brush). Next, the back edges are scraped of any excess glaze, and the tiles numbered for easy recon­ struction during installation. The entire panel is then loaded into the kiln, with careful attention paid to positioning each section relative to “hot spots” and other firing quirks to assure the overall uni­ form appearance of the finished work. A bed of grog under each tile allows free shrinkage movement during firing. The kiln is a 60-cubic-foot, hardbrick downdraft, powered by two burners with 10 pounds of natural gas pressure. Hardbrick is very inefficient as an in­ sulating material, but when firing large pieces of greenware, the brick acts as an excellent governor of temperature in­ crease and variation. So the extra gas required seems a small price to pay for our small quantity of firing losses. Firings last 24-30 hours, 12 of which cover a slow preheating period. For ex­ tra-thick or large pieces, we sometimes allow as much as three days to bring the kiln to temperature. On a rush job, cool- Two layers of portland cement and three of Clay slabs, carried to the site, were pressed Glazed and fired to Cone 10, the 795 tiles masonry cement sealer were applied over into place, then cut into tiles and number- were installed with thin-set mortar mix this plywood and wire mesh-formed tub. matched to the tub. and grouted. ing can be achieved within 24 hours, but work. Either way, the experience would Unlike a pot which tends to sit alone such haste is risky. Usually, the kiln isalso give you a sense of the needs of the as a created object, a work of architec­ allowed to cool at least two days. construction site. tural ceramics must be an integral part To guarantee aesthetic control after Understanding the construction set­ of the structure. A building is a com­ firing, we feel it is necessary to install ting and an ability to work within it are munity effort, and this factor along with the works ourselves. However, the in­ important factors for the successful com­ the structure’s style and usage set the stallation of architectural ceramics re­ pletion of architectural projects. To work parameters within which the artist must quires a thorough understanding of how with architectural ceramics is to work create. This means that architectural ce­ buildings are constructed. For anyone within the building industry. It is vital, ramists should approach materials not contemplating entering the field, we rec­ therefore, for the artist to be able to read only with the purpose of fulfilling aes­ ommend finding a good tile setter and blueprints, and discuss design and tech­ thetic requirements, but also with the “hiring on” as an assistant to learn the nical issues with the architect, project knowledge that the work must blend with materials and techniques required. Those manager and building supervisor. Also, the setting. As long as this dictum is methods used to set tile are easily ap­ any problems which may arise during observed, the artist’s creative direction plied to much larger ceramic installa­ the execution of a commission can be can be realized, and the completed struc­ tions. If hiring on isn’t possible, an al­ greatly alleviated by establishing a good ture will give that same sense of aes­ ternative is to simply hire an experienced working relationship with the other sub­ thetic reward associated with the mak­ tile setter to oversee installation of your contractors. ing of pottery.

When the bowl for a 17-inch-diameter sink is firm, Peter attaches Throwing marks on the rim are accentuated for contrast, then clay and throws the rim. relief decoration is applied to the sink’s overflow hole. 32 C eramics Monthly A local clay combined with grog resulted in the warp- and crack- The homemade, vertical-shaft mill resistant body necessary for large-scale work. can blend large quantities of leather- hard clay in minutes.

The 1-inch-thick slabs are flipped onto a pattern outlined on the studio floor, and their canvas backing removed.

Seams are pounded together and rolled by hand; clay overlapping the outline is cut away. December 1985 33 A mural commissioned for the Pensacola Civic Center was simply sprayed with red iron oxide and fired in oxidation. 34 CERAMICS MONTHLY Photos: Gary Storm

Rolled smooth, this unified slab will be Stoneware fountain, 6 feet in diameter, Thin-set wall mix is applied to the back of ready for surfacing. constructed from press-molded slabs, a each section for a fireplace facade. wheel-thrown pedestal and draped bowls.

Wheel-thrown stoneware sink, 17 inches in diameter; set into a handmade tile counter; the press-molded backsplash matches the sink’s rim design.

December 1985 35 Peter and Kathy feel that understanding the construction setting and having the ability to work within it are important factors for the successful completion of architectural projects.

Goolsby Blue Glaze potentially toxic barium carbonate. Stonehaus Recipes (Cone 10) Talc...... 11.2% Gerstley Oxidation Glaze Bill Clover’s Tan Glaze Whiting ...... 20.5 (Cone 6-8) (Cone 10) Feldspar...... 32.2 Gerstley Borate...... 50% Dolomite...... 33.3% Kaolin ...... 16.6 Kaolin ...... 15 Feldspar...... 33.3 Flint...... 19.5 Flint...... 35 Ball Clay...... 33.4 100.0% 100% 100.0% Add: Rutile...... 8.3% Virtually foolproof on greenware, This simple glaze works well on Unlike most Cone 10 opalescent this glaze also takes oxides well. For greenware, does not blister or crawl glazes, this particular recipe works blue, add 2% cobalt and 3% iron ox­ and will take oxides well. well on greenware and contains no ide; for coral, add 15% rutile.

36 CERAMICS MONTHLY Kentucky Clay

CLAYWORKS by ten members of the cusing on one-of-a-kind forms, the show Kentucky Guild of Artists & Craftsmen included variously fired handbuilt and/ were exhibited recently at the Contem­ or thrown vessels and sculpture. Rep­ porary Crafts Gallery in Louisville. Fo- resented in “Kentucky Guild Clay” were Jim Cantrell, Bardstown; Wayne Fer­ Left “Calabash Bowl,” 10 inches in guson, Frankfort; Sarah Frederick and diameter, handbuilt stoneware, with stains, Satian Leksrisawat, Louisville; Gwen by Sarah Frederick. Heffner, Prestonsburg; Mike Imes, New Haven; Ann Jeremiah, May’s Lick; Ron Belowff .Apple Jar ” 10 inches in height, Knight, Liberty; Fred Shepard, Mur­ by Sarah Frederick, Louisville. ray; and John Tuska, Lexington.

December 1985 37 Judy Trim

“All MY FORMS are vessels, contem­ serve, to protect, to receive and to give. plative rather than functional, involving The pot is centered about its cavity, and the contradictions between weight and my time is spent struggling to find a way weightlessness,” commented British ce­ of conveying mystery, potency and sen­ ramist Judy Trim, whose work was fea­ suality through the building of inner tured recently at Westminster Gallery space.” in Boston. “The intrinsic act of contain­ Left Handbuilt earthenware “lotus” vase, ing never ceases to intrigue me,” she 23 inches in height, smoked in sawdust. continued, “with its endless actual and symbolic possibilities. For me, ‘the pot’ Below “Tear” vases, to 12 inches in has a strong analogy with the feminine height, burnished red earthenware, with principle. Its function is to hold, to pre­ stains and lusters, sawdust smoked. Photos: Charles Mayer 38 CERAMICS MONTHLY Sawdust-smoked “Moon Bowl” approximately 14 inches in Top“Sun Bowl,” approximately 20 inches in diameter, diameter, burnished T material, with stains and lusters. handbuilt T material, with stains, by Judy Trim, London. December 1985 39 The National Craft Showroom by Leta Clark

“Frankly,we were suspicious. We were buying offices, participation in seasonal the craft community, progress was made very wary of hooking up with any sales markets, and closeness to editors of trade in securing a place in the competitive representative. You know the feeling...is and consumer publications, New York New York wholesale marketplace. To somebody getting something off crafts­ City was selected as the prime location. induce buyers to go out of their way to people?” recalls urban potter Susan Kiok. Suitable space was found in the heart visit a new resource, a modest advertis­ “However, the potter who first told us of the wholesale district—10,000 square ing program was put into action, backed about the National Craft Showroom said feet to be converted into gallerylike by direct mail and personal contact with her business had skyrocketed during the display areas. As the conversion pro­ resident buyers. By the end of 1984, first year she had been a member. It didn’t gressed, Betty and the society started to buyers’ visits and sales figures were on take us long to decide to check it out. compile lists of craftspeople to be con­ the rise. We joined the showroom in a year when sidered for the National Craft Show­ The showroom then turned attention our business had been very soft. We’ve room’s first artists-members. A mailing to attracting more artists (to bring the gotten numerous small and some large invited them to apply for membership number of members nearer to the 400 orders from new customers we wouldn’t and submit slides for jurying. The terms the space was equipped to handle) have reached before.” offered for the first year were a fee of through recruitment ads in trade pub­ Susan and her partner Sema Kamrass $250, with no commission on sales. lications and direct mailings, plus a se­ are among the nearly 300 American Much to the originators’ surprise, few ries of parties at fairs to bring director craftspeople currently represented by the craftspeople replied; even fewer actually Barbara Blaauboer and her staff face to National Craft Showroom, the brain­ submitted slides. Eventually word fil­ face with craft professionals. In addi­ child of Pennsylvania philanthropist tered back that the artists were skeptical. tion, a booth displaying a continuous slide Elizabeth Raphael. Her involvement with The low fee and no commission sounded presentation of members’ works and the crafts began in the early 1970s when she unrealistic, if not downright shady. “Let National Craft Showroom space was set worked to establish a storefront in Ve­ somebody else try it first,” seemed to be up at a number of wholesale markets to rona, Pennsylvania, where local crafts­ the response. dispel potential members’ fears as well people could sell their wares. Originally The society selected a jury which metas inform buyers of the quality and var­ conceived as a short-term venture, the in August 1983 to review those slides iation of the crafts available. Store evolved into a permanent shop. that had been submitted. To combat the To date, the showroom is representing By 1979, Betty Raphael’s intention skepticism, they decided to personally a little under 300 artists. The first-year was clear: To encourage public interest invite artists they felt represented the best offer of low fee/no commission has been in crafts, and to help professional craft in American crafts to give the venture a modified and is slowly being upgraded artists find appropriate markets for their try. A short time later, a core group of to make the venture self-supporting. In works. Through a nonprofit organiza­ approximately 150 artists became the the past six months, new members have tion, the Society for Art in Crafts, plan­ showroom’s charter members. paid a fee of $300, plus 10% commission ning began for a cooperative wholesal­ The National Craft Showroom made on sales. These figures increased in No­ ing agency. its official debut in January 1984. As word vember to a fee of $350, plus 15% com­ Because it offered easy access to major about the enterprise spread throughout mission. The final upward adjustment

