2 Ceramics Monthly Ceramics Monthly Volume 30, Number 5 May 1982

Features A Conversation with Ray Finch by Kathleen Wilson Mechali ...... 30 Danish Ceramic Design...... 36 Glen Lukens by Elaine Levin...... 40 Walter Dexter by Christine Wardenburg.... 45 The Martin Brothers by Jim Te Krony...... 50 American Earthenware ...... 58 Decorative Abstractions ...... 60 Jepson Exhibition by Tom Shafer ...... 62 Albany Slip Clay in Oxidation Firing by Richard Zakin ...... 65

Departments Letters to the Editor ...... 7 Where to Show ...... 15 Answers to Questions ...... 21 Itinerary...... 23 Suggestions ...... 27 Comment: Image versus Object by Lucy Breslin...... 29 News & Retrospect ...... 74 New Books ...... 95 Index to Advertisers ...... 96

Cover Salt-glazed stoneware “Wallybird” covered jar, 25 inches in height, by Robert Wallace Martin, London, 1882. Wallace and his three brothers produced decorative one-of-a-kind objects in an era when most potters’ ware was either strictly utilitarian or oriented toward mass production. Besides Victorian trends of the day, much of the Martin brothers’ inspiration derived from Gothic revival fantasies and Dickens novels: the Wally- birds became most renowned of their work. Did the funk movement really begin in turn-of-the- century England? To learn more about these salt- glaze potters, turn to Jim Te Krony’s article beginning on page 50. May 1982 3 4 Ceramics Monthly Ceramics Monthly Magazine

William C. Hunt...... Editor Barbara Tipton ...... Associate Editor Robert L. Creager ...... Art Director Ruth C. Butler...... Copy Editor Mary Rushley...... Circulation Manager Connie Belcher ...... Advertising Manager Spencer L. Davis ...... Publisher

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Ceramics Monthly (ISSN 009-0328) is published monthly except July and August by Professional Pub­ lications, Inc. — S.L. Davis, Pres.; P.S. Emery, Sec.: 1609 Northwest Blvd., Columbus, Ohio 43212. Subscription Rates: One year $14, two years $26, three years $35. Add $3 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks ad­ vance 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 sepa­ rations, color transparencies (including 35mm slides), graphic illustrations and news releases dealing with ceramic art are welcome and will be considered for publication. A booklet describing procedures for the preparation and submission of a manuscript is avail­ able upon request. Send manuscripts and correspon­ dence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing:Articles in each issue of Ceramics Monthly are indexed in Art Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature arti­ cles, Suggestions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s articles are indexed in the December issue. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic reprints are avail­ able to subscribers from University Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Copies in microfiche are also available from Bell & Howell, Mi­ cro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. Back Issues: Back issues, when available, are $3.00 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Copyright © 1982 Professional Publications, Inc. All rights reserved May 1982 5

Letters More on Apprenticeships then stop to do hand exercises using the I agree with and applaud P. Johns’s opposite muscles to those used in throw­ letter in the March issue that CM ad­ ing. Such simple measures conceivably dress the matter of apprenticeship. Youth prevent months, even years of discomfort. unemployment and the cost of education Joyce Sebert are racing each other toward appalling San Jose, Calif. altitudes. While the propriety of the gov­ ernment’s apparent disinclination to invest I am sorry that the reader with carpal in education can be argued either way, tunnel syndrome missed my letter in the the fact remains that the federal help April 1980 issue. Persistent pain, sensory young people once had can no longer be changes, inflammation, stiffness and loss counted on. So I think it incumbent on of strength are not normal at any age. In potters—all craftspersons, for that matter fact, they may indicate a serious joint or —who have managed to establish them­ neurological problem. The joints of the selves, however precariously, in this strange hand and wrist are small and not meant profession, to dowhat they can to ease to take heavy resistance. Potters who want the growing pains of young people who to prolong their careers would do well to are trying to find the handle on the clay. remember a few common-sense rules: More than that, I am dismayed at the Avoid overwork. Alternate work and rest, possibility that I myself have become a light and heavy tasks. Use tools to reduce potter whose knowledge, lean and spotty physical effort, especially when tackling a though it may be, is inaccessible to some large project. If it hurts, rest. Know your young person simply because we have no limits and stop when you reach them. common form in which to communicate. Rest, warmth and aspirin are the best James Dunn remedies for occasional pain. See a doctor Belews Creek, N.C. if discomfort lasts more than a few days. And while you are taking care of your Carpal Tunnel Syndrome hands, don’t neglect your skin. Chapped, In response to the letter about carpal cracked hands are not only uncomfortable, tunnel syndrome in the February issue, I they are more susceptible to infection. Try hope to offer a safer and more conserva­ an industrial skin cream with paraffin to tive approach. I have worked with many protect your hands when throwing. If your patients both before and after surgery of hands are already chapped, wear surgical the wrist with the diagnosis of carpal gloves until they improve. Use a moisturiz­ tunnel syndrome. This problem can be the ing agent on your skin after washing up. result of nerve pressure in the wrist or You can also use lotion instead of water the neck. Through manipulation of the to clean your hands. Finally, to toughen wrist or chiropractic adjustments of the up your hands for working with groggy neck, this pressure can be eliminated and clay, wipe your palms with rubbing alco­ surgery avoided. If this natural approach hol several times a day. fails you always have the surgery as a last Laura Fidel, O.T.R. resort. Unionville, Ohio Louis H. Vastola Manchester Family Chiropractic Center February Cover Manchester, Vt. As the wife of a potter and having worked with him for the past 14 years, I Having been awakened several times have gained enough knowledge to appre­ nightly with my right arm asleep, I con­ ciate the beauty of the colors of the pot sulted a hand specialist. His solution was on the February cover. However, having cheap and highly successful. He recom­ recently gone back to my original profes­ mended that I sleep with a “Futuro” sion of nursing, I could not help but make brand wrist brace (intended for sprained a curious comparison. The photograph of wrists). It has Velcro straps and a metal that isolated “organic” pot appeared re­ plate that extends into the middle of my markably like a rotten organ recently hand. The condition is dramatically im­ removed from someone’s poor body. proved. I sometimes wonder if the attempts to Bettie Ann Everet take warm, earthy pottery and present it Baltimore Md. as esoteric art doesn’t do it an injustice. How much more beautiful that pot would Ironically the letter to the editor re­ have appeared with some other texture garding carpal tunnel syndrome appeared around it to give it reality. too late for me. Six weeks previously I I must add, though, the other photo­ had been operated on for the same con­ graphs by Glenn Rand were very pleasing dition and I, too, have lost strength in my and his article most interesting. thumb, as well as months of potting. I Nancy Knudstrup would like to see an article by a physical Elora, Ont. therapist that would advise potters how to minimize strain on their hands. It is not Next: Clay on Wheels only flection of the wrist but extension After noticing an article in the March that contributes to the condition. I have 1982 Popular Science magazine on “The been advised to throw for an hour and Continued May 1982 7 8 Ceramics Monthly but the vertical side only 6 units, yields a degree of accuracy and urethaned for con­ Letters hypotenuse of 11.66. If you shrink or re­ venient studio use. Coming Age of Ceramic Engines” (page duce 11.66 by 14.3%, you get a 10.00 Russell Hall 64), I thought readers might be interested. fired length. Union, N.H. It’s great to know ceramics may be used The angles of this triangle are about in other fields, and so potters should keep 31° and 59°. The height of the vertical More on Craft Burnout on spinning, as who knows—our future side and its opposite angle for various I must say that I got quite a chuckle transportation will be from their efforts shrinkage rates is included in the follow­ out of the February Comment, and hope also. ing table to assist with the construction of R. Clayton Baker does grace us with an­ Charlotte Glavin other witty observation in the near future. Sangus, Calif. He may become the Andy Rooney of the Earthwork X ceramic world (or is it pottery world, or In the article on the Omaha Brickworks indeed, art-clay world? I never can decide in the March 1982 issue, a photo of my which terminology is proper etiquette). earthwork was captioned “burial chamber” Well, if it’s any consolation, even equip­ (page 90). This is incorrect. The correct ment manufacturers sing the old craft title is “Earthwork X.” The concept of burnout blues. the piece involved building it to human Jim Bailey scale and letting nature reclaim it. It was Kingston, N.Y. not intended as a chamber or for burial. Robert Harrison Craft Fairs Forever? Spokane, Wash. Ultimately, most of us have one thing in common: confrontation in and with an ever-widening, and hopefully, selective New Shrinkage Rule marketplace. In a 1982 economy there The shrinkage rule in the March Sug­ could not possibly be room for all of us. gestions column is actually formulated for Quality of work and commitment to a shrinkage rate of 29.3%. (The hypote­ craft notwithstanding, what are some of nuse of an equal-legged right triangle the creative marketing techniques cur­ equals 1.414 times the length of the side. rently being employed by the “successfuls” If 14.14 shrinks to 10 you get among us? Have they changed? Can we =0.293x 100 = 29.3%.) ignore the evolution of buying trends and 14.14 other shrinkage rules. Hypotenuse divi­ burgeoning mail-order businesses? Will Reconstructing the right triangle with sions can be transferred to some type of most of us be destined for the scramble of the horizontal side 10 units (as before), stick [like a yardstick] with the required Continued