"Peacock Plate ” 12 inches square, by Jan The National Craft Showroom is in the "Popcorn * earrings and necklace, by Peterson, Pasadena, California. heart of New York’s wholesale district. Catherine Day, McLean, Virginia. 40 C eramics Monthly Right "Canoe Casserole ” stoneware, 31/2-quart capacity, cast, carved when quite damp, then fired unglazed to 2100°F, by Montgomery Smith, Richmond, Maine. Far right and belowWorks by approximately 300 artists are displayed in 10,000 square feet of gallery like space. Those accepted by jurying (held every six months) become members for two years.

planned to take effect in 1987 will be a ists are asked if they would like to con­ works annually. However, if the artist fee of $400 with 20% commission. tinue for the second year. If they want has taken off in a totally new direction, Jurying, by a combination of board to remain, their works are reviewed and he or she must submit slides of this work members and invited professionals con­ written reports (including a sales sum­ to be juried in for a new two-year pe­ versant with the crafts world, takes place mary, customer comments and sugges­ riod. each January and July. Artists may ap­tions for the future) sent to them. How has the showroom worked out ply throughout the year, using the of­ This review clearly focuses on mak­ for potters? The following comments are ficial application form* and sending in ing money. The National Craft Show­ from a random sample of telephone in­ the requisite slides. room, although nonprofit, must operate terviews: Accepted artists become members for as a business with each square foot of Sarah Frederick, Louisville, read about a two-year period. This is divided into display space accountable for bringing the National Craft Showroom in some one-year increments, with one-year con­ in the necessary income to continue and craft publications, sent for an applica­ tracts and the fee payable yearly. Aftergrow. tion and was juried in. “The start-up having been represented a full year, art­ Members who remain with the show­ was difficult for me,” she said, “but I’m room are required to update their sam­ sure it’s going to pay off in the long run. *For further information, contact the National Craftples, furnish several new slides for the I had to restructure my business so I Showroom, 11 East 26 Street, New York City 10010. files and add at least 10% or two new could adjust to the showroom pay pe­ December 1985 41 riods. In the beginning, I had trouble new places we wouldn’t have reached on Seattle potter Debby Fecher is anoth­ keeping schedules, but this was worked our own.” er charter member. “The showroom has out and now things are running smooth­ Linda Birnbaum, who operates Grand pushed me to be much more profession­ ly. Obviously, the National Craft Show­ River Pottery in Minnesota, says she read al. Once the orders started coming, things room has a lot of sensitivity toward the about the showroom and was attracted got really out of hand and I couldn’t craftsperson. They’ve been supportive, by the low cost of membership. “I do keep up. The showroom people have been very human, and it’s helped. I’m not going ACC shows,” she explained, “and de­ good about working things out with me. to have to do any craft fairs this year. I cided to treat applying to the showroom They designed a well-spaced shipping like fairs, but I can’t fill any more or­ like another craft fair, since the cost was schedule I could handle, and the pay­ ders!” about the same. I’ve never worked with ments have been amazingly consistent.” Upstate New York potters Lewis and a sales rep. Friends have tried them and Debby’s schedule allows the show­ Risa Dimm are charter members. “We found they were no good, but the show­ room to write a limited number of sales had sold to Betty Raphael’s the Store room sounded more substantial. with limited deliveries for each month and responded to the first mailing about “Membership has made me more or­ of the coming year. Her entire year’s the showroom. It sounded like a good ganized. Their paperwork added extra production was sold out by the end of idea—something that needed to be done. effort, but it’s been good. For example, January. Also, we were interested in year-round now I absolutely have to add a packing In contrast, National Craft Show­ exposure. We’re pleased with the amount slip when I ship, which I didn’t do be­ room membership has not worked well of action, of course, but what makes it fore but certainly should have. Also, I for Wisconsin dry-matt raku artist Rus­ especially beneficial is that we are build­ like all the promotion. We need that to sell Kagan. “I heard about the show­ ing a whole new customer group—all get into major stores.” room from another potter who had got-

Below Covered jar, wheel-thrown, altered porcelain, approximately 10 inches in diameter, with incising, handbuilt additions, by Bruce Dehnert, Lander, Wyoming. Right Fish tureen, 91/2 inches in height, slip cast and handbuilt whiteware, with underglazes and clear glaze, fired to Cone 04, by Polly Frizzell, Berkeley. Below rightWheel-thrown stoneware casserole and pitcher, 18 inches in height, by Jonathan Kaplan, Bowmansville, Pennsylvania. Members oj the National Craft Showroom currently pay an annual fee of $350, plus a 15% commission on sales.

42 CERAMICS MONTHLY ten great response there, so I came by line that is being sold through stores going on. I get a print-out I can read, when I was in New York to see it and suggests to him that a new middle-priced and it makes my life easier. There’s meet Barbara. The timing was perfect. line, designed especially for the retailers enough to do here in my own shop. I She had just been with a customer from who make up most of the showroom’s have to trust and work with people out­ Dallas who had been asking about my customers, might be the way to go. side. We’re still small and growing, de­ work. I applied and was accepted at the John Shedd, a New Jersey urban pot­ veloping, and I think the showroom is next jurying. ter, says things come in groups of three also.” “I am represented through galleries for him, and after being told about the As the National Craft Showroom nears all over the U.S. I also do a small line National Craft Showroom from three the completion of its second year of op­ of lower-priced pieces that are sold to a separate sources, he took heed, applied eration, Barbara Blaauboer echoed John company that markets them under its and was accepted. “Traditionally juried Shedd’s sentiment: “Yes, we’re growing own name. What I was looking for with craft shows are very trendy. Everything and developing, as John says, and I hope the National Craft Showroom was to fluctuates; quality and direction depend we will always be breaking new ground. reach store (nongallery) customers. So on the jury. The showroom gives me the There is so much yet to do, so many far that hasn’t happened. I’m disap­ steady exposure I need. directions to explore, and no role models pointed because I really believe in what “I have other showrooms, but I’m im­ to pattern ourselves after. the showroom is doing, but it isn’t a vi­ pressed with the organization of the Na­ “In January we’ll be jurying in an­ able marketing entity for me currently.” tional Craft Showroom. Communication other group of artists. Betty Raphael’s Russell’s samples on display are part is where things go right or wrong as far dream has become a viable entity, cre­ of his gallery work and are priced ac­ as I’m concerned. This showroom makes ating a permanent liaison between cordingly. The success of his lower-priced it easier for me to understand what’s craftspeople and retailers.”

“Calabash Bowl ,” 10 inches in diameter ; by Sarah Frederick, Louisville.

December 1985 43 Faenza Prizewinners ’85

With selection “based on inventive­ tendencies were sometimes improperly Rut Bryk (Finland), Pierre Caille (Bel­ ness and expressiveness,” the 43rd “In­ derived from figurative arts in general, gium), and Fausto Melotti (Italy); a sur­ ternational Competition of Artistic Ce­ and also from design. vey of Quebec ceramics organized by the ramics” at the Palazzo Esposizioni in “Some attempts had even been made Centre de ceramique Bonsecours in Faenza, Italy, presented 342 sculptures to revive local and popular traditions, Montreal; a review of Hungarian art and decorative vessels by 181 artists from but these were in the minority and were pottery from the Szecesszio period; plus 32 countries. Only two U.S. ceramists not well made. They should be greater a “sketch to prototype” show of designs were represented: Ted Bell and Sarai in number: traditional decoration should produced by students of Matteo Thun Sherman, the same total as in the pre­ have been more modern and up to date.” at the University of Applied Arts in Vi­ vious Faenza international. When awarding prizes, the jury fo­ enna. In reviewing the 1015 entries by 451 cused on “the intensity of the poetic val­ Over the years of the exhibition, Faenza artists from 36 countries, the seven- ue expressed and the particular tech­ has held center stage in the world of member jury concentrated “in particular nology used: traditional means have been international ceramics competitions, but on singular national products, each time observed by the ceramists, but the re­ next year a major Japanese effort, the considering the different context of cul­ sults were modern.” The top prize was “First International Ceramics Contest tural background and the artist’s devel­ awarded to Sueharu Fukami, Japan. ’86,” will challenge Faenza with a po­ opment of the technical and linguistic Concurrent with the June through tentially less-politicized show juried by traditions.” September showing of works from the 10 prominent world leaders in the field. The jury noted “a general tendency competition were a solo exhibition fea­ Whether Faenza can regroup and con­ toward fashions, style revivals and im­ turing Giuseppe Lucietti, the 1984 grand tinue to be the dominant world exhibi­ ages, in some cases obsolete. All these prize winner; a masters invitational with tion remains to be seen. Japanese artist Sueharu Fukami, grand prize winner oj the 43rd international ceramics competition at Faenza, Italy. A solo exhibition oj his work will be held at the 1986 event.

44 C eramics Monthly Photos: Collina & Dane si (Aeroplano), Borchi Germano, Edmondo Tich-Mestre and courtesy of the competition

Above“The Expanse of the Sea at a Distance * two-part Below “Venetian Case,” approximately 15 inches in height, slab sculpture, with “The Conception of Purity” stele (background), built, with suspended interior elements, purchase award winner, approximately 29 inches in height, by Sueharu Fukami. by Ilona Lammel, Hungary

December 1985 45 Above"Dream Image” approximately 23 inches in height, slab Below “Still Life,” approximately 11 inches in height, form, with incised and combed slips, purchase award winner, by multipart sculpture of cast and slab-built colored clays, gold medal Mariano Fuga, Gargnano, Italy. winner, by Ildiko Polgar, Hungary.

46 CERAMICS MONTHLY Above "Aurora” approximately 20 inches in height, two-part, Below “Mnemonic Board” slab-built sculpture, approximately handbuilt sculpture, with incising, impressing and applied clay, 37 inches in height, purchase award winner, by Massimo Piani, by Nina Gushtchina, Leningrad. Imola, Italy.

December 1985 47 Bad Manners by Marilyn Lysohir

“The trip from Pullman to the Asher/Faure Gallery in Los Angeles took four days, and setting up required another two days, but it was worth it. ‘Bad Manners' was sold and is now installed in the collector's dining room.”

48 CERAMICS MONTHLY Photos: Arthur Okazaki, Rick Semple

The clothing was made with coils and The male figures were built from the hips Details such as the pattern on a dress were slabs; folds and wrinkles were encouraged. down; then a shirt and coat were built up. carved into leather-hard clay.

No INDIVIDUAL art object exists with­ Manners.” On a basic level, I wanted to be the main focus, so I started by making out having been affected by the artist’s do a piece that said something about greed the tablecloth and what would go on it life. So perhaps the best way to comment and insensitivity in a nonspecific way. from the following clay body: about my work is to start by saying As with other major pieces, the idea was something about myself. thought about, designed and redesigned Sculpture Body I was born in Sharon, Pennsylvania, for more than two years, until I felt com­ (Cone 06-5) a mill town. I am the second oldest of fortable with the visual expression. Cedar Heights Redart six children. My parents are both Like most people who live in isolated Clay...... 50.0 pounds Ukrainian, which accounts for the dif­ areas, my technical difficulties are solved Kentucky Ball Clay ficulty most people have in pronouncing by trial and error and luck. Because each (OM 4)...... 30.0 my last name. It has been anglicized to new sculpture is different, with different Lincoln Fireclay (66) . . 75.0 be pronounced “lie-sure.” structural considerations, I cannot have Sand ...... 20.0 My earliest experience with clay was a standard method of building. Perlite (or Vermiculite). 2.0 in high school; it involved vessel making For “Bad Manners,” the table was to Nylon Fiber...... 0.5 as well as sculpture. In 1968 I went to 177.5 pounds undergraduate school at Ohio Northern Mix with 60 pounds water. University in Ada, originally majoring Marilyn Lysohir in painting, but that quickly changed to Designed for a 6-foot-long table, the ceramics. In the summers, during the cloth was built in 24 tiled sections. Each spare time when I was not working for section was incised with patterns. the next year’s tuition, I tried to learn An abundance of food was needed to all I could about clay. Chick Mangus, create an incongruous feast. All this plus my high school art teacher’s husband, silverware and flowers were handbuilt; generously gave me the opportunity to the plates, cups and saucers, bowls, serv­ work in his studio. ing platters and candlesticks were thrown. My best work from these years always When dry, these elements were painted reflected an interest in the figure. I made with underglazes and bisqued, then traditional vessel forms, adding figures sprayed with clear glaze and fired to Cone to the outside. Most of these were glazed 04 in an electric kiln. simply, then salt fired. The figures were done last because I In 1976, after several years of teach­ needed time to think about the mechan­ ing high school art in western Pennsyl­ ics of making the clothing. Larger-than- vania, I went to Washington State Uni­ life-size drawings were measured to help versity in Pullman to earn an M.F.A. with proportions. There I worked with Patrick Siler, who Building the clothing with coils and (because of his connections with Berke­ slabs, I started from the seat and went ley) introduced me to West Coast atti­ to the waist, then worked on the lower tudes toward ceramics. part of the clay skirts or pants. To fa­ I spent a year or so struggling with cilitate firing and transportation, the up­ the problem of the vessel and the figure, per sections were constructed to lift off. then had the “eureka” experience of re­ Jackets were formed from large slabs cut alizing that for me the figure was enough. in the same way as cloth. The slabs were After graduation, I stayed in Pullman, kept on heavy plastic so they could be teaching part time at the university, and moved easily while the seams were being continued to develop my figurative work. joined. Folds and wrinkles were en­ A recent major work is called “Bad couraged as the clothing progressed; finer December 1985 49 The inner structures included flanges used When dry, clothing and shoes were brushed Underglaze-colored food and dishes were to bolt the figures to the chairs. with terra sigillatas, then burnished. sprayed with low-fire clear glaze.

details such as the patterns on the dress­ into the wet terra sig. After burnishing, A problem that all artists have to deal es were incised when the clay was almost the tablecloth and figures were fired to with is getting their work to an exhi­ leather hard. Cone 04 in a downdraft gas kiln. bition. “Bad Manners” took me a week Allowed to dry, the clothing, figures Repairs were sometimes made with to pack in carefully marked bubble wrap and tablecloth were painted with stained PC-7 (a clear, 5-minute epoxy made by with additional padding for the trip. terra sigillata. The terra sig base recipe Protective Coating Company, Allen­ Everything fit into our truck and an 8- is made by mixing 0.5% Calgon water town, Pennsylvania). Any touchups on foot trailer, which was used as a large softener into 80% hot water, then adding the burnished surfaces were done with crate. Anything that could move was tied 20% Kentucky ball clay (OM 4). This gesso and acrylic paints; on the glossy down. The trip from Pullman to the mixture is left to settle (uncovered) for surfaces with alkyd paints and Rhoplex Asher/Faure Gallery in Los Angeles took at least two weeks, then any remaining (a clear acrylic emulsion). four days, and setting up required an­ clear water is poured off and the top With the ceramic work ended, the other two days, but it was worth it. “Bad layer of fine clay—the terra sigillata— wooden table and chairs were construct­ Manners” was sold and is now installed slips right out. Stains are then mixed ed to complete the sculpture. in the collector’s dining room.

Foam supports the burnished greenware prior to stacking. The sculptures were assembled, then eased into the kiln.

50 Ceramics Monthly December 1985 51 52 CERAMICS MONTHLY News & Retrospect Ceramic Still Life ers from around the world, to show work or published in the October Lovejoy’s Guidance A recent exhibition at Esther Saks Gallery slides and perhaps create an exhibition op­ Digest. in Chicago focused on still life works by ce­ portunity. If the new show does the same for CM subscribers may be interested in the ramists Joanne Hayakawa, San Diego; Kar­ craft media artists, galleries and collectors, extent of the following list compiled from en Koblitz, Venice, California; Juta Savage it would be an important addition to the mar­ both Lovejoy’s updates of institutions offer­ and Nancy Selvin, Berkeley; Richard Shaw, keting of contemporary crafts. ing four-year undergraduate ceramics pro­ Fairfax, California; Victor Spinsky, New­ According to Mark, “The galleries select­ grams accredited by the National Association ark, Delaware; and Paula Winokur, Hor­ ed for the exposition will represent artists of Schools of Art and Design: sham, Pennsylvania. who are producing significant work in what Akron, University of; Beaver; Bradley In “Still Life with Teacup,” 27 inches in have traditionally been labeled the craft me­ University; Bridgeport, University of (fine length, Nancy Selvin combined abstracted dia: clay, glass, wood, metal and fiber. arts including ceramics); California College of Arts and Crafts; California State Univer­ sity (Chico, Fullerton, Hayward [studio in­ cluding ceramics], Long Beach, Los Angeles, Sacramento); Carnegie Mellon University; Center for Creative Studies (crafts including ceramics); Cincinnati, University of; Cleve­ land Institute of Art; Columbus College of Art and Design (fine arts including ce­ ramics); Connecticut, University of; Denver, University of; Drake University; East Car­ olina University; East Tennessee State Uni­ versity; Eastern Montana (studio including ceramics); Georgia State University; Geor­ gia, University of; Grand Valley State; Hart­ ford Art School; Hope; Howard University; Humboldt State University; Illinois State University; Illinois, University of (Urbana, crafts including ceramics); Jackson State University; James Madison University; Jer­ sey City State (crafts including ceramics); Kansas City Art Institute; Kansas, Univer­ sity of; Kent State University; Louisiana State University (Baton Rouge); Mankato State University; Maryland Institute College of Art; Massachusetts College of Art; Memphis State University; Michigan, University of; Mis­ sissippi, University of; Montana State Uni­ “Still Life with Teacup” by Nancy Selvin versity (studio art including ceramics); ceramic vessels with flat wooden surfaces, “The time is right for this international Moore College of Art (ceramic design); using both as a vehicle for painting. Photo: forum,” he continued. “Some of the most in­ Moorhead State University; New York State Charles Frizzell. novative and fresh work is being created in College of Ceramics at Alfred University; these media, but due to the rigidity of the North Dakota, University of; Northern Il­ established art circles, we are not often priv­ linois University; Northern Iowa, University Navy Pier for Craft ileged to see it.” of; Otis Art Institute of Parsons School of Mark Lyman, former faculty ceramist at Design; Pacific Northwest College of Art; Washington University and chairman of the Pennsylvania State University; Portland 19th annual conference of the National College Ceramics Programs School of Art; Pratt Institute; Rhode Island Council on the Education of Ceramic Arts In response to Ceramics Monthly’s noti­ College; Rochester Institute of Technology; (NCECA), was recently appointed full-time fication of the inadequacy of its listing for Saint Cloud State University; Saint Mary’s coordinator for the first “Chicago Interna­ ceramics programs in the latest Lovejoy’s College (Indiana); San Francisco Art Insti­ tional New Art Forms Exposition” scheduled College Guide (see the September 1985 CM, tute (sculpture includes ceramics); San Fran­ for September 1986. Patterned after another page 63), Lovejoy’s, Inc. has printed an en­ cisco State University (studio art includes ce­ Lakeside Group expo, the influential, six- larged listing in its September Guidance Di­ ramics); San Jose State University; School year-old “Chicago International Art Expo­ gest. Then because several colleges were of the Art Institute of Chicago; School of the sition” (commonly known as the Navy Pier omitted from that updated list “due to a Museum of Fine Arts, Skidmore; South Da­ show), the new event is planned to feature printing error,” another amendment was kota, University of; Southern Maine, Uni­ displays by galleries from Europe and North versity of; Southeastern Massachusetts Uni­ America (also at Chicago’s historic Navy Pier), You are invited to send news and photo­ versity (concentration within visual design plus seminars on topics of interest to crafts­ graphs about people, places or events of program); Southern Illinois University (Car- people, dealers and collectors. interest. We will be pleased to consider bondale); State University of New York at In the past the Navy Pier show has been them for publication in this column. Mail Fredonia (studio including ceramics); Syra­ a meeting place where artists, dealers and submissions to: News and Retrospect, cuse University; Texas, University of (San collectors could come together for mutual Ceramics Monthly, P.O. Box 12448, Antonio); Tulane University (ceramics/glass); benefit. From the artist’s standpoint, the show Columbus, Ohio 43212. Tyler School of Art of Temple University provides an opportunity to meet gallery own­ Continued December 1985 53 Comment with creation of expression but also with misleading when applied to artwork, or Continued from Page 23 presentation of artwork within informal they believe that their work must stand and formal communication networks. on its own without comment. This would thetic expression of “pure form.” This While only a few artists have work be justified only if art was somehow cre­ view necessarily excludes pottery from exhibited or collected by formal insti­ ated and exhibited in a vacuum, and there any consideration as art, and would in­ tutions, these networks are extremely was no social interaction between artist stead treat vessels as craft or design. important for they largely define and and public. In reality, however, works If artworks are communication me­ shape public understanding of art through of art are part of extremely complex dia, and exist as public forms of expres­ control of education and communication communication networks; definition and sion, the issue of function is irrelevant media. In our culture, art is defined and appreciation are affected by social con­ to the issue of art, as all communication presented by a relatively few formal in­ cepts and perceptual processes that are has a social purpose and function. stitutions, which due to their conserva­ only marginally derived from actual Whether a form is also utilitarian (that tism, resist change and revise traditional sensory contact. Those networks in which is, can be utilized for some type of social viewpoints only after changes in schol­ artworks communicate are products of activity not connected to perceptual val­ arly attitudes or educational systems have cultural developmental forces derived ue) would therefore be of secondary im­ occurred first. Formal networks can also primarily from verbal and written lan­ portance. In anthropological terms, def­ influence the standards and practices of guage. Unfortunately, modern audi­ inition of utility is a cultural concept; a informal networks, as definitions of ac­ ences continue to be visually illiterate given form can be considered utilitarian ceptable media to exhibit, standards of despite these sophisticated aesthetic net­ in one culture or at one time period, and presentation and qualifications for art­ works, relying upon words and verbal can be nonutilitarian in a different cul­ ists are largely determined by formal in­ concepts for understanding of aesthetic ture or time. stitutions. communication. Ceramic artists must In a field as diverse as ceramics, there Finally, artists need to become more therefore learn to effectively communi­ are many different communication as­ adept at communicating issues of aes­ cate with words and concepts if they wish pects with which artists must be con­ thetics when their work is publicly pre­ to fully participate in aesthetic com­ cerned. The communication model pro­ sented, for communication involves more munication. vides an effective conceptual tool for than simply putting artwork on display. public exhibition and analysis of art­ Many artists express an opinion that The author Rodger Wood is a full-time work. Artists must be concerned not only words are irrelevant or are somehow ceramist at Pottery Northwest in Seattle.