May 1982 9 10 Ceramics Monthly him, I have admired his work and have lected one of the great artists of our Letters been using his clay recipe for some time. times. Few people are aware of the enor­ sidewalk shows and festivals forever? Can This particular clay body tends to be quite mous amount of work she puts out in a we hear more from those who have made odiferous, prompting my husband to re­ year. Richard DeVore’s work is trite and a difference, have taken risks, and have mark “you may not know Harlan House, simplistic compared to the 20 murals, continued to prosper in spite of the ob­ but you certainly smell like him.” bowls, garden sculpture, sawdust fire and stacles all of us must deal with? Rosalynn Reitsma studio she designed and built in one year. Henry Small Jenison, Mich. In a Chicago Tribune reviewer’s words Miami (if I may) : “sculpture of the highest Nothing Personal order.” And CM shows only some of her Diggings as Art The sculptural forms on the cover of the older pieces. She is a true innovator of In response to Patricia King’s letter December issue, in plain English, are this medium and CM applauds the likes (January) I stand in defense of George gross. I realize Judy Moonelis is into dif­ of DeVore. Geyer and Tom McMillin. If she can’t ferent kinds of images. I’m not comment­ Elaine O'Sullivan open her mind to new ideas on process ing personally about Judy’s work, it’s just Berkeley and product, perhaps she has wasted six such a disappointment to see such ugly years in being a potter. Maybe we should displays on the cover of Ceramics Monthly. How about more artists’ views, less all look to the “diggings in (our) gardens” high-brow articles? for art. Hasn’t Marcel Duchamp taught us Let’s see some “art” on the cover. Bertha L. Page anything? J. Cohen Picayune, Miss. Scot Jaffe Jericho, N.Y. Taipei, Taiwan I would like more examples of the use Harlan House Subscribers’ Comments of electronics in kiln control, especially Congratulations on the portfolio “Stu­ The articles on current exhibitions are computer-programmed firing cycles. With dio Porcelain” by Harlan House in the always about the same people who collect the advent of cheap sensors from the elec­ December 1981 issue. I’ve known for a their paycheck before they try to sell a pot. tronics industry, this should be a major long time that there must be some excel­ Forget the junk of universities. Why pro­ growth area. lent potters in [North] America but Ce­ mote this? Let’s have more articles on M. Sansom ramics Monthly hasn’t shown very many technique and professional potters (not Noville, Belgium of them. teachers). Del Paton Pamela Black Share your thoughts with other readers. Kelmscott, Western Australia South Harwich, Mass. All letters must be signed, but names will be withheld on request. Address: The I was thrilled to see the article on After three years as an assistant to Ruth Editor, Ceramics Monthly, Box 12448, Harlan House. Though I have never met Duckworth, I feel CM has grossly neg­ Columbus, Ohio 43212.

May 1982 11

14 Ceramics Monthly Where to Show exhibitions, fairs, festivals and sales Send, announcements of juried exhibitions, September 11 entry deadline Exhibition” (September 14—October 2) fairs, festivals and sales at least four Marietta, Ohio “Marietta College Crafts is open to ceramists residing in Minnesota, months before the entry deadline to The National ’82” (October 30—November Wisconsin, Michigan, Indiana, Illinois, 28) is open to all U.S. craftspersons. Ohio, Pennsylvania and western New Editor, Ceramics Monthly, Box 12448, Juried from slides. $5500 in prizes and York, including Syracuse. $20,000 in Columbus, Ohio 43212; or phone (614) awards. Fee: $15 for 3 entries. For further awards. Juried from slides. Fee: $10 for 488-8236. information write: Arthur Howard Winer, up to 2 entries. Commission: 15%. Send MCCN ’82, Marietta College, Marietta a self-addressed, stamped envelope to: 45750, or call: (614) 373-4643, ext. 275. Great Lakes Regional Art Exhibition, Val­ ley Art Center, 155 Bell Street, Chagrin October 1 entry deadline Falls 44022, or call: (216) 247-7019. International Exhibitions Erie, Pennsylvania “Clay National” (Feb­ May 14 entry deadline ruary 3—March 13, 1983) is open to all. August 6 entry deadline Auckland, New Zealand “The Fletcher Juried from slides by Tony Hepburn and Little Rock, Arkansas “25th Annual Delta Brownbuilt Pottery Award 1982” (June Marilyn Levine. $5000 in awards. Entry Art Exhibition” (November 24—January 6—20) is open to all potters. Juried from fee: $5 each, up to 3 entries. For further 2, 1983), an exhibition of painting and works; one entry per person. Purchase information contact: Clay National, Erie sculpture including ceramics, is open to award: NZ$3000 (approximately $2600). Art Center, 338 West Sixth Street, Erie artists born or residing in Arkansas, Lou­ 20% commission. Contact: The Competi­ 16507, or call: (814) 459-5477. isiana, Mississippi, Missouri, Oklahoma, tion Organizer, Fletcher Brownbuilt, Pri­ Tennessee and Texas. Juried from slides vate Bag, Auckland. of up to 2 works. Awards. Fee: $7.50. Contact: Townsend Wolfe, Arkansas Arts Center, Box 2137, Little Rock 72203, or Regional Exhibitions call: (501) 372-4000. National Exhibitions May 7 entry deadline August 14 entry deadline Evergreen, Colorado “Summer in the Gatlinburg, Tennessee “Spotlight ’82: May 7 entry deadline Rockies Fine Arts Exhibition” (June 18— Southeast Crafts” (October 6—November Houston, Texas “What’s New in Clay” July 16) is open to all artists and crafts­ 20) is open to artists 18 or older living in (June 19—July 10) is open to all U.S. persons in Colorado, Wyoming, New Mex­ Alabama, Florida, Georgia, Kentucky, residents. Cash awards. Juried from slides. ico, Kansas and Utah. Juried from slides Louisiana, Mississippi, North Carolina, Entry fee: $15. For further information and photos. Awards. For further informa­ South Carolina, Tennessee, Virginia and contact: University of Houston, Fine Arts tion contact: Evergreen Artists’ Associa­ West Virginia. Juried from slides by Department, 4800 Calhoun, Houston tion, Box 1511, Evergreen 80439, or call: Mel Somerosky, professor of art, Kent 77004, or call: (713) 749-3828. (303) 674-0842. State University, Ohio. Entry fee: $10. May 10 entry deadline For further information write: Arrowmont New York, New York “Architectural May 15 entry deadline School, Box 567, Gatlinburg 37738, or Ceramics Exhibition—Documentation” Seattle, Washington “Northwest Regional call: (615) 436-5860. (June 13—26) is open to ceramic artists. Crafts ’82” (September 25—October 16) Juried from a maximum of 10 slides. is open to all craftspersons from Washing­ August 14 entry deadline Juror: Marylyn Dintenfass. No fees, no ton, Oregon, Alaska, Utah, Montana and Bainbridge Island, Washington “Seattle applications. Send slides, resume and self- Idaho. Awards. Juried from slides of 1 to Pottery Supply Bainbridge Arts and Crafts addressed, stamped envelope to: Maxine 3 views per work, up to 3 entries. Fee: $8. Juried Ceramic Competition” (September Feldman, Women’s Interart Center, 549 For more information contact: Allied Arts 24—October 14) is open to ceramists in West 52 Street, New York 10019, or call: of Seattle, 107 South Main Street, Seattle Alaska, Idaho, Montana, Oregon and (212) 246-1050. 98104, or call: (206) 624-0432. Washington. $500 in prizes. All accepted work will be published in the Seattle Pot­ May 20 entry deadline May 22 entry deadline tery Supply 1983 calendar. Juried from Downey, California “1982 Westwood Clay New York, New York “New York State— slides. Fee: $4 for up to 2 works. Send self- National Exhibition” (July 8—August New Clay Talent” (June 15—July 3) is addressed, stamped envelope to: Juried 22) is open to U.S. artists working with open to former and current New York Show, Bainbridge Arts and Crafts, Box pottery, ceramic sculpture or mixed-media State residents who have not exhibited 10161, Bainbridge Island 98110. forms with emphasis on clay. Juried from widely in clay. Juried from 3 slides and slides by Elaine Levin and Adrian Saxe. resume. No fee, no application forms. October 2 entry deadline For information contact: Downey Museum Send materials and self-addressed, stamped New Rochelle, New York “New Rochelle of Art, 10419 South Rives Avenue, Dow­ envelope to: James Walsh, Clayworks Art Association 68th Annual Open Juried ney 90241, or call: (213) 861-0419. Studio Workshop, 4 Great Jones Street, Exhibition” (October 2—23) is open to New York 10012. ceramists. Cash awards. Juried from works. June 14 entry deadline Fees: $10 for one entry, $15 for two. Cooperstown, New York “47th Annual June 1 entry deadline Commission: 20%. Work must be hand Art Exhibition” (July 18—August 21) is Saint Louis, Missouri “Art of the Bath” delivered. For further information contact: open to artists and craftspersons. Juried (August 1—31) is open to all artists from Inga H. Meyer, 73 Wykagyl Terrace, New from works. $7000 in awards. Fee: $10. Arkansas, Illinois, Indiana, Iowa, Kansas, Rochelle 10804, or call: (914) 235-0148, For further information contact: Olga Michigan, Minnesota, Missouri, Nebraska, or Andrew LaCombe: 235-4554. Welch, 22 Main Street, Cooperstown North Dakota, Oklahoma, South Dakota 13326, or call: (607) 547-9777. and Texas. Theme: the bath and bathing. Juried by Ruth Kohler from a maximum June 15 entry deadline of 10 slides. Cash and purchase awards. Fairs, Festivals and Sales Philadelphia, Pennsylvania A one-person 40% commission. Fee: $10. For more show (November 12—27) is open to clay information contact: Craft Alliance, 6640 May 15 entry deadline artists. Submit 5 slides and a resume. Delmar Boulevard, Saint Louis 63130, or Lafayette, Indiana “Lafayesta,” a festival Jurors: Judy Axelrod, William Daley, call: (314) 725-1177. of arts and crafts (September 4—5), is Elyse Saperstein and Jack Thompson. Con­ open to all. Juried from 4 slides. Cash tact: The Clay Studio Gallery, 49 North June 1 entry deadline awards. Fee: $30 includes an 8x10-foot Second Street, Philadelphia 19106, or call: Chagrin Falls, Ohio Valley Art Center’s space. For more information contact: Nan Dina Levy (215) 925-3452. “First Annual Great Lakes Regional Art Continued May 1982 15 16C eramics Monthly 1001 East Clay Street, Richmond 23219, Where to Show or call: (804) 649-0674. Schwetman, Lafayette Art Center, 101 South Ninth Street, Lafayette 47901, or June 5 entry deadline call: (317) 742-1128. Bloomington, Indiana “The Fourth Street Art and Craft Fair” (September 4—5) is May 15 entry deadline open to all media. Juried from 4 slides. Syracuse, New York “The 12th Annual Fee: $35 includes an 8xl0-foot space. Downtown Syracuse Arts and Crafts Fair” Contact: Fourth Street Art and Craft (July 15—17) is open to all artists and Fair, Box 1257, Bloomington 47402, or craftspersons. Cash and purchase awards. call: (812) 824-4217. Juried from 5 slides of work and display. Entry fee: $5. Booth fee: $45. Contact: June 12 entry deadline The Downtown Committee of Syracuse, La Crosse, Wisconsin “Great River Tra­ 1900 State Tower Building, Syracuse ditional Music and Crafts Festival” (Sep­ 13202, or call: (315) 422-8284. tember 4—5) is open to all craftspersons. Juried from 4 slides. $1000 in awards, May 15 entry deadline oriented to traditional-type crafts. Entry Sheboygan, Wisconsin “Twelfth Annual fee: $5. Booth fee: $25 for 2 days. Con­ Outdoor Arts Festival” (July 17—18) is tact: Pat Wiffler, Crafts Committee, Pump open to all craftspersons. Juried from 5 House, 119 King Street, La Crosse 54601, slides. $1200 award and purchase prizes. or call: (608) 788-7787. Fee: $25. No space fee. For further infor­ mation contact: John Michael Kohler Arts June 18 entry deadline Center, 608 New York Avenue, Box 489, Manteo, North Carolina “New World Sheboygan 53081, or call: (414) 458-6144. Festival of the Arts” (August 20—21) is open to all media. Juried from 3 slides. May 19 entry deadline Fee: $50 includes a lOxlO-foot space. Fort Wayne, Indiana “Three Rivers Fes­ Purchase awards. For more information tival” (July 10—11) is open to residents contact: New World Festival of the Arts, of the U.S.A., Canada and Mexico. Juried Box 246, Manteo 27954. from 5 slides or photographs. Fee: $20 includes a 10x10-foot area. For further June 19 entry deadline information contact: Betty Newton, 1707 Dillon, Colorado “Craft Fair 1982” (July Kensington Boulevard, Fort Wayne 46805, 17—18) is open to ceramists. Juried from or call: (219) 422-6949. 2 to 4 slides or photographs. Fee: $40 includes a 10x10-foot space. For more May 30 entry deadline information write: Lake Dillon Arts Guild, Pittsburgh, Pennsylvania “Shadyside Sum­ Box 1047, Dillon 80435. mer Arts Festival” (August 6—8) is open to ceramists. Juried from 5 slides. Han­ July 1 entry deadline dling fee: $5. Booth fee: $165 for a 6x10- Gaithersburg, Maryland 7th annual “Na­ foot space. For further information con­ tional Craft Fair” (October 15—17) is tact: Shadyside Summer Arts Festival, open to all media. Juried from 5 slides. Box 10187, Pittsburgh 15232, or call: Entry fee: $5. Booth fees: $100—$175. (412) 681-1809. No commissions. For more information June 1 entry deadline contact: National Crafts Ltd., Gapland, Mount Vernon, Illinois “Cedarhurst Craft Maryland 21736, or call: (301) 432-8438. Fair” (September 11—12) is open to all. July 1 entry deadline Juried from 3 to 5 slides. $1000 in awards. Boone, North Carolina “4th Annual High Screening fee: $3. Booth fee: $100 for a Country Art and Craft Show” (July 16— 10x15-foot space. Contact: Pat Doscher, 18) is open to all craftspersons. Juried 10 Hawthorne Hills, Mount Vernon 62864, from 3 slides or photos. Fee: $60 includes or call: (618) 242-1236. an 8x10-foot booth. Contact: Virginia June 1 entry deadline Smith, High Country Crafters, 29 Hay­ Highlands, North Carolina “6th Annual wood Street, Asheville, North Carolina High Country Art and Craft Show” (July 28801, or call: (704) 254-0070. 2—4) is open to all artists and craftsper­ July 1 entry deadline sons. Juried from 3 slides or photos. Fee: Cincinnati, Ohio “Cincinnati Crafts Af­ $55 includes a 10x12-foot space. Contact: fair” (November 19—21) is open to crafts­ Virginia Smith, High Country Crafters, 29 persons. Juried from 4 slides. Entry fee: Haywood Street, Asheville, North Carolina $5. Booth fee: $115 for a 10x8-foot space. 28801, or call: (704) 254-0070. Send self-addressed stamped envelope to: June 1 entry deadline Ohio Designer Craftsmen, 1981 Riverside Greensburg, Pennsylvania “Westmoreland Drive, Columbus, Ohio 43221, or call: Arts Heritage Festival” and “New Outdoor (614) 486-7119. Sculpture Competition” (July 3—5) are July 1 entry deadline open to all. Awards. Each event juried Columbus, Ohio “Winterfair” (December from 4 slides. Fee: $4 each. For further 2—5) is open to all media. Juried from 4 information contact: Olga Gera, West­ slides. Entrance fee: $5. Booth fee: $115 moreland County Roads and Bridge Build­ for a 10x10-foot space. Send self-addressed ing, Route 8, Donohoe Road, Greensburg stamped envelope to: Ohio Designer 15601, or call: (412) 836-1703. Craftsmen, 1981 Riverside Drive, Colum­ June 1 entry deadline bus 43221, or call: (614) 486-7119. Richmond, Virginia “7th Annual Rich­ mond Craft Fair” (November 12—14) is July 1 entry deadline open to all craftspersons. Juried from 5 Medina, Ohio “Winterfair—Northern slides. $4000 in awards. Entry fee: $5. Ohio” (December 17—19) is open to all Booth fee: $120 for an 8x10-foot space. media. Juried from 4 slides. Entry fee: $5. Contact: Jan Detter, Hand Work Shop, Continued May 1982 17 18 Ceramics Monthly 325 Forrest Valley Drive, Nashville 37209, Where to Show or call: (615) 356-5136. Booth fee: $115. Send a self-addressed stamped envelope to: Ohio Designer August 15 entry deadline Craftsmen, 1981 Riverside Drive, Colum­ Madison, Indiana “The 13th Annual bus, Ohio 43221, or call: (614) 486-7119. Chautauqua of the Arts” (September 25—26) is open to all media. Juried from July 1 entry deadline 4 slides, including 1 of booth. Awards and Milwaukee, Wisconsin “Craft Fair U.S.A.” ribbons. Entry fee: $30. For more infor­ (July 24—25) is open to all artists 18 mation contact: Dixie McDonough, Green years or older. Juried from 5 slides or Hills Pottery, 1119 West Main, Madison photographs. Fee: $65 includes a 10x10- 47250. foot space. For further information con­ tact: Dennis R. Hill, 3233 South Villa August 15 entry deadline Circle, West Allis, Wisconsin, or call: Cashiers, North Carolina “2nd Annual (414) 321-4566. High Country Art and Craft Show” (Sep­ tember 3—5) is open to all media. Juried July 10 entry deadline from 3 slides or photos. Fee: $55 for a McHenry, Illinois “Art in the Park” 10x12-foot booth. For more information (July 31) is open to all. Juried from 3 contact: Virginia Smith, High Country slides or photographs. Entry fee: $25 in­ Crafters, 29 Haywood Street, Asheville, cludes a 10x10-foot space. Cash awards. North Carolina 28801, or call: (704) For more information contact: Debra 254-0070. Gust, 2911 Rosedale Road, McHenry September 1 entry deadline 60050, or call: (815) 385-1163. Ormond Beach, Florida “Twentieth An- ual Halifax Art Festival” (November 6— July 15 entry deadline 7) is open to ceramists. Juried from 3 Highlands, North Carolina “7th Annual slides. $7500 in awards. Fee: $45. For High Country Art and Craft Show” (Au­ more information contact: Halifax Art gust 6—8) is open to all media. Juried Festival, Box 504, Ormond Beach 32074, from 3 slides or photos. Fee: $55 includes or call: (904) 672-6258. a 10x12-foot booth. For information con­ tact: Virginia Smith, High Country Craft- September 1 entry deadline ers, 29 Haywood Street, Asheville, North Virginia Beach, Virginia “Atlantic De­ Carolina 28801, or call: (704) 254-0070. signer Crafts Exhibition” (November 26— 28) is open to all craftspersons. Juried July 15 entry deadline from 4 slides. Cash awards. Entry fee: $5. Nags Head, North Carolina “8th Annual Booth fee: $80 for a 10x10-foot space. Compass Rose Art and Craft Fair” (Au­ For more information contact: Atlantic gust 5—6) is open to all. Juried from 6 Designer Crafts, Box 100-60, Virginia slides. Fee: $60 for a 6x6-foot space. For Beach 23451, or call: (804) 422-3268. further information contact: Jan Mann, September 8 entry deadline Route 1, Box 195-A, Goodwin, North Pittsburgh, Pennsylvania “Pittsburgh Art Carolina 28344, or call: (919) 567-2978. and Crafts Exposition” (November 26— 28) is open to ceramists. Juried from 5 July 15 entry deadline slides. Entry fee: $5. Booth fee: $125 for Pittsburgh, Pennsylvania “A Fair in the a 10x10-foot space. For further informa­ Park” (September 10—12) is open to all tion contact: Neil or Scott Rubinstein, artists in the U.S. Juried by members of Quail Hollow Events, Pittsburgh Art and the Craftsmen’s Guild of Pittsburgh from Crafts Exposition, Box 437B, Woodstock, 5 slides. No jury fee or commissions. Booth New York 12498, or call: (914) 679-8087. fee: $60 for a 10x8-foot space. For more information contact: Mark Powder, Box September 14 entry deadline 10128, Pittsburgh 15232, or call: (412) Moorestown, New Jersey “Perkins Cen­ 363-0569. ter for the Arts Fourth Annual Craft Show and Sale” (December 1—5) is open August 1 entry deadline to all craftspersons. Juried from 5 slides Asheville, North Carolina “High Country or works. Fee: $5. Commission on sales: Summerfest Art and Craft Show” (August 25%. For further information contact: 19—21) is open to all media. Juried by 3 Craft Show, 741 Stanwick Road, Moores­ slides or photos. Fee: $85 for a 10x12-foot town 08057, or call: (609) 235-6488. booth. For more information contact: October 1 entry deadline Betty Kdan, 40 Hyannus Drive, Asheville Highlands, North Carolina “2nd Annual 28804, or call: (704) 253-6893. High Country Art and Craft Show” (Oc­ tober 15—17) is open to all craftspersons. August 1 entry deadline Juried from 3 slides or photos. Fee: $55 Milwaukee, Wisconsin “Craft Fair U.S.A.” includes a 10x12-foot booth. For more (September 25—26) is open to all artists information contact: Virginia Smith, High 18 years or older. Fee: $65 includes a County Crafters, 29 Haywood Street, 10x10-foot space. For further information Asheville, North Carolina 28801, or call: contact: Dennis R. Hill, 3233 South Villa (704) 254-0070. Circle, West Allis, Wisconsin 53227, or call: (414) 321-4566. October 1 entry deadline Milwaukee, Wisconsin “Art Fair U.S.A.” August 10 entry deadline (November 6—7) is open to all artists. Nashville, Tennessee “Fifth Annual Ten­ Juried from 5 slides or photographs and nessee Fall Crafts Fair” (October 29— a resume. Fee: $65 includes a 10x10-foot 31) is open to craftspersons. Juried from space. For more information write: Dennis 5 slides including booth view. Entrance R. Hill, 3233 South Villa Circle, West fee: $5. Booth fees: $100—$155. For Allis, Wisconsin 53227, or call: (414) further information contact: Judi Lederer, 321-4566. May 1982 19 20 Ceramics Monthly Questions Answered by the CM Technical Staff We have been firing at Cone 01 in an electric kiln, pro­ ducing glazed redware, and lately, because of a change in frit, have felt the need to raise firing temperature in order to make our glazes flow a little more. But even after an increase of two cones, I am amazed that there is no difference in the appearance of the fired ware. Can you suggest a solution to making these glazes more fluid?—J.O. Using small cones in a relatively fast-firing electric kiln, there are only 2 degrees difference between Cone 01 and Cone 2 at a 540°F rate of temperature increase per hour. There is in fact no difference at this rate between small Cones 1 and 2! Thus, even though the cone numbers sound like an extraordinary rise, changing from Cone 01 to Cone 2 is an insignificant in­ crease. Try firing at Cone 3 or 4 to obtain the results you seek. After using a set of dinnerware for more than a year, I noticed that the stoneware glaze surface appears to be deteri­ orating on plates which were used more often and repeatedly washed in the dishwasher. Is it possible that the dishwasher detergent can attack the glaze, causing this pitting? Is there some way to test if this is the case? Are there any types of glazes resistant to this defect? —P.G. Dishwasher detergents, because of their high alkalinity, may attack ceramic glaze when it is improperly formulated: that is, the glass produced is not particularly durable or is slightly soluble. Glazes containing large amounts of boron or low alumina and silica are particularly suspect. A traditional test in industry is to weigh a completely dry piece of the ware, then boil it for six hours in a 3% solution of sodium phosphate or sodium car­ bonate, thereafter completely drying the plate and reweighing it on a sensitive scale to determine if any material has been lost in the interim. It is important that the plate be completely dried before each weighing by heating sufficiently to drive off all moisture held in pores of the ware. Because reactions with sodium phosphate or carbonate may deposit products of reaction in the glaze pores (masking weight loss of the glaze itself), this test is a general one and not entirely foolproof. Commercial laboratory testing can be more definitive, where necessary. (See “Frit Formulas” in the May 1978 CM for lab addresses; contact your local health department or state industrial safety depart­ ment for information on testing ware.) Recipes containing lithium materials and zirconium oxide tend to resist detergent attack, demonstrating greater durability than those without these compounds. While glaze composition is one factor in the deterioration of glaze surface through detergent attack, the composition of the detergent itself may vary in corrosiveness to glaze. I am searching for an almost white clay body for use in high- fire salt glazing. Will you recommend one? —G.O. The following body recipe should meet your requirements, is good for throwing and handbuilding, and will be very light when salt glazed, even if reduced. OFF-WHITE SALT-GLAZE BODY (Cone 9, oxidation or reduction) Kona F-4 Feldspar ...... 