54 C eramics Monthly News & Retrospect (ceramics/glass); University of Washington; Washington University; West Virginia Uni­ versity; Western Michigan University; and Wooster, College of. Lovejoy’s also noted that Saint Louis Community College at Florissant Valley of­ fers an A.A. degree in studio art including ceramics, and Rochester Institute of Tech­ nology offers an A.A.S. in ceramics and ce­ ramic sculpture. If your institution has a degree-granting ceramics program, and it is not in the current edition of Lovejoy’s or on the preceding list, you may want to contact Lovejoy’s College Guide, 2 Drummond Place, P.O. Drawer Q, Red Bank, New Jersey 07701. To be on their list is to be exposed to thousands of guidance counselors and other individuals with inter­ est in directing students to career ceramics programs. Roy Strassberg New works from an ongoing series of “Demolition Vessels” by Roy Strassberg , Mankato, Minnesota, were exhibited re­ cently at Robert L. Kidd Gallery in Bir-

“ Walking Demolition Vessel with Black Leg 3” mingham, Michigan, and at Convergence in New York. Characteristic of the works shown, “Walking Demolition Vessel with Black Leg 3,” 27½ inches in height, was constructed from white earthenware and colored with underglazes and/or fixative and acrylics. British Ceramics in Seattle The third “British Ceramics Show” at FireWorks in Seattle featured functional and decorative ware by Alan and Ruth Barrett- Danes, Hilary Brock, Alan Caiger-Smith , Walter Keeler, Peter Lane, Eileen Lewen- stein, Geoffrey Swindell and Angela Verdon. Continued December 1985 55 News & Retrospect

Pierced bone china bowls by Angela Verdon Among the works on view were these bone china bowls, 4½ inches in height, slip cast, bisqued, pierced and carved with dental drills, then fired unglazed to 2228°F (1220°C), by Angela Verdon. Utah Chronicles “Chronicles,” the 14th annual ceramics exhibition at Utah State University in Lo­ gan, broke from the survey format of pre­ vious shows to “concentrate on contemporary work which addresses a specific theme, namely historical reference,” explained Peter S. Briggs, director of the Nora Eccles Harrison Mu­ seum of Art where the exhibition was pre­ sented through November 27. “The theme is not new,” he continued. “As recently as 1983, the Nelson Atkins Museum in Kansas City organized a show entitled ‘Echoes’ that contrasted the work of contem­ porary ‘blue chip’ ceramists with ceramic ob­ jects from a wide range of historic and pre­ historic traditions. Chronicles, however, focused solely on the contemporary works. The historicism or historical references in the exhibition are implicit in the selection of art­ ists and art works; they are illuminated only by the 16 artists’ written statements.” Like the majority of the artists in the ex­ hibition, Richard Nothin, Myrtle Point, Or­ egon, works within the vessel tradition. This “Oval Curbside Teapot (Variation 3),” 8½ inches in length, stoneware, was inspired by Chinese Yixing (I-hsing or Yi-hsing) ware. “The Yixing teapots of Kiangsu province, China, date from the early 17th century and production continues today, although much of the current output consists of reproduc­ tions,” Richard noted. “At first attracted to

Yixing-inspired teapot by Richard Nothin 56 Ceramics Monthly the Yixing teapots’ small scale, attention to detail and imagery, I also became aware of their remarkable sense of proportion and composition, as well as their narrative qual­ ities. The wide range of imagery—from purely geometric forms to totally organic studies of fruit and bundles of firewood or bamboo— is remarkable, demonstrating a phenomenal explosion of individual creativity. The Yix­ ing teapots are seemingly small and quiet at first encounter; closer inspection and intro­ spection clearly reveal that such pieces are indeed powerful works of art. “These ideas and images of Yixing teapots percolated through my mind for several years—as I passed through various series of works and bounced from one teaching po­ sition and artist-in-residency to another. Fi­ nally, in 1983, time, space, inspiration and an idea for the initial pieces came together. Although I closely imitate the scale, formats, colors and textures of the unglazed Yixing wares, my intention is to borrow from these formal qualities with honesty and a sense of homage. It is important, however, that my teapots retain a totally separate cultural identity, that they reflect our contemporary civilization’s imagery and speak of our so­ ciety’s current situations as we emerge from the 20th century into the 21 st.” Cormac Boydell The recent Cibeal Arts Festival in Ken- mare, County Kerry, Ireland, focused its vi­ sual arts program on ceramics by commis­ sioning West Cork artist Cormac Boydell to

“Man of Ecstacy” 8 feet in height create a sculpture within a 10-foot white cube. Cormac saw this as an opportunity to con­ tinue earlier “involvement with the dynamics created by combining the crude with the re­ fined. Where before I had limited these dy­ namics within the ceramic work itself by contrasting the roughness of highly grogged Continued December 1985 57 58 Ceramics Monthly News & Retrospect interior.” As ideas were gathered from dif­ ferent sources, vessels were formed to “sug­ clay with smooth, bright glazes and precious gest experiences or encounters we’ve all had metal lusters, I could now also contrast the before.” looseness of the handformed clay against the To recapture the feeling of the completed, refinement of the white cube. but still wet works, John sprayed the vessels “I also wanted my work to communicate with terra sigillata made from different clays. to a larger number of people than those fa­ For subtle variations certain areas were also miliar with exhibition art. So I decided to scraped or burnished. express some uplifting feeling that is familiar to everyone sometime in his or her life. I Hungarian Ceramics Today chose the ecstasy which occurs when life is An exhibition featuring works by 11 Hun­ experienced as much better than we ever garian ceramists was presented in September dreamed it could be, such as in the moment at the Craftsmen Potters Shop in London, of achieving a goal after years of planning.” then at the Art Gallery and Museum, Kel- Made from heavily grogged terra cotta, “Man of Ecstasy” was formed over a core of straw bound around a removable steel ar­ mature. The clay was allowed to crack and fragment during drying. After bisque firing, the figure was temporarily reassembled. Decorated with turquoise alkaline copper glazes plus black and deep cobalt blue lead bisilicate glazes, it was fired to Cone 06 in a specially constructed updraft, wood-burn­ ing kiln. Then decorated with red and gold lusters, it was fired to Cone 016. Finally joined with copper wire, the figure was suspended above an earth mound in the cube. Text: Sean Murphy; photo: Richard Haughton. John Volpacchio “Vessels,” an M.F.A. thesis exhibition of large abstract forms referring as much to hu­ man figures as to historical pottery shapes, was presented recently byJohn Volpacchio at the University of Colorado Art Galleries in Boulder. Coil-built from plastic earthen­ Chamotte relief by Sandor Kecskemeti ware, the first vessels in the series initially vingrove, Glasgow, through November 10. referred more to seashells and nature. John Characteristic of the free-standing and relief then began “to experiment with the idea of sculpture bySandor Kecskemeti, this wall having them read more as a pot through the form, approximately 16 inches in height, was addition of rims and increased access to the handbuilt from chamotte, then fired at 2280°F. John Volpacchio with works in progress