15 parts Ball Clay (C&C)...... 20 Cedar Heights Bonding Clay ...... 20 Cedar Heights Fireclay ...... 25 Flint ...... 10 90 parts Add: Porcelain Grog (Molochite) ...... 10 parts This recipe is especially good with oxide washes for color: mix oxides with a little flint and a pinch of salt to encourage glassi­ ness over the decoration. Subscribers’ inquiries are welcome and those of general interest will be answered in this column. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. May 1982 21 22 Ceramics Monthly Itinerary events, exhibitions, fairs, festivals, sales and workshops to attend Send, announcements of events, exhibitions, Layton, New Jersey 07851, or call (201) Cooper/Lynn Gallery, 54 Seventh Ave. S. workshops, or juried fairs, festivals and 948-5200, or 948-5207. through May 1 An exhibition of clay sales at least seven weeks before the vessels by Paul Soldner. May 4—June 5 Large scale vessel-oriented month of opening to The Editor, Ceramics sculpture by Kris Cox; both at the Ele­ Monthly, Box 12448, Columbus, Ohio Solo Exhibitions ments Gallery, 766 Madison Avenue. 43212; or phone (614) 488-8236. through May 9 New work by Rene Mur­ California, Fresno through May 7 Hand- ray; at Atlantic Gallery, 458 W. Broadway. blown glass and clay forms and functional through May 15 Recent ceramic sculpture pottery by Larry Anderson; at Central by Cliff Mendelson; at Greenwich House Events Federal Savings Gallery, West Shaw at Gallery, 16 Jones Street. Forkner. May 6—22 “A Porcelain Show” by California, Oakland August 6—15 “The through May 21 Ceramic forms by Karen Henry Cavanagh; at Incorporated Gal­ Twelfth International Sculpture Confer­ Atkinson; at Central Federal Savings Gal­ lery, 1200 Madison Avenue. ence,” a biennial event, will include work­ lery, 1930 East Shields across from Man­ May 12—29 An exhibition of works by shops, exhibitions, seminars, lectures, films, chester Shopping Center. John Gill; at the Hadler/Rodriguez Gal­ public demonstrations, a trade show of leries, 38 East 57 Street. materials and publications, plus site instal­ California, Fullerton through May 20 lations of indoor and outdoor sculpture by- “Figures,” an exhibition of ceramic sculp­ New York, Williamsville through May 5 invited artists. Participant institutions in­ tures by Viola Frey; at the California “Wood-fired Porcelain” by Linda Dixon clude the San Francisco Museum of Mod­ State University Fullerton Art Gallery. Kitchen; at Point of View, American ern Art, the Fine Arts Museums of San Crafts, 5409 Main. Francisco, the San Francisco Art Institute California, Los Angeles through May 4 A and Pro Arts of Oakland. The Oakland retrospective view of the work of Michael Pennsylvania, Philadelphia through May Museum, primary host institution, is also and Magdalena Frimkess. 21 “Recent Works” by Kathie Regan; at organizing an exhibition of California May 6—June 1 An exhibition of lidded the Clay Studio, 49 North Second Street. sculpture from the past 100 years. For vessels and bowls by Jerry Rothman; both May 12—June 5 New work by Jill Mono- further information contact: Mary Anne at Garth Clark Gallery, 5820 Wilshire vitz; at Nexus Gallery, 2017 Chancellor St. Pryor, International Sculpture Confer­ Boulevard. ence, 1800 Wisconsin Avenue, Northwest, California, Portola Valley May 27—June Pennsylvania, Pittsburgh through May 6 Washington, D.C. 20007; or Sylvia Brown/ 27 “Rimscapes and Rose Bowls,” current “Pebbles and Reeds,” porcelains by Bar­ Susan Ingram, 200 Green, San Francisco, works in porcelain by Nancy Franklin; at bara J. Ford; at the Clay Place, 5600 California 94111, or call: (415) 421-7137. Valley Art Gallery, 765 Portola Road. Walnut Street. Canada, Ontario, Waterloo May 28 —30 California, San Francisco through May 1 Rhode Island, Wakefield through May 22 “Fireworks 1982,” the fourth biennial con­ Porcelain sculpture by Sherry Haxton; at Ceramic wall sculpture and vessels by ference of the Ontario Potters Association, Atelier Thirty Five, 3535 Nineteenth St. Mary Ann Stella-Killilea; at Hera Coop­ at the University of Waterloo, will include through May 15 New ceramic work by erative Gallery, 560 Main Street. exhibitions, tea ceremony, lectures and a David Gilhooly. “Sources” display of ceramic suppliers, in­ May 18—June 19 Recent work by Philip stitutions and organizations. Special guest: Cornelius; both at Meyer Breier Weiss, Texas, Fort Worth through May 30 “Cir­ Tatsuzo Shimaoka. For further informa­ Building A, Fort Mason Center. cles and Towers Growing,” clay dwellings tion contact: Ontario Potters Association, by Charles Simmonds; at Fort Worth Art Hamilton Place, Box 2080, Station A, California, Santa Barbara May 27—June Museum, 1309 Montgomery Street. Hamilton, Ontario L8N 3Y7, or call: 27 “The Complete World of Coille Hoo- Texas, San Antonio May 7—June 2 Re­ (416) 523-8225. ven”; at Elizabeth Fortner Gallery, 1114 cent ceramic sculpture by Claudia Reese; State Street, Studio 9, La Arcada Court. at Objects Gallery, 4010 Broadway. Ohio, Cincinnati May 2 “Standards on Ceramic Artist’s Materials,” a meeting Colorado, Denver May 7—29 Earthen­ sponsored by ASTM Committee C-21 on ware by Sherry Loehr; at Artisan Center, Washington, Mount Vernon May 3—28 Ceramic Whitewares and Related Mate­ 2757 East Third Avenue. An exhibition of handbuilt plates by Raye rials, will focus on the development of Fore; at Skagit Valley College. standards for ceramic artists’ materials Connecticut, Chester May 7—June 5 Por­ and equipment, noting in particular health celain vessels by Lois Cassen Nadel; at Washington, Seattle through May 16 An and safety hazards in their use. Studio Artworks Gallery, 44 High Street. exhibition of ceramic figures by Marilyn potters, ceramic art schools and museums, Lysohir; at Foster/White Gallery, 311 ½ hobbyists, suppliers and others interested Illinois, Chicago through May 1 An exhi­ Occidental Avenue South. in the topic are welcome. The meeting bition of sculptural ceramic wall units by will be held at 2:00 P.M. at the Cincin­ Patricia J. McGarry; at ARC Gallery, 6 nati Convention Center, as part of the West Hubbard. 84th Annual Meeting of the American Group Exhibitions Ceramic Society. For more information Minnesota, Duluth through May 21 Pot­ contact: Richard A. Eppler, Pemco Prod­ tery by Janice Pilon; at Art Lounge, Col­ Arizona, Phoenix May 8—June 27 ucts, Mobay Chemical Corporation, 5601 lege of Saint Scholastica, 1200 Kenwood “American Porcelain: New Expressions in Eastern Avenue, Baltimore, Maryland Avenue. an Ancient Art,” a traveling exhibition of 21224, or call: (301) 633-9550; or Drew Minnesota, Minneapolis May 3—8 Stone­ work by 102 contemporary artists orga­ C. Azzara, ASTM, 1916 Race Street, ware wall forms and vessels by Geoffrey nized by the Smithsonian Institution’s Philadelphia, Pennsylvania 19103, or call: Pagen; at By Design, Lumber Exchange Renwick Gallery; at the Phoenix Art (215) 299-5579. Building, 10 South Fifth Street. Museum, 1625 North Central Avenue. Pennsylvania, Philadelphia May 1 An Missouri, St. Louis May 2—June 2 “Ex­ Arizona, Scottsdale through June 15 auction of works donated by resident and pressions in Clay,” recent works by Paul “American Porcelain: The Emergence of visiting artists of Peters Valley Craft Cen­ Soldner; at Craft Alliance, 6640 Delmar a New Vision”; at the Hand and the ter, with proceeds to benefit Peters Valley Boulevard. Spirit Gallery, 4222 North Marshall Way. facilities; at Philadelphia Art Alliance, 251 South 18 Street. For more information New York, New York through May 1 An Arizona, Tempe May 3—June 13 “Four contact: Sherrie Posternak, Peters Valley, exhibition of vessels by Val Cushing; at Continued May 1982 23 24 Ceramics Monthly Mill Gallery, 665 South Pearl Street. teapots in porcelain and stoneware, recent Itinerary work by Tom and Ginny Marsh; at Ceramic Artists,” an exhibition by David Colorado, Golden May 2—July 8 “4th Images, 1835 Hampden Court. Gilhooly, John Glick, William Hunt and Annual North American Sculpture Exhi­ Rudolph Staffel; at Matthews Center, bition”; at the Foothills Art Center, 809 Maryland, Bethesda through May 16 A Second Floor, Arizona State University. Fifteenth Street. national exhibition of multimedia totes and carryalls; at Appalachiana, 10400 Arkansas, Little Rock May 8—June 6 Connecticut, Greenwich May 25—July 3 Old Georgetown Road. “Images of Labor,” a multimedia exhibi­ A two-person exhibition including vessel tion including ceramics, based on the forms by David Bigelow and bronze and Massachusetts, Boston through May 2 American labor movement. ceramic wind bells by Paolo Soleri; at the “New England Begins: The Seventeenth May 14—June 13 “Fifteenth Annual Elements Gallery, 14 Liberty Way. Century, 1620—1700,” includes ceramics Prints, Drawings and Crafts Exhibition”; by colonial craftsmen; at the Massachu­ both at the Arkansas Arts Center, Mac- Connecticut, Guilford May 9—June 6 “A setts Museum of Fine Arts. Arthur Park. Mad Tea Party” sculpture show; at Guil­ through May 14 “Variations in Clay,” ford Handcrafts Center, Mill Gallery, recent work by nine artists; at the Boston Route 77. Visual Artists Union, 77 North Washing­ California, Brentwood May 2—30 “Por­ ton Street. celain II,” a group exhibition of works by May 1—29 A two-person exhibition in­ Louis Breskin, Molly Cowgill, Harris Del- Connecticut, New Haven through May 14 cluding cut-edge porcelains by Elsa Rady; ler, Martha Gittelman, Richard Hensley, “The Ceramic Collection,” an exhibition at Impressions Gallery, 275 Dartmouth St. John Hull, Kaete Brittin Shaw, and John of ceramic sculpture and pottery by women May 8—28 An exhibition by the British Takehara; at Marcia Rodell Gallery, artists; at the Southern Connecticut State Crafts Centre, includes ceramics by Betty 11714 San Vicente Boulevard. College, Buley Library. Blandino, Michael Casson, Nick Homoky, May 13—June 23 “Canvas of Clay,” an Glynn Hugo, David Leach, Susan Nemeth, exhibition of handbuilt, thrown or cast D.C., Washington through May 9 “Be­ Eileen Nisbet and Angela Verdon; at ceramic paintings by Jane Ford Aebersold, tween Continents/Between Seas: Pre- Westminster Gallery, 132A Newbury St. Bennett Bean, Jamie Davis, Kathy Erte- Columbian Art of Costa Rica,” an exhibi­ man, Gary McCloy, Robert Milnes and tion of objects produced from 500 B.C. to Brian O’Neill; at Del Mano Gallery, 11981 the mid-16th century A.D., includes ce­ Massachusetts, Milton through June 27 San Vicente Boulevard. ramics; at the National Gallery of Art, “Yang-Ts’ai: the Foreign Colors,” rose East Building, Fourth Street at Constitu­ porcelains of the Ch’ing Dynasty; at the California, Hayward May 20—23 “Hay­ tion Avenue. Museum of the American China Trade, ward Area Forum of the Arts Annual through May 15 A two-person show in­ 215 Adams Street. Spring Awards Exhibition 1982”; at Cen­ cluding ceramics by Winnie Owens; at tennial Hall, 22292 Foothill Boulevard. Nyangoma’s Gallery, 2335 Eighteenth St. Michigan, Birmingham May 1—29 Sculp­ Northwest. tural clay forms and wall reliefs by Kathy California, Los Angeles May 8—17 May 16—29 A two-person exhibition, in­ Dambach and Shirley White/Black; at “School of Fine Arts Annual Student cluding “The Peaceable Kingdom” ceram­ Robert L. Kidd Associates/Galleries, 107 Show”; at the University Art Galleries, ics by Solveig Cox; at Jackie Chalkley Townsend Street. University of Southern California. Gallery, 3301 New Mexico Avenue N.W. May 7—June 3 Porcelain by Curtis and May 15—July 9 “Clay ’82,” a member­ Suzan Benzie; at Carol Hooberman Gal­ ship show of the American Ceramic Soci­ lery, 155 South Bates. ety, South California Design Division; at Florida, Gainesville through May 13 the Museum of Science and Industry, “Studies in Luster and Light,” includes Michigan, Detroit through June 20 “Re­ Exposition Park. ceramic forms by Jan Jacque; at Joan naissance of Islam: Art of the Mamluks,” Ling Gallery, 211 West University Ave. an exhibition organized by the Smithso­ California, San Francisco through June 6 nian Institution, displays 130 objects from “The Effie B. Allison Collection: Koso- Florida, Micanopy May 29—June 30 the Mamluk empire of Egypt and Syria metsuke and other Chinese Blue and “Premier Invitational,” an art exhibition (1250—1517), including ceramics; at the White Porcelains”; at Ch’ing Gallery. including ceramics by 47 international Detroit Institute of Arts, 5200 Woodward through December 31 “Year of the Dog,” artists. An exhibition of Southern folk Avenue. tomb figurines of the Han Dynasty in­ pottery, pre-Civil War. Both at Mocking­ cludes glazed pottery dogs; at Gruhn bird Gallery and Studios of Micanopy. Minnesota, Minneapolis May 24—29 A Court. Florida, Orlando through May 20 “8th two-person exhibition including earthen­ May 22—August 3 “Arts of the Ch’ing Annual Competition: Small Works,” a ware sculpture by Aurore Chabot; at By Court (1644—1912 A.D.),” includes por­ multimedia show of objects within 15x15- Design, Lumber Exchange Building, 10 celain objects; at Foyer Gallery. All these inch format; at the Valencia Community South Fifth Street. exhibitions at the Asian Art Museum of College. San Francisco, Golden Gate Park. Minnesota, Moorhead May 13—June 13 through June 27 “Ceramic Sculpture: Six Illinois, Elk Grove Village May 6—31 “Minnesota Ceramics: An Invitational,” Artists,” featuring the work of Robert “Trends in Stoneware”; at A.R.T. Studio, includes work by 24 clay artists; at Rourke Arneson, David Gilhooly, John Mason, Gallery, 523 South Fourth Street. Kenneth Price, Richard Shaw and Peter 921 Oakton Street. Voulkos; at San Francisco Museum of Indiana, Bloomington through May 12 New Jersey, TenaflyMay 1—29 “New Modern Art, Van Ness Avenue at McAl­ Recent work, approximately 100 pots and Glass and Clay,” an exhibition including lister Street. sculpture by Tom and Ginny Marsh; at ceramics by Kathleen Keenan, Mark The Gallery, 102 North Grant Street. Lange, Christie Norman and Jeffrey Zi­ California, Westlake Village May 7—Au­ gulis; at America House Gallery of Con­ gust 30 A group exhibition including ce­ Indiana, Indianapolis through May 30 temporary Crafts, 24 Washington Street. ramics by Carol Abraham, Kirk Aiken, “Recent Accessions,” an exhibition of new Michael Adcock, John and Carol Bruno, acquisitions, includes the Mead Collection Doug and Elsie Burbeck, Kathy Erteman, of 35 Chinese ceramics. New Mexico, Taos May 29—June 26 A Vivika and Otto Heino, Dianne Jerome, May 4—30 A three-person exhibition in­ dual show including ceramics by Avra Dawn King, Shelly Masters, Steve Schrep- cluding pottery by Barbara Bihler and Leodas; at Clay and Fiber Gallery, North ferman, David Snair and Jim Stewart; at Walter Schmidt; both at the Indianapolis Pueblo Road. the Retreat, 3865 East Thousand Oak Museum of Art, 1200 West 38 Street. Boulevard, Westlake Hills Plaza. New York, Brooklyn May 1—June 10 Kansas, Topeka through May 3 “Topeka “Potters of the Southwest,” irn ides works Colorado, Denver through May 15 “A Crafts Exhibition 6”; at the Topeka Public by Carolyn Brooks, Belinda Gabryl, Diana Bit of Avant-Garde,” an exhibition in­ Library Gallery of Fine Arts, 1515 West Goudy, Linda Klassen Kuehl, Steve Lig­ cluding ceramics by Ted Vogel and clay Tenth Street. gett, Lucinda Malin, Michael Obranovich, and mixed-media boxes by Norman Kes- Curtis Scott and Chris Spanovich; at the ter; at Cohen Gallery, formerly the Pug Kentucky, Louisville May 16—31 Forty Please Turn to Page 70 May 1982 25 26C eramics Monthly Suggestions from our readers Slab Former Cylinders of heavy cardboard from 8 inches to 3 feet in diameter are available as scrap from companies that utilize them as molds for concrete pilings. They are waxed on the inside but untreated on the outside and are great as press molds for form­ ing slabs. —Diane Moomey, Richmond Hill, Ont. Ready-Made Vacuum Sprayer The Kirby Company makes a spray gun attachment especially for use with the exhaust end of a vacuum cleaner. The spray gun features a trigger control and a coarse-to-fine spray adjust­ ment; it accepts standard pint or quart canning jars, and can be attached to almost any studio shop vacuum with a simple hose coupling. It may be necessary to experiment with the siphon tube diameter for the type of material to be sprayed; I inserted a piece of 12-gauge wire insulation for oxides. The front half inch of the barrel may be sawed off where it extends beyond the nozzle to prevent dripping and guard against the collection of spray. -—Becky Eiker, Helena, Mont. Slab Brush A dog “slicker” brush is an excellent tool for quickly scoring large slabs and clay additions. Run the brush along the table edge to remove clay buildup when dry. —Cheri Glaser, Cincinnati Fake Protection To alleviate the problem of damaging fingernails and/or tips of fingers while throwing, glue a fake fingernail onto the jeopar­ dized finger. It does not slip off while throwing, yet is easily removed. —Jan V. Polk, New York City Beneficiated Clay If you recycle aluminum cans and mix your own clay, keep a bucket of slip near the bags of empty cans. Before dumping a can, empty its last drops of liquid into the slip. That keeps the bag of cans drier and also helps age the slip before mixing with dry clay for pugging. —Vicki Lever, Long Beach, Miss. Sectional Aid Attaching sectional wheel-thrown forms can be accomplished while they are quite wet. If the pieces are not undercut when the bat is removed from the wheel, it is relatively easy to invert one still-wet pot and attach it to another freshly thrown form on the wheel. —Byron Kato, Omak, Wash. Extendible Sponge An extendible sponge holder may be fabricated by wrapping a sponge around the tip of a car antenna fastened tightly with extra fine wire. Sewing the tip to the sponge will secure it from sliding. -—Kristy Jackson, Phoenix Burnishing Tool An excellent rib and burnishing tool is a small piece of un­ mounted Formica. Obtained as a discontinued sample from store displays, it is strong, may be acquired in quantity, and bends just enough to work very well. —Joanne Hooker, Birmingham, Mich. Stacking Aid To control the correct placing of an object on a triangular stilt in a top-loading kiln, use a mirror held at a 45° angle. —Rita van den Berg, Leiderdorp, Netherlands Dollars for Your Ideas Ceramics Monthly pays $5 for each suggestion used; submissions are welcome individually or in quantity. Send your ideas to CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can't acknowl­ edge or return unused items. May 1982 27 28 Ceramics Monthly Comment Image versus Object by Lucy Breslin

It seems that ceramics, like many of In both instances, when the photo­ the other arts, is constantly shifting graph is viewed, we think we under­ back and forth between the act of stand. We are too easily satisfied. We creation and the world of high gloss are not satisfied by just seeing pic­ advertisement. The representation of tures of food. Why then are we often three-dimensional objects in two di­ satisfied with just seeing pictures of mensions is not new, but the slick artwork? Fifth Avenue approach employed by Often the viewer is asked to believe galleries, art magazines, schools and not in the work itself but in the rep­ artists has left me wondering whether resentation of the work, in the photo­ we are helping or hurting ourselves graphic image. Several years ago I and our art. attended a workshop where a 4-inch Several months ago I had the joy pot was blown up on a 14xl8-inch of visiting the basement collection of poster. There was no mention of the the Freer Gallery in Washington, actual size. It was a simple pot and D.C., where I was able to hold and when I saw the actual pot, after see­ examine pots thousands of years old. ing the poster, I was confused, disap­ Some of these pots had decorated pointed, and could not appreciate the Chinese courts, some had been buried pot for what it was. What was the in Korean tombs. And there were need for this larger-than-life attitude? pots which had been made during my Representation in itself is not ma­ lifetime, one by a Living National nipulation. But to treat the object Treasure of Japan. like a movie star and to glamorize it These pots all spoke with their with various kinds of lighting and own strength—some as they had done special effects supplants much of the for thousands of years—and as they more subtle magic. And in the pro­ would continue to do. It was easy to cess of this glorification we can easily believe in them and in the people lose touch with the magic we hope who had made them. What made it to honor. so easy to believe was that I could I do not intend these words to touch as well as see. So much of what speak against photography. Photo­ is done in ceramics involves the sense graphs, in themselves, can be valu­ of touch. able tools. They can offer the artist Unfortunately, celebration by wayexposure to work otherwise unen- of photographic homages often sacri­ countered. They can serve as a means fices the spirit which we hope to of communication. But when they ask make real with our work. the viewer to believe in them, rather It’s so easy to take a book full of than the objects, then they lie. beautiful colored pictures of ceramics, For an artist who wants to break flip through it or study it over the into the gallery scene or big ten show years, and then think we are ac­ circuit, slides are often the basis for quainted with that person’s artistry. making or breaking. Slides are used It is also easy to open a magazine to gain access to graduate school and to an article on sculpture, like that interviews. As it is now, slides are a of Stephen DeStaebler (April 1981 practical necessity. Craftspeople and CM), and think that we are familiar artists are encouraged to become with the work. But there is no sense skilled in photographing their work. of confrontation when you see a 4x5 Books and courses are designed to picture of an 8-foot sculpture. Please Turn to Page 96 May 1982 29 A Conversation with Ray Finch Thoughts on his Lifetime of Production byK athleen Wilson Mechali