Continued December 1985 59 60 Ceramics Monthly News & Retrospect In comparing contemporary British and Hungarian clay work, Brighton ceramist Ei­ leen Lewenstein observed that since World War II studio production in Hungary “has developed as an art form with a growing emphasis on the sculptural object rather than the useful vessel. Traditional slip-decorated pottery continues to be seen as folk art and as such seems to be outside the province of the studio. Traditional Hungarian earthen­ ware is fostered by means of cooperatives in several different centers throughout the country and the necessary skills are kept alive. But more and more the wares produced sup­ ply the decorative needs of city dwellers rath­ er than the original practical needs of coun­ try life. “Useful everyday pottery is for the most part mass produced in factories, and in this context the individual ceramist is the de­ signer rather than the maker. Ceramics is seen as a medium of expression which can be as powerful as any other art form—paint­ ing, music or dance for example—and as such it is given serious consideration. In many ways Hungarian ceramists are well supported. Apart from regular competitive exhibitions, such as the Tecs Biennale,’ there are many opportunities for work in relation to archi­ tecture, such as murals, fountains and sculp­ ture.” Clay in Architecture Large, unglazed vessels by William Daley, Elkins Park, Pennsylvania; low-fire tripod tables byCarolyn Daniel, Alfred, New York; installations incorporating vessels by Cliff

Carolyn Daniel's “Croissant Table” Garten, Saint Paul; tile works and totemic sculpture byMei Ling Horn, Alfred; and wall assemblages by Dale Zheutlin, Pelham, New York; were presented in the first of a series Continued December 1985 61 62 Ceramics Monthly News & Retrospect of exhibitions on “Architectural Clay/Clay in Architecture” at Greenwich House Pot­ tery in New York City. Among the objects on view through October 25 were “Croissant Table,” 22 inches in height by Carolyn Dan-

Tile wall form by Mei Ling Horn iel, and this wall form, 19 inches in length, press-molded terra cotta, by Mei Ling Horn. Photos: Sanford Mauldin, Gary McKinnis. Harold Lewis Having “an eclectic approach to subject matter and execution,” Harold Lewis , Gol- densbridge, New York, sometimes works from a line drawing (or photograph). At other times he may build a geometric form “with no prior

“Star Extrusion,” 26 inches in height knowledge of what I will do with it. I carve a hollow here, build a convexity there. One action impels another. Action follows action in swift succession until there is nothing more I wish to do.” Technique varies with the subject and type of structure planned. “I sometimes start by building a solid block of clay (rectangle, oval, pyramid, circle). For thin-walled construc­ tion on a large scale, I use an extended pinch method. Other times I will build a piece en­ tirely from coils. Lately, I have been exper- Continued December 1985 63 64 Ceramics Monthly News & Retrospect imenting with assemblages of extruded or slab-built forms.” Shown from an exhibition at the Mari Galleries in Mamaroneck, New York, through October 6, is “Star Extrusion,” 26 inches in height, glazed and painted stoneware. Photo: Howard Goodman. Feet of Clay In conjunction with the Chicago Inter­ national Art Exposition’s annual “mile of sculpture,” Lill Street Gallery presented “Feet of Clay,” an exhibition of ceramic works no

Aviva Alter’s “Twilight,” 12 inches high larger than 1 cubic foot. Representing 61 artists from 21 states, the show offered an overview of visual and thematic concerns in contemporary ceramics, from abstract and figurative sculpture to vessels to tile instal­ lations. “Twilight,” (above) by Aviva Alter; Chicago, combines colored porcelain ele­ ments fired at Cone 3 with painted wood. Jane Ford Aebersold, Shaftsbury, Vermont, applied lusters to otherwise unglazed, thrown stoneware to complete “Bread and Butter,” Jane Ford Aebersold’s “Bread and Butter”

Continued December 1985 65 66 CERAMICS MONTHLY News & Retrospect I now realize I have always incorporated forms and objects relating to those experiences in my work,” Bill commented. “However, there has been a gradual evolution, which I at­ tribute to my present tropical environment of rich vegetation, heat, humidity and re­ sultant sensual atmosphere.” Current works include “the familiar sea forms, coral rock, anemones, fish, eels, trop­ ical flower forms, truncated roots, etc., and are now expressed with a brighter palette of color. I consider these an expression of a transformative vision, portraying a surreal, contemplative atmosphere of illusion, mys­ tery and spirit guise.” Shown from the exhibition, “Heart with Fish and a Memory,” 34 inches in height, Karen Gunderman’s “Ventana” 9½ inches in height. “Ventana,” 11 ½ inches square, by Karen Gunderman, Milwaukee, was slab built from earthenware then ac­ cented with low-fire glazes and underglazes. Photo: John Barber. Memphis Clay Sculpture and functional ware by 13 area ceramists were featured in a recent invita­ tional at Rhodes College in Memphis, Ten­ nessee. Among the objects shown in “Mem-

34-inch Heart with Fish and a Memory” was assembled from slip-cast and handbuilt elements, then accented with underglazes, low- fire glazes and lusters. Kathy Lookingland Porcelain vessels and dinnerware with airbrushed patterns by Kathy Lookingland, East Lansing, Michigan, were featured re­ cently at DeMatt Gallery in Holt, Michigan. “Because my work is wheel-thrown, I feel a strong commitment to the vessel as form,”

Terra-cotta sculpture by Mimi Loeb phis Clay” was this untitled form, 15 inches in height, slab built from terra cotta, by Mimi Loeb. Bill Burke A solo exhibition of large, free-standing sculpture byBill Burke, faculty artist at Florida International University (Miami), was on view at Barry University in Miami Shores through November 30. Constructed Thrown porcelain with airbrushed slips from a low-fire talc body, the forms reflect Kathy commented. In turn, the vessels “have images of the sea. become containers for my drawings with air­ “Having grown up next to the sea, spend­ brushed colored slips. I am drawing on the ing many days in, on and under the water, Please Turn to Page 76 December 1985 67 68 Ceramics Monthly Technical Evaluating Clay Bodies by Robert Schmitz

One OF THE FIRST THINGS I learned in ceramics is that a clay body is formulated to This information is more useful than a control color, shrinkage, plasticity, texture and the temperature at which it is fired. Many chemical analysis. The relationship between times, during those early years, I would have two or three of the requirements correct for various constitutents is clearly evident. The a good clay body, but not all. This led to a variety of predicaments from cracking to slumping. larger the total fluxes, the lower the tem­ The formulation and alteration of clay bodies are complex processes not completely under­ perature at which the clay becomes vitreous. stood by many people in the field. Yet we know that there is a common way to convert glazes Other things to consider in clay selection to empirical formulas for the purpose of comparing their ingredients to one another (limit are the iron and titanium content. As an ex­ formulas). Why not such calculations for clays? The following is a systematic method for ample, if a white clay body is desired, then the examination and comparison of clay bodies. the ball clay with the lowest iron content The process begins with the chemical analyses of clays. Each supplier can acquire (and should be selected. often has) a chemical analysis for each clay sold. Chart A on page 72 lists recent percentage Most books list the molecular weight of formulas for some commonly used clays. clay as 258. This approximates the molecular This information is used to determine each clay’s empirical formula. Equivalents are weight of theoretical kaolin, but in reality, calculated by dividing the percentage of each element by its molecular weight (obtainable each clay is different. In calculating glazes, from many ceramics textbooks). Below is an analysis of Calvert clay: use of the correct molecular weight for clays establishes greater accuracy. Listed in Chart Element Percentage +- Molecular Weight = Equivalent B, pages 72 and 73, are the empirical cal­ Silica 58.40 60.00 0.9733 culations for some clays. Alumina 24.80 102.00 0.2431 Next, use the empirical analysis to estab­ Ferric Oxide 4.70 160.00 0.0294 lish the mineral content of the clay. Soda, Titania 1.10 80.00 0.0138 potash, alumina and silica together form the Calcia 0.04 56.00 0.0007 mineral feldspar which acts as a flux (along Magnesia 0.31 40.00 0.0078 with iron), fusing when heated to stoneware Potash 2.00 94.00 0.0213 temperatures. Alumina and silica form the Soda 0.18 62.00 0.0029 simple clay mineral, which imparts plasticity. L.O.I. (water) 8.10 18.00 0.4500 Silica also forms the quartz mineral, which Then the equivalents are grouped by their radicals: fluxes (bases) belong in the RO group, imparts shrinkage. By noting the proportions intermediates (neutrals) in the R O and acids in the RO group below, left. in which these minerals exist within the clay, To arrive at a unity formula2 3 for clay, divide2 each of the element equivalents by the insight into the clay’s utility is achieved. equivalent of the Al O (0.2431). The result is shown below, right. The following conditions were observed to 2 3 complete the mineral content calculations: RO R O RO RO R2O3 RO2 2 3 2 Sodium and potassium oxide were combined

0.0007 CaO 0.2431 AI2O3 0.9733 SiO2 0.0029 CaO 1.0000 Al203 4.0037 SiO2 and shown as KNaO, molecular weight 78. 0.0078 MgO 0.0294 Fe2O3 0.0138 TiO2 0.0321 MgO 0.1209 Fe2O3 0.0568 TiO2 The formula for the theoretical feldspar min­ 0.0213 2KO 0.0876 K2O eral is KNaO • Al2O3 • 6SiO2, molecular weight 0.0029 Na2O 0.0119 Na2O 540. The clay mineral is Al2O3-2SiO2, mo­ 0.4500 HO 1.8511 H O lecular weight 258. Iron is Fe O , molecular 2 2 weight 160, and silica is SiO , mineral2 3 weight To find the molecular weight of the clay, multiply each equivalent by its molecular weight. 60. 2 This yields their relative weights. The sum will equal the molecular weight: To arrive at the equivalent for the mineral, Element Equivalent x Molecular Weight = Relative Weight divide the equivalent amount needed by the equivalent amount supplied. This will give Silica 4.0037 60.00 240.222 the equivalent to be used. In the example, Alumina 1.0000 102.00 102.000 we need to find the equivalent for the feld­ Ferric Oxide 0.1209 160.00 19.344 spar mineral. We see that 0.0995 KNaO is Titania 0.0568 80.00 4.544 needed and that 1.0000 KNaO is supplied Calcia 0.0029 56.00 0.162 by the feldspar mineral. Therefore, the Magnesia 0.0321 40.00 1.284 equivalent of the feldspar mineral to be used Potash 0.0876 94.00 8.234 is 0.0995-M .0000 = 0.0995. Then each of Soda 0.0119 62.00 0.738 the materials supplied by the feldspar L.O.I. (water) 1.8511 18.00 33.320 (lKNaO-lAl O -6SiO )is multiplied by this 409.848 equivalent: 2 3 2 December 1985 69 Equivalent KNaO F©2O3 AIA SiO2 0.0995 0.1209 1.0000 4.0037 0.0995 Feldspar 0.0995 0.0995 0.5970 Difference 0.0000 0.9005 3.4067 0.9005 Clay 0.9005 1.8010 Difference 0.0000 1.6057 1.6057 Silica 1.6057 Difference 0.0000 0.1209 Iron 0.1209 Difference 0.0000