Since taking over at Interviewer: Is “form follows function” a concept you Winchcombe (a tradi­ follow strictly, or is form a more important factor? tional English pottery in Gloucestershire revived by Finch: Form is most important. I don’t believe in what Michael Cardew in 1926), one used to call functionalism, when everything was Ray Finch has continued functional and therefore good. I think that’s absolute the production of func­ nonsense. One’s concern primarily is form, but they go tional ceramics. Among together; you can’t really divide them. If you’re making the 60 items made are a pot for a specific use, you must consider that, as well as cider jugs, pitchers, cas­ considering it as an object that would be pleasing, some­ seroles, bowls, platters, thing you can enjoy apart from its function. On the other mugs and coffeepots—all hand, it would be silly to make something which was Ray Finch in varying sizes. Many pleasing to look at, but which was absolutely useless for British restaurants com­ mission standard ware from Winchcombe, which also Wheel-thrown pitcher, stoneware, with combed iron exports to Canada, New Zealand and Germany. slip under ash glaze. Interviewer: How did you decide to make pots? Finch: I went to school in the Great Depression and I had to have a job. I was only 16 and worked in a factory for about five years, but I didn’t particularly enjoy it. Quite by accident I came across some Winchcombe pots at a friend’s house, and they just sparked off something in me. I liked them very much, so I came down to Winchcombe to see Michael Cardew. Interviewer: Were he and Bernard Leach the only ones who were really attempting to make a living at pottery at this time? Finch: Well, yes, apart from one or two traditional old potteries which were still going. Michael had come to Winchcombe in 1926; it was nearly ten years later that I first came to ask him if he’d take me on as a pupil. He refused 'because I hadn’t done any pottery. So I gave up my factory job and went to one of the art schools in London. I stayed there for a year to learn throwing, then came back to Winchcombe and asked again. I was really convinced I wanted to do it, and Michael took me on. I worked with him for three years. Eventually, after the war—it was during the war that he was in Africa—he decided not to come back to Winchcombe. Interviewer: So you’ve been here since you were 22, first as a student, then with the workshop as your own. Have you always made functional ware? Finch: Michael made slipware, ovenware in those days. We went on making ovenware, then started making stoneware on a production basis beginning in 1960, and gradually dropped the slipware.

30 Ceramics Monthly the intended purpose. Very often it does happen that glaze, a temmoku and an ash glaze over iron slip. We things that work well are also pleasing. I dislike osten­ have a number of others we don’t use a great deal. tation, things done for effect. Overelaborating on a pot just for the sake of doing so seems to me something I Interviewer: Who or what has influenced your produc­ would rather tend to avoid. I’m more concerned with the tion? unity of the pot. Finch: I suppose the strongest influence has been my master; the one who teaches you often is. I never worked Interviewer: Do you consider each pot individually in with anybody else. There have since been other influ­ trimming, surface decoration and glazing? ences, but I’ve always kept, in a way, Michael Cardew’s Finch: We don’t decorate many pots; our standard ware attitude toward pots. Having taken over this pottery— we don’t decorate at all. We use some ash for interest, which had a definite tradition already—I continued that and I do decorate some pots with slips—combing, trail­ tradition. I didn’t want to change something which ing or pouring. I rarely use a brush as I don’t feel at appeared to me to be very good. Michael is a most home with one. Iron oxide slips combed through, some remarkable person; he was able to take what was essen­ sgraffito decoration—very simple. I don’t think of deco­ tially an English tradition that had lapsed and develop ration as the important part of the pot at all. I like it into something appropriate to the age in which he simple decoration with salt glaze. I have certain patterns lived. This pottery has been going for over 50 years, which I use quite often, and sometimes wax resist be­ since Cardew reopened it—and it was already an old tween two glazes. pottery then. I hope it will go on; I’ve two sons who are potters. Interviewer: How many different glazes do you use? Interviewer: What factors have affected the workshop’s Finch: For our standard ware we have a semimatt white operation ?