After the equivalents are found, multiply by the molecular weight to find the relative weight for each mineral. Then divide by the sum of the relative weights and multiply by 100 to find the percentage weight:

Mineral Equiv. x Mol. Wt. = Rel. Wt. -+ Sum x 100 = % Feldspar 0.0995 x 540 = 53.730 -+ 401.745x 100 = 13.4 Clay 0.9005 x 258 = 232.329-+ 401.745x 100 = 57.8 Silica 1.6057 x 60 = 96.342 -+ 401.745x 100 = 24.0 Iron 0.1209 x 160 = 19.344-+ 401.745x 100 = 4.8 401.745 100.0

Thus the composition of Calvert clay is 57.8% plastic material, 24.0% silica, 13.4% feldspar and 4.8% iron. With this type of analysis, it is possible to compare the plastic content of different clays. The amount of flux, which gives some idea of temperature needed to become vitreous, may also be seen. Chart C on page 73 shows the mineral content of various clays. Compare these with the other charts on pages 72 and 73. Note in particular the shrinkage and absorption rates in Chart E as compared to Chart C. This method of evaluation can be done for clay bodies as well as individual clays. Using a stoneware clay body example, first the equivalents for each material are calculated: Material % -+ Mol. Wt. = Equiv. Custer Feldspar 8.00 607.6 0.0132 A.P. Green Fireclay 25.00 293.8 0.0851 Cedar Heights Goldart Clay 50.00 358.3 0.1395 Kentucky Special Ball Clay 15.00 355.7 0.0422 Flint 5.00 60.0 0.0833

Next, calculate the number of equivalents for each oxide. Multiply the material equivalent by each of the oxides in the material (see Chart B). Custer feldspar is KNaO 0.9675 ^1203 1.0437 *SiO 2 6.9452, molecular weight 607.6. Collect into oxide groups and total:

Equivalent KNaO CaO MgO Fe203 Ti02 ai2o3 Si02 0.0132 Custer Feldspar 0.0128 0.0138 0.0917 0.0851 A. P. Green Fireclay 0.0022 0.0013 0.0018 0.0021 0.0057 0.0851 0.2121 0.1395 Cedar Heights Goldart Clay 0.0080 0.0009 0.0027 0.0037 0.0125 0.1395 0.4768 0.0422 Kentucky Special Ball Clay 0.0019 0.0011 0.0015 0.0008 0.0028 0.0422 0.1262 0.0833 Flint 0.0833 Total 0.0249 0.0033 0.0060 0.0066 0.0210 0.2806 0.9901

Group by radicals: O cc CM CO RO RO2

0.0033 CaO 0.2806 AI2O3 0.9901 SiO2 0.0060 MgO 0.0066 Fe2O3 0.0210 TiO2 0.0249 KNaO 70 CERAMICS MONTHLY To arrive at a unity empirical formula for the clay body, divide each oxide by theOi Al total (0.2806): 2

RO R2O3 RO2

0.0118 CaO 1.0000 AI2O3 3.5285 SiO2 0.0214 MgO 0.0235 Fe2O3 0.0748 TiO2 0.0887 KNaO

To arrive at the mineral content, use the same process previously explained for Calvert clay:

Equivalent KNaO Fe 2O3 ai2o3 SiO2 0.0887 0.0235 1.0000 3.5285 0.0887 Feldspar 0.0887 0.0887 0.5322 Difference 0.0000 0.9113 2.9963 0.9113 Clay 0.9113 1.8226 Difference 0.0000 1.1737 1.1737 Silica 1.1737 Difference 0.0000 0.0235 Iron 0.0235 Difference 0.0000

To arrive at a percentage amount, multiply the equivalents by their molecular weights: Mineral Equiv. x Mol. Wt. = Rel. Wt. -+ Sum x 100 = % Feldspar 0.0887 x 540.00 = 47.898 -+ 357.195x 100 = 13.4 Clay 0.9113x 258.00 = 235.115-+ 357.195x 100 = 65.8 Silica 1.1737x 60.00 = 70.422-+ 357.195x 100 = 19.7 Iron 0.0235x 160.00 = 3.760-+ 357.195x 100 = 1.1 357.195 100.0

After applying this process to a number curacy. The following is true and important of clay bodies, some patterns emerge. Just as to the test: lcc water = 1 gram. limits exist for the different constitutents of Begin with 200 grams of clay. Using the glazes, so limits may be construed for clays. graduated cylinder, slowly add measured Chart D shows general boundaries for each amounts of water to the clay. Mix to a good of the minerals in various clay bodies. working consistency. Record the minimum Some general observations can be made at amount of water needed to thoroughly wet this point. If the silica is below 15%, there all the particles, making a stiff, plastic mass. may be a problem with glaze fit (crazing). Add small amounts of water and observe the Handbuilding bodies, which are less plastic, various stages of plasticity as the clay be­ will have lower clay content than throwing comes softer. Record the point when the clay bodies. Because iron acts as a flux, clay bod­ becomes too soft (sticky). This gives the range ies having a low iron content will need a of plasticity. Figure the average weight: If higher amount of feldspar to achieve the proper the first stage (stiff) required 34 grams of amount of fusion. water and the last stage (soft) required 38 Next, examine the shrinkage and absorp­ grams, then the average would be 36 grams. tion rates at various temperatures for indi­ Express the weight of water used as a per­ vidual clays. This testing should be done every centage of the weight of sample clay: few years because clays change as the com­ Weight of Water panies dig through their mines. x 100 = % Water of Plasticity To test for the percentage water of plas­ Weight of Clay ticity, you will need a balance-beam scale, a Shrinkage is the change in size of clay from 12-inch-square glass sheet or some equally the plastic to the fired state. It results from nonabsorbent surface, a spatula, a water con­ loss of water, both mechanical and chemical, tainer and a lOOcc graduated cylinder. It is and from the softening and melting of the necessary to measure carefully to achieve ac­ particles. Wet-to-dry shrinkage is directly re- December 1985 71 lated to plasticity. The higher the plasticity, expressed as a percentage of the initial weight The larger the particle size, the larger the the greater the shrinkage. To test, use a 15- is the porosity of the percent of absorption: volume increase. During firing, kyanite forms inch-long wooden form to make tiles (shrink­ mullite, which causes a decrease in thermal Wt. of Wet Tile - Wt. of Dry Tile age bars). Line the slat with a paper towel, x 100 = % Absorption expansion and increases the firing range. It pound a coil of clay into the form and smooth Wt. of Dry Tile is excellent in raku and tile bodies. the top. Divide evenly into three tiles. Draw A word on particle size and its relationship Pyrophyllite (Al2O3 • 4SiO 2) substitutes for a line Va inch in from and parallel to the edge to successful clay bodies: A good clay body part of the flint and/or feldspar in a clay and mark off a 10-centimeter section along has a range of particle sizes. A complete range body, causing a decrease in thermal expan­ the length of the line. Label each tile as to from large to fine is essential when forming sion and an increase in the firing range. It clay type and firing temperature. Stand the a dense, plastic mass. If only large particle will help decrease glaze crazing due to ther­ tile on edge to dry. Then take a dry mea­ clays are used, there will be a lot of open mal shock and moisture expansion, and will surement and express the change in length space. This produces a weak, nonplastic body decrease firing cracks and shrinkage. It is a as a percentage of the original length: that will easily crack and absorb water too good addition to porous earthenware bodies. rapidly. The greater the distribution of par­ Spodumene (Li O-Al O -4SiO ) forms a Change in Length 2 2 3 2 x 100 = % Shrinkage ticles, the denser the clay body. The best bod­ eutectic with feldspars: 60% nepheline sy­ Original Length ies usually have at least four clays of varyingenite with 40% spodumene equals Cone 01; Porosity is a measure of vitrification at a particle size. 55% nepheline syenite with 45% spodumene given firing temperature. Vitrification or de­ When developing a clay body for a specific equals Cone 2; 70% feldspar with 30% spod­ crease in porosity of a fired clay is the result purpose, start by listing requirements—col­ umene equals Cone 2; and 55% feldspar with of the clay particles becoming more densely or, temperature, shrinkage, absorption lim­ 45% spodumene equals Cone 5. packed. This phenomenon occurs in stages. its, etc. Then simply begin with the clay Petalite (Li2O- Al2Or 8SiO2) helps form a The first stage is the burning off of mechan­ nearest to those requirements. low thermal expansion body for ovenware. ical and chemical water. The second stage is Most clay bodies should have about 50% It will also form eutectics with feldspar but the combustion of organic and inorganic im­ plastic clays. Throwing bodies have 65-70% has fewer impurities than spodumene. purities. The third stage is the melting of the plastic clays, while slip-casting or jiggering Talc (3MgO-4SiO 2) is also used to de­ components in the clay, such as alkalis, lime, bodies may have as little as 30-50%. velop low thermal expansion bodies. It pro­ magnesium salts, feldspars, iron oxide, etc., If a flux is required for a Cone 5-10 body, motes the formation of mullite, which im­ which flux the clay particles. use a low soda/high potash feldspar or frit. parts strength to the clay body. Used as a To determine the porosity of a clay, mea­ This will prevent thixotropy. flux in low-temperature clay bodies, it helps sure the amount of “open space” by filling it Finally, for some clay bodies you may wishreduce delayed crazing due to expansion with water. Remember there is a 1:1 cor­ to consider incorporating ingredients such as through moisture absorption. Talcs are dif­ relation between weight and volume (1 cc water kyanite, pyrophyllite, spodumene, petalite and ferent in chemical composition and their re­ = 1 gram). First weigh the fired test tile, talc. sults will vary. (Be sure to read the chemical then boil the tile in water for two hours and Kyanite (3AlO • 3SiO ) comes raw or cal­ analysis of the talc you are considering; some allow it to soak another 22 hours. Pat it dry cined and in a 2 variety3 of2 particle sizes. It are asbestoslike.) It is common to use up to and weigh again. The difference in weight causes a volume size increase when fired. 70% talc in Cone 03 to Cone 2 bodies.

72 CERAMICS MONTHLY December 1985 73 Itinerary Continued from Page 15 Karen Karnes workshop. February 8-9, 1986 Robert Turner workshop. Contact: Tony Marsh, Box 765, Mendocino 95460; or call: (707) 937- 5818. California, SunnyvaleJanuary 25-26, 1986 “A1 Johnsen Extruder Workshop”; fee: $25. March 1, 1986 “Functional Pottery, Design and De- velopment“ with Robin Hopper; fee: $20. For fur­ ther information contact: Libby Page, Sunnyvale Recreation Department, Sunnyvale 94086; or call: (408) 730-7343. New York, New YorkJanuary 17-18, 1986 Paula Winokur, lecture and workshop on archi­ tectural clay. Contact: Greenwich House Pottery, 16 Jones St., New York 10014; or call: (212) 242- 4106. Ohio, CantonJanuary 17-18 “Syd Carpenter Workshop.” Contact: The Canton Potters Guild, The Canton Art Institute, 1001 Market Ave., N., Canton 44702. Texas, San AntonioDecember 6-8 “Low Fire Ce- ramics“ with Judith Salomon. Contact: Suzanne Brennan, Southwest Craft Center, 300 Augusta St., San Antonio 78205; or call: (512) 224-1848. International Events Canada, New Brunswick, Fredericton Jan­ uary 10-12, 1986 “Craft Show Booth Construc­ tion and Marketing Techniques” with Bruce Ba­ ker. January 31-February 2, 1986 “From the Dining to the Livingroom: The Dual Function of Useful Pottery” with Paul Rozman. For further information contact: New Brunswick Craft School, Box 6000, Fredericton E3B 5H1; or call: (506) 453-3767. Canada, Ontario, Torontothrough January 10, 1986 Deichmann Pottery, Wayland Gregory, Bernard Leach, Janet Leach, Pablo Picasso, Pilk- ington Potters, Lucie Rie, Russel Wright, “From the Collections”; at the Royal Ontario Museum, 100 Queen’s Park. through January 15, 1986 Hans Coper; at the George R. Gardiner Museum of Ceramic Art, 111 Queen’s Park. Canada, Quebec, Montreal through December 8 Jeannot Blackburn. December 15-January 12, 1986 “Format”; at Interaction Gallery, 3575 Avenue du Parc, Espace 5508, Promenade de la Place du Parc. through January 3, 1986 “Christmas Sale”; at Centre des Arts Visuels, 350 Avenue Victoria. Canada, Saskatchewan, SaskatoonDecember 14-15 “The First Noel,” a Christmas craft show; at the Western Development Museum. Denmark, Odense through January 5, 1986 An exhibition of works by the Danish group Multi Mud; at Fyns Kunstmuseum, Jerbanegade 13. England, Londonthrough December 6 Chris­ tine Constant, Caroline Emery, Michael Hunt, Agalis Manessi, Keiko Nakamura and Louise Gil­ bert Scott, “Turning Up the Heat: Ceramics in Context”; at the Vortex Gallery, Stoke Newington Church St. through December 14 Anne Bannon and Karl Roberts. December 16-January 4, 1986 Isobel Dennis and Marea Goodman; at the Arts & Crafts Movement, 11 W. Hill, Wandsworth. December 2-23 “A Christmas Celebration”; at the Craftsmen Potters Shop, 7 Marshall St. December 7, 14, 21 and 28 “Gifts for Christ­ mas”; at ‘Ceramics on Sundays’ gallery, 221 Cam­ den High St. France, Nan$ay through December 23 A dual exhibition with ceramics by Deblander; at Galerie Capazza, Grenier de Villatre. Germany, Mannheim, through January 6, 1986 Gerd Knapper, pottery; at the Stadische Kunst- halle, Moltkestr. 9. Sweden, Varmlands through January 6, 1986 Ulla Viotti, “Sculptural Expressions”; at the Varmlands Museum, Utstallningshallen i Gamla badhuset. 74 CERAMICS MONTHLY New Books

Way To Go! Crating Artwork for Travel by Stephen A. Horne A guide for wrapping, packing and crating artwork safely, efficiently and inexpensively, this handbook is based on techniques used by museums. As the author points out “it is hardly prudent to assume that objects in transit will not meet with incompetent handling or accidents.” To safely transport three-dimen- sional objects, he suggests a package-within- a-package design, sized according to the art- work(s). He notes that “overcrating wastes space and money”; however, “a crate too large to throw eliminates one alarming but occa­ sionally encountered method of movement. Often the safest size is one too great for move­ ment by one handler, but too small to require the use of a fork lift.” Drawings and pho­ tographs illustrate general principles and ap­ propriate materials for packing, as well as crate designs. Simple packing is recom­ mended. “Eliminate all surprises. You will greatly reduce the risk of damage by design­ ing interior packing so that the object will be seen clearly before it must be handled.” Not recommended are the increasingly pop­ ular extruded plastic “peanuts.” Besides the fact that an object in transit can migrate through loose materials toward the bottom of the crate (where cushioning is most vital), packing with “peanuts” leads to “blind grop­ ing by the unpacker—an anxiety-provoking and dangerous situation.” Loose materials should be used only as secondary cushioning. Finally, the author explains how to ade­ quately identify shipping crates, and where to locate particular instructions for unpack­ ing, storage and repacking. 53 pages (spiral- bound). 30 drawings and black-and-white photographs. $7.50. Gallery Association, Box 345, Hamilton, New York 13346. How to Market Your Arts and Crafts by Howard L. Cossman “When it comes to business, there are no rules. It’s whatever works,” remarks the au­ thor of this hour-long booklet on audio cas­ sette (with transcript). Marketing options such as fairs, galleries and mail-order catalogs are discussed briefly, but emphasis is placed on exposure—getting publicity about your ware to as large an audience as possible. Success stories plus interviews with a sales repre­ sentative, an art dealer and a department store buyer furnish some tips. Also discussed are how to sell reproduction rights for fees and royalties, how to presell an item in large quantities from a sample, and how to acquire investment capital. $10. Art Marketing In­ stitute, Box 4564, North Hollywood, Cali­ fornia 91607. December 1985 75 News & Retrospect Continued from Page 67 interiors of wide open forms and redefining their profiles.” Shown from the exhibition are “Face in the Clouds,” 9 inches in height; and “Evening Sky,” 11 inches in diameter. Kaizer/Valk Exhibition Baltimore Clayworks recently featured slip- and glaze-decorated platters by studio mem­ ber Peter Kaizer and unglazed vessels by as­ sociate Nancy Valk. Characteristic of Peter’s work in the exhibition, this trapezoidal

20-inch stoneware platter by Peter Kaizer stoneware platter, 20 inches in length, was made by attaching a wheel-thrown rim to a slab. Fiona Salazar British artist Fiona Salazar coil builds her earthenware vessels “so that each piece is individual and assumes a character of its own.” Particular attention is given to the surface: “I burnish twice after applying the color so that it is smooth to the touch,” she explains. For works shown recently at the British Crafts Centre in London, Fiona focused on “the relationship of form, color and deco­ ration. I like the idea of the three dimensions of the lid becoming the two-dimensional sur­ face pattern on the pot,” as on this lidded jar, 10 inches in height, sprayed with terra Coiled earthenware pot, with burnished slips

Please Turn to Page 80 76 CERAMICS MONTHLY Film & Video

California Clay in the Rockies Filmed at Anderson Ranch Arts Center in Aspen, Colorado, this documentary was as­ sembled from segments of interviews and demonstrations with Robert Arneson, Philip Cornelius, Viola Frey, Michael Frimkess, Marilyn Levine, Ron Nagle, Jerry Roth- man, Richard Shaw, Paul Soldner and the artist credited with starting the “West Coast clay revolution,” Peter Voulkos. Because there is no introduction or narration (with the ex­ ception of comments by gallery owner Garth Clark and Whitney Museum curator Pat­ terson Sims), the viewer unfamiliar with the California clay scene and these artists’ past and present works may have some trouble following these loosely threaded vignettes. Despite the lack of continuity (and low sound fidelity), the film does document the person­ alities of these artists and their feelings about the medium within a mainstream art context. There is something almost honorific about the way and duration the artists are consid­ ered by the camera, something which begs the question about whether we are watching people who are truly great. And one senses a kind of ’60s loving feeling in this video, particularly directed toward Peter Voulkos, whose activities during the segment are hardly worthy of such gratuitous camera time. 55 minutes. Available as VHS videotape. Pur­ chase price: $235, plus $10 shipping; rental: $50, plus $10 shipping. Alternative Work Site, 511 South 11 Street, Northeast, Omaha, Ne­ braska 68102. Immortality thru Clay Of interest to beginners, this half-hour video shows Toronto potter Eric Wrate handbuild- ing a figure approximately 10 inches in height. Following a melodramatic introduction to the history of clay figures, which makes the point that clay lasts through centuries, Eric sketch­ es his idea; the drawing serves as reference throughout construction. He starts with the feet and base, then rolls small slabs to form the trousers. Two pinch pots are joined to­ gether to make the body; two smaller ones become the head. Clothing and facial details are formed by adding small balls of clay, ex­ truded strands and strips from thin slabs. When the figure is uniformly leather hard, it is put in the kiln (on low overnight) for bisque firing, with arms supported as nec­ essary. Final decoration is with brush ap­ plications of colored engobes and slips. Though some of the terms used in describing the steps are not the same as those generally used in the United States (e.g., pin tool rather than needle tool), the meanings are clear. Avail­ able as VHS or Beta videocassette. $60. The Earthen Vessel, 200 Silverbirch Avenue, To­ ronto, Ontario, Canada M4E 3L5. December 1985 77 78 CERAMICS MONTHLY CERAMICS MONTHLY Index January 1985—December 1985