Winchcombe Pottery, Gloucestershire, England. The building by the road houses a wood-fired kiln; wood storage and workshops are to the rear.

32 Ceramics Monthly

Wood for the kiln is stored in the shed (left). The old bottle kiln (right) stands as a reminder of the days when Winchcombe was a traditional English pottery, revived by Michael Car dew in 1926. Ray Finch came as a student 10 years later} stayed on, and eventually took over when Cardew left for Africa. Finch: We had to be content with what w 7e had. There Finch: If they are intending to make useful pots. By was only one place to put the kiln and we worked around making a modest range of pots and working on it, they that. It certainly wasn’t ideal. We also have two floor can produce fairly regularly and consistently, and can levels, which is a nuisance. I think there are a lot of grow from there. Make ten different types of shapes: possible arrangements—either a long building to go from one or two bowls, one or two pitchers, perhaps a couple one process to another, or a square one where everything of pots for the oven, mugs; something which taken to­ is adjacent. If you’re starting from scratch, it can be so gether can be a modest range of useful things. Grow much easier, but we had to use existing buildings. gradually; don’t try to do too much to start with. Interviewer: Do you have any other recommendations Interviewer: What about publicity? for potters starting out? Perhaps some thoughts on sell­ Finch: I’ve never done it. ing through galleries, shops or directly from private studios? Interviewer: How do you get all this business? Finch: Start from your private studio; try selling di­ Finch: You just go on doing it and if you’re here long rectly to the public. You have immediate contact with enough, people get to know you. Obviously, people start­ people; you learn what they’re looking for, what their ing off have to do something. I had struggles years ago reactions are. If your output is small, it’s much better to when it was difficult to sell pots; things have been very sell retail. easy—comparatively—for the last 20 years. Considering the amount of effort you put into pottery, you make a Interviewer: Do you accept commissions? Are there very modest living. With the same responsibility, knowl­ inherent difficulties when young potters accept major edge and skill in some other field, a person could earn commissions during the first year of developing a new three or four times as much. The compensation is being studio? your own master and doing a job which is always inter­ Finch: It depends on what sort of potters they are; they esting. If you like it, it’s worthwhile. may have to. In the first year, I think it would be a great Interviewer: How do you price—competitively? mistake to take an order for 1000 or more pots. If they Finch: We’ve always tried to keep our prices as modest didn’t have mechanical difficulties with actually making as possible, perhaps a bit cheaper than most people’s, but them, they’d very likely have technical difficulties with we’ve always attempted to make things that aren’t out firing. Until that is all sorted out, it’s a mistake to take of reach for ordinary people. We want people to be able on anything too elaborate. to buy pots and use them without feeling it is a great Interviewer: One would then start out with functional extravagance. My experience of such difficulties selling w7are and sell, if possible, directly from the studio? pots in the early years made a permanent impression. I’m

34 Ceramics Monthly unconsciously afraid I shan’t be able to sell them if they for 50 years, but he eventually retired. I had Harry get too expensive. Davis’s daughter with me for five or six years and she was very good. I’ve got a local man who’s been here for Interviewer: Do you print a catalog of your standard eight years; but even so, when one person leaves, it ware? makes a big difference. Finch: We’ve never had a catalog. I’ve felt that it ties you down. We’ve always had a simple price list. In some Interviewer: What are your criteria for taking on some­ cases it helps to have an illustrated catalog, but if you one? have photographs of things you’ve made, people always Finch: They don’t necessarily come here without any expect orders to be exactly like them. experience at all. They might have been to art school. We don’t have any rigid rules. It’s really how keen they Interviewer: How important is it to be business oriented, are, how persistent. I get an average of one or two letters with an accountant, business cards, etc.? a week from people who want to come. It’s rather sad Finch: We don’t do much in that line at all. We have a that so many young people want to do it and so little label—Winchcombe Pottery. We’ve never been very busi­ opportunity is available. nesslike; probably would have made more money if we had. The only thing is that we’ve had the luck to survive. Interviewer: Is it sometimes hard for the team to accept We’re rather fortunate in having well-established con­ a new person? nections. Some of the shops we’ve dealt with for 25 years. Finch: It can be. It’s very important that people get on. Usually, if we hire someone we don’t know at all, we’ll Interviewer: Your reputation is your publicity? say to come for a couple of months and see how they get Finch: Yes, but you have to make sure your reputation on. Generally speaking, we’ve been very fortunate. But isn’t tarnished. from the actual technical point of view, the competence, if you’ve had somebody making pots for quite a time and Interviewer: Is that a problem that may arise with then they leave, you’ve got to train someone else. And apprentices and paid assistants? it’s not always easy to make a changeover. Finch: We’ve always had students. We’ve had appren­ tices in the past, but not anymore. It’s difficult to estab­ Interviewer: Each pair of hands is different? lish a team with them because usually people are only Finch: They are never the same; so you can only ap­ anxious to learn and then go on. Instead, we have paid proximate. Really, I’m the only person in the whole assistants whom I don’t regard as hired help, but as place who has a complete sense of continuity. None of colleagues. Generally they are concerned with the pot­ the others have quite the same view. tery; they’re not just doing it as a job. They’re concerned with what’s made and that it’s good. But inevitably you Interviewer: Well, you’ve probably established a tradi­ get one person leaving and another coming and it’s a tion sufficiently that it will go on. problem to keep a standard going. You can’t expect Finch: I hope it’s sufficiently established to not really everybody to be as competent. Sometimes the team is need me completely anymore. I don’t have enough time better than at other times. to do things I like—outside of pottery. Interviewer: How often is your turnover for a team? The interviewer Kathleen Wilson Mechali recently re­ Finch: As infrequently as possible. We have one man ceived an M.F.A. from the Visual Arts Center, Columbia, who worked here—he was an apprentice to Cardew— Maryland.

“What about publicity ?” “I’ve never done it.” “How do you get all this business?” “You just go on doing it and if you’re

here long enough, people get to know you. ”

May 1982 35 Detail of a slip-decorated stoneware box by Ulla Hjorth. Danish Ceramic Design

Bowl, 7 inches in diameter, coiled from colored porcelaneous stoneware3 by Hans Munck Andersen Touring New Hampshire, New York and Minnesota in 1982, “Danish Ceramic Design,” an exhibition of works by 45 contemporary artists, premiered last winter at Penn­ sylvania State University (University Park). Whether working as studio potters or designers, “Danish ceramists mostly concern themselves with vessel forms,” observed William Hull, museum director at Penn State. While studio potters in other European countries have involved themselves increasingly with sculptural form, “relatively few Danish potters took to the idea and thus retain a kind of classicism in their work,” he continued. “Considered as a whole, modern Danish design has a predictable attitude concerning decorative patterns. In a typical room, the furniture (strongly sculptural in nature) is made of wood, and upholstered chairs tend to have textured, single-color fabrics. It is in the ceramics that there are most apt to be decorated surfaces and, used as accents, ceramic objects are often the jewels of these settings.”

36 Ceramics Monthly Photos: James Collins, Ole Woldbye

Large cylindrical bowl, 15 inches in diameter, clear glaze over slip decoration on stoneware; e(Decagonal Vase ” 13 inches in height, stoneware, by Gertrud Vasegaard; and stoneware bowl, 7 inches in diameter, brushed stain decoration, by Inger Thing.

Thrown and handbuilt stoneware bowls, 16 inches in diameter with pegmatite glaze; and 13 inches in diameter with resist decoration, by Alev Ebuzziya Siesbye. May 1982 37 Stoneware teapot, 5 inches in height, with recessed lid (cups nest inside the teapot), by Dorthe Moller; bowl, 3 inches in height, spruce ash glaze, by Mette Augustinus Poulsen; stoneware bowl, 4 inches in height, incised porcelain slip with iron stain, by Richard Kjaergaard.

Earthenware bowl, 9 inches in diameter, white slip, stain, fish-net sgraffito, by Clara Andersen; raku vase (7 inches in height) and bowl (3/ inches in height, white glaze with blue-glaze decoration), by Inger Rokkjaer.

38C eramics Monthly Handbuilt hexagonal cup, 3 inches in height, stoneware, white glaze, silver and copper luster, by Malene Mullertz; porcelaneous stoneware plate, approximately 11 inches square, slab built, light celadon glaze with stain and resist, by Bodil Manz; bowl, 5 inches in height, sgraffito with black stain, silver luster accents, by Gerd Hiort Petersen. Right Plate, 17 inches square, porcelaneous stoneware, semimatt white glaze over black slip, with sgraffito and resist, by Dorte Schierup Heide.