Business Patrick Crabb, Dec., p 29 Bartering Your Work,Murphy, Nov., p 53 Paul Rozman, Jan., p 42 Mangum Pottery of Turkey Knob,Watson, June/July/Aug., p 43 Potters Making Prints,Sperry, May, p 38 National Craft Showroom, The, Clark, Dec., p 40 Rudy Autio/Curt Hoard, Feb., p 37 Studio Management, Part 1,Cantrell, June/July/Aug., p 67 Sally Bowen Prange, May, p 46 Studio Management, Part2, Cantrell, Sept., p 27 Steven Forbes-deSoule, May, p 44 Think Before You Compute,Weingarten, Nov., p 83 Taylormade Pottery,South, Nov., p 36 Two Marketing Alternatives,Weingarten, Feb., p 77 Unloading,Katz, Sept., p 46 Clay and Slip View from Norway,Ase, A, May, p 41 Evaluating Clay Bodies,Schmitz, Dec., p 69 Wood Firing in America, Sept., p 37 Middle Fire Option, A, Englund, Apr., p 82 Glazes and Glazing Porcelain Plasticity Update,Fina, Tucker and Turner, June/July/Aug., p 104 Are Lead Glazes Dangerous?Littlefield, Nov., p 34 Feldspar Fluxing Differences,Weinstein, Sept., p 58 Cone 2-4 Oxidation Glazes,Melchior, Jan., p 52 Translucent Tile Porcelain,Zakin , Jan., p 32 Cone 6 Reduction Glazes, Rowan, May, p 30 Commentary Converting to Oxidation Glazes,Rowe, Feb., p 50 Armchair Access, Troy, June/July/Aug., p 25 Copper Matt Finish, The,Potter, Apr., p 46 Barium and Glaze Toxicity,Rossol, May, p 17 Crystal Glazes,Covert, Sept., p 92 Ceramic Art and Communication,Wood , Dec., p 21 Middle Fire Option, A, Englund, Apr., p 82 Ceramic Criticism, Diduk, Perrone, Reynolds and Romberg, Dec., p 26 Paul Rozman, Jan., p 42 Exhibiting in Japan, Part I,Moeran, Mar., p 21 Rational View of Wood Ash,Tichane, A, Dec., p 24 Exhibiting in Japan, Part II,Moeran, Apr., p 19 Simple Cone 7-11 Reduction Glazes,Rowan, June/July/Aug., p 71 Fatal Impact, The, Cardew, June/July/Aug., p 33 Wiz Glaze: 08-10!, The, Rowan, Nov., p 34 Irony of Soft Paste,Forrest, The, Nov., p 84 Handbuilding Potters, Zombies and Others,Davis, Sept., p 35 Architectural Clay Studio, An, King, Dec., p 30 Studio Pottery: Finding a Balance, Mar.,Aerm, Boy den, Bringle, Frasca, Glick, Bad Manners, Lysohir, Dec., p 48 Johnston, Lind, Piker and Shaner, p 28 Earthenware of Java,Gearheart, May, p 23 Studio Rat,Sweet, Oct., p 19 Making of a Celadon Bowl, June/July/Aug., p 54 Summer Workshop,Soubriquet, Sept., p 23 Roger Honey,Shays, May, p 29 Taking Care of Reality,Krakowski, Nov., p 21 Translucent Tile Porcelain,Zakin, Jan., p 32 Tolerance and Intolerance,Todd , Jan., p 25 Wood-Firing Mysticism,Soubriquet , Feb., p 19 History Another Chinese Clay Army Unearthed,Feng, June/July/Aug., p 32 Decoration Arequipa Pottery,Downey, Mar., p 32 Carole Aoki, Feb., p 47 Irony of Soft Paste,Forrest, The, Nov., p 84 Copper Matt Finish, The,Potter, Apr., p 46 Long Island Pottery, Nov., p 29 Dan Gunderson’s Airbrushed Spheres, Apr., p 42 Making of a Celadon Bowl, June/July/Aug., p 54 David Taylor,Brunner, Sept., p 52 Silla, Schumacher, Jan., p 27 Talavera Poblana,Lackey, Feb., p 39 Talavera Poblana,Lackey, Feb., p 39 View from Norway,Ase, A, May, p 41 Miscellaneous Departments Ohio Fairs, Apr., p 48 Consult the Contents page of each issue for the following departmental features: Potters Making Prints,Sperry, May, p 38 Classified Advertising Washington Craft Show, Sept., p 43 Comment Film & Video: Jan., p 15; Apr., p 81; Dec., p 77 Portfolios Itinerary Cowan Pottery,Barbero, Oct., p 45 Letters to the Editor Frans Wildenhain, Levin, Feb., p 23 New Books: Jan., p 75; Apr., p 85; May, p 77; June/July/Aug., p 107; Sept., Incisive Clay,Boy den, Nov., p 39 p 89; Oct., p 87; Nov., p 59; Dec., p 75 Jens Morrison,Levin, Jan., p 35 News & Retrospect Marilyn Levine,Levin, Mar., p 41 Questions Answered by the CM Technical Staff Yusuke Aida, Hunt and Kajitani, June/July/Aug., p 55 Suggestions from our Readers Potters and Pottery Summer Workshops: Apr., p 29 Allan Winkler, Ziegesar, Nov., p 32 Technical: Jan., p 76; Sept., p 58; Dec., p 69 Architectural Clay Studio, An, King, Dec., p 30 Where to Show Bad Manners, Lysohir, Dec., p 48 Exhibitions, International Works Breaking Old Patterns, Ford, Sept., p 50 Art in Saskatchewan, McNeil, May, p 47 David Taylor,Brunner, Sept., p 52 Britain’s New Domestic Pottery, June/July/Aug., p 63 Carole Aoki, Feb., p 47 British Potter’s Festival, A,Lane, Oct., p 36 Chilean Stoneware,Rojo, Oct., p 29 Canadian Fireworks, Apr., p 22 Copper Matt Finish, The,Potter, Apr., p 46 Ceramics: Finland, Oct., p 42 Dan Gunderson’s Airbrushed Spheres, Apr., p 42 Contemporary British Teapots, May, p 49 Douglas Phillips,Riggle, June/July/Aug., p 39 Dutch Tiles, Jan., p 30 Earthenware of Java,Gearheart May, p 23 Faenza Prizewinners ’85, Dec., p 44 Finland’s Arabia, Bernard, Mar., p 47 Judy Trim, Dec., p 38 Geoffrey Pagen, Oct., p 40 Making of a Celadon Bowl, June/July/Aug., p 54 Jeff Andrews, Williams, Apr., p 44 Richard Batterham, Jan., p 33 Mangum Pottery of Turkey Knob,Watson, June/July/Aug., p 43 Small Works International, May, p 21 Morihiro Wada,Matsubara, Oct., p 51 Spain’s Joan Cots, Jan., p 49 New Zealand Impressions, Part I,Glick, Apr., p 36 Terry Moores, Nov., p 38 New Zealand Impressions, Part II,Glick, May p 32 Welsh Exhibition, Jan., p 41 Roger Honey,Shays, May, p 29 Sally Bowen Prange, May, p 46 Exhibitions, United States Sandy Simon: Eccentric Porcelain, Singh, Nov., p 49 Allan Winkler, Ziegesar, Nov., p 32 Silla, Schumacher, Jan., p 27 American Coffee Cups,Nordin, Mar., p 38 Studio Pottery: Finding a Balance, Mar.,Aerni, Boyden, Bringle, Frasca, Glick, Art for Eating, Sept., p 34 Johnston, Lind, Piker and Shaner, p 28 Brook Le Van, Jan., p 48 Talavera Poblana,Lackey, Feb., p 39 Carole Aoki, Feb., p 47 Taylormade Pottery,South, Nov., p 36 Clay for Walls, Feb., p 46 Wood Firing in America, Sept., p 37 Earthenware Revisited, Sept., p 48 Yoshiro Ajiki,Hunt, Feb., p 31 Geoffrey Pagen, Oct., p 40 James Stephenson, Nov., p 52 Potter’s Wheel Jeff Andrews, Williams, Apr., p 44 Douglas Phillips,Riggle, June/July/Aug., p 39 Jere Lykins, Feb., p 36 Earthenware of Java,Gearheart, May, p 23 Jim Melchert, Hunt, Jan., p 44 Jiggering, Carroll, Oct., p 32 Kabuki Clay,Zider, Mar., p 36 Silla, Schumacher, Jan., p 27 Kentucky Clay, Dec., p 37 Studio, Tools and Equipment Long Island Pottery, Nov., p 29 Anagama! Chaleff and Olsen, Mar., p 53 Mary Heilmann, Mar., p 52 B.O.R. Kiln, The, Baker, Sept., p 32 May Show, The, Nov., p 24 Gable-Arched Wood Kiln, A,Schuld, Oct., p 22 Michael and Lorna Zametkin, Feb., p 22 Jiggering, Carroll, Oct., p 32 Michigan Ceramics, June/July/Aug., p 72 Mangum Pottery of Turkey Knob,Watson , June/July/Aug., p 43 Minnesota Contrasts: Kendall and Kerrigan, June/July/Aug., p 50 Studio Management, Part 1,Cantrell, June/July/Aug., p 67 More Clay at Castelli, Apr., p 53 Studio Management, Part 2,Cantrell, Sept., p 27 New England Regional, June/July/Aug., p 47 What Size Burners? How Much Gas?Schmitz, Jan., p 76 December 1985 79 News & Retrospect Continued from Page 76 sigillata, burnished with a metal spoon, dec­ orated with stained slips and each image bur­ nished separately, bisqued, glazed on the in­ side, fired, then waxed on the outside with ordinary clear shoe polish. Inspiration comes “from many sources past and present—from early Chinese, Egyptian, Roman and Pueblo Indian pots to animal markings, water, clouds, stars, songs and po­ etry.”Photo: Tim Hill. Ginny and Tom Marsh Recent works by Borden, Indiana, potters Ginny and Tom Marsh were on display at the Canton Art Institute in Canton, Ohio, through November 3. Among the objects

13-inch-diameter “Nascent Form” shown was this spherical vase, 13 inches in diameter, stoneware, thrown and expanded from the inside to form a stretched surface texture, brushed with white slip.

80 CERAMICS MONTHLY