May 1982 39 Glen Lukens

byE laine Levin

“Glen Lukens: Pioneer of the Vessel Aesthetican ex­ classes at the University of Southern California in Los hibition of the artist's work primarily from the 1930s Angeles. Glen’s ceramics and jewelry classes generated and *40s, was recently presented at California State Uni­ enrollment and by 1933, at the age of 46, he established versity in Los Angeles. —Ed. and became chairman of the new ceramics department. Attracting students to a new program in the midst of He did not throw well on the wheel, made most of his the depression required ingenuity. Glen appealed to local pottery in press molds, did not give glaze formulas to his ceramics factories for equipment donations, while tailor­ students; he personally sprayed each pot with the stu­ ing curriculum to students from a variety of university dent’s choice. He did not depend on ceramic supply departments. Unlike ceramics programs established earlier companies; instead, he searched the desert and mountain at Alfred (New York) and Ohio State University, where areas for raw materials. A ceramist and teacher, Glen courses were integrated with ceramic engineering, the Lukens (1887-1967) followed his instincts along a path classes at U.S.C. were within the School of Architecture. that brought him recognition for innovative pottery and Art and education majors enrolled to expand their skills, glass, work that reflected the ambience of the Southwest. and architecture students came to work with three- His emotional, intuitive approach to the material fore­ dimensional material. Dental students used clay to im­ shadowed the philosophy of the next generation of prove their manual dexterity. In order to broaden enroll­ studio potters. ment and interest to the public, Glen took to the road, On a visit to the Walker Art Gallery in Minneapolis in demonstrating and lecturing at high schools and clubs— the 1920s, Glen noticed a small Egyptian figure, so bril­ an embryonic form of what would later be called a liantly glazed that he could still visualize it and describe “workshop.” his reaction many years later: “I decided there and then Scheduling projects for such an assortment of students I wanted to make a blue as good as that ... I didn’t want was less of a problem than formulating a workable clay to copy it, I wanted a blue as beautiful as that Egyptian body from California materials. With no manuals to con­ blue.” sult, no published articles or books by earlier western pot­ In 1924, he left his teaching job in Minnesota for high ters, the small body of information Glen had collected school and junior college positions in Fullerton, Califor­ during his years at Fullerton could function only as a nia, where he began to experiment with glazes. Searching basis for further research. Death Valley for materials to produce that elusive color, Scientfic guidance came from ceramic engineer Tom he found that clay containing copper produced the results Curtis, who came from the East Coast to perfect clay he sought. Newspaper accounts of his discovery brought bodies for Gladding McBean Company. Through his public attention, including an offer to teach evening efforts, a low-fire white clay body, high in talc, was

Handbuilt plate, 10 inches square, crackle glaze. Glen Lukens with “Arabian Black Luster Vase ” 1947.

40 Ceramics Monthly

developed—significant because by 1934 most tile com­ panies in California had converted to dinnerware as the depression reduced construction and the need for archi­ tectural objects. The white talc body enhanced glaze colors and California soon became known for inexpensive dinnerware glazed in sun-bright hues. Glen found this clay effective under his alkaline-based turquoise and bright yellow glazes, his standards by the early 1930s. Soon he expanded his range to include a uranium orange and a crimson, brilliant and clear over white clay. However, he never liked the white color and would stain exposed clay (usually around the base and foot) a dark shade. Glen preferred a buff clay with grog whose surface he covered with a white slip to get the same glaze effect as on the white body. His transparent glazes sprayed over this surface tended to develop a crackle which he emphasized by rubbing in stains or pouring on a contrasting glaze, wiping it off and refiring. Glen favored thick-walled, press-molded plates, utiliz­ ing a wheel primarily for trimming. He had purchased one in the 1920s in Chicago and brought it with him to California, but it was a stand-up model with the treadle base of a sewing machine—awkward for throwing. Carl­ ton Ball (Glen’s student in 1935) recalled using it mainly to sponge, alter and trim press-molded forms. Encouraging individual expression in clay by others, Glen cautioned that imitation of past forms should only be used to develop an art vocabulary, and urged students to adapt to changing modes and manners. “There is still too much tradition and imitation in the work of our craftsmen,” a condition that will disappear only when people “realize that individual feeling, thought and spirit are the only true sources for craft production.” During the late ’30s, certain elements within Glen’s work became more pronounced. Flowing, crackle glazes dominated much of his ware. Long before other potters saw the beauty in a glaze that dripped or pooled, Glen reveled in it, comparing it to phenomena in nature: “I used to watch lightning across the sky and think, if we could control that lightning it wouldn’t be beautiful any­ more.” Appreciating unglazed clay as a surface too attrac­ tive to be totally submerged, he began to confine glaze areas to grooves cut into plates, creating concentric circles or a spiral. Some glazes were allowed to pool in the bottom of wide bowls, contrasting the smooth surface with a heavily grogged and tooled clay body. Accenting the clay further, he took thick wads and pressed them into a mold with a rough surface. The earthy configurations of the vessel’s exterior could not be seen until the object was stiff enough to be removed from the mold—a form his

Top left Bowl, 14 inches in diameter, white crackle glaze with drips around a stained foot. Center Rectangular plate, 16 inches in length. Left Large bowl, 23 inches in diameter, trailed green crackle glaze on rim, by Glen Lukens. Right “A Guess What Vessel ” formed by pressing wads of clay into a rough-surfaced mold.

42 Ceramics Monthly Photos: Jeffrey L. Levin and courtesy of California State University, Los Angeles

students named “Guess What.” At the boundary line of colleges and especially to ceramics classes, he took a leave function, Glen’s work never quite abandoned the feeling of absence to become a technical adviser in Haiti, intro­ of container. ducing clay techniques to teachers and unskilled children. America’s entry into World War II presented new Since pottery wasn’t part of Haitian culture, he faced the challenges. Glen and his students, with the encourage­ familiar task of finding a suitable clay made from native ment of the War Relocation Authority, researched clay materials. Using the customary gourd bowl as a mold, he bodies that would withstand extreme heat and cold to made it the basis for forming simple pots; the press- replace metal pots and pans. When the university initi­ molded bowl with a coil handle became a cup, and with ated an occupational therapy program, Glen offered a a spout it was a pitcher. Native woods served as trimming six-week ceramics course. The venerable sewing machine tools, and vines substituted for sponges. wheel, with which he had helped veterans with physical The spirit of a people coping with extreme poverty and mental problems in the post World War I period, inspired his dedication, and he returned to Los Angeles once again was put to work. At the war’s end, Glen was with a plan for developing small home industries in prepared for a resurgence of American art: “The envi­ impoverished rural areas. “If I stay here, all I can do is ronmental stimuli that condition social or economic turn out more pottery and glassware. But over there I can attitudes should be allowed to affect our art and enable help people who sorely need it, to raise their standard of it to become as robust as other expressions of American living—even if it’s only a little.” UNESCO accepted his culture.” proposal and he returned to Haiti in the summer of 1951 Before he could witness the return of veterans to the to set up a ceramics center in Marbial, where soil erosion May 1982 43 Bowl, approximately 20 inches in diameter, by Glen Lukens. from hurricanes had made farming impossible. Marbial low-fire kiln) melted into the clay, giving the underside pottery was bartered for food as well as made to serve of the glass a bubbled texture. Some of the stains he household needs. mixed in glazes also colored his glass, often mixed with a During his absence from California, ceramics changed. flux and applied with a palette knife. Japanese flower Stoneware clays discovered in the West during the 1940s arrangements, a popular home decoration, required large came into general use, pushing earthenware into the back­ flat plates formed in a glass as the base for dried branches, ground. Bernard Leach and Shoji Hamada, visiting the a sparse grouping of beach stones and driftwood. Utilizing West Coast in the early ’50s, introduced the muted colors, scrap materials before it became stylish, he collected col­ earthtones and wax resist designs that became the style. ored glass bottles and incorporated bits into panels for Glen said he felt like Rip Van Winkle in a world that had screens and hanging lights. suddenly shifted to using potter’s wheels, unfamiliar clay Until his death in 1967 at the age of 80, Glen remained bodies and obliterated colors. His arthritis, held at bay in active, continuing research in glass and glazes, and writ­ the tropical Haitian climate, returned to plague him. ing magazine articles. Natural, spontaneous, intuitive—in The familiar figure in a blue smock with a rope tied the context of those adjectives, he gave the clay vessel around his waist retired from the university and returned greater scope and in doing so, provided a philosophical to working with glass, an intermittent interest since 1935. and material basis for change. In the late ’30s he had evolved a method of slumping a sheet of glass over heavily grogged clay. Stained cathe­ The author A frequent contributor to Ceramics Monthly, dral or Mexican glass (placed on bisqued forms in a arts writer Elaine Levin resides in Northridge, California.

44C eramics Monthly Photos: Ross Mason, Trevor Mills rf i Sokom Teefe, e ie i England. in lived he Thereafter, Stockholm. in Craft ntn T te at r te utn halns f the of headlands jutting the are east of the coast To the ington. off Island, Vancouver of shore southeast t h ugn o a omr ece, atr eund to returned Walter teacher, former and teacher. a of urging the At C and work:“Ihavegonethroughdifferentstagesinclay. f r) n oe er t bsns clee te wre as worked then college, business Provincial a at the year one at and Art) years of four studied Walter years. thirty ney tothisplacehasbeencircuitousandnotalwayseasy. by hlos o hus atn fr ih Wle Dxe’ jour­ Dexter’s the Walter in fish. one-legged for stand waiting herons hours small and for are waters shallows these beyond, in and swim bay the in while shore, Canadian rises Fuca de Juan of Straits the Across Columbia. British aaa n 98 ad a sne okd hr a a potter a as there worked since has and 1958, in Canada and he Arts 1956, of School In Swedish Railroad. the Pacific to scholarship Canadian a the received for waiter a h hg, le ie f h Oypc onan i Wash­ in Mountains Olympic the of line blue high, the Canadian potterWalterDexterinthelivingroomofhishomeonVancouverIsland. Walter Dexter nttt o Tcnlg ad r (o te let College Alberta the (now Art and Technology of Institute Seals tides. the with disappear sometimes that islands rock anadian C n rcn itriw Wle cmetd bu hs life his about commented Walter interview, recent a In o frynn, e a wre wt ca fr about for clay with worked has he forty-nine, Now hristine W

potter ardenburg atr etr ie ad ok o the on works and lives Dexter Walter n mr buhok epcal o pae, bgn to began I plates, on especially brushwork, more and y riig a t d rpttv ptenn—ey safe. patterning—very repetitive do to was training My cltr, f on asltl md bu Hny Moore Henry about mad absolutely going of sculpture, straightforward, and formal be to tended also work That o ae einn. t ore m, o, u I elzd I realized I but too, me, through worried work It and beginning. influences are those you on up pick to have o wry oe I hs ny en ic I a aot forty about was I since been not more, only I’m fear has you now It up, more. but coming worry are influences, you you strong When it. the about see worried still can and mummies. of fabric. Peruvian to attraction strong another through oe n ty ht Yu e smoe les ok n you and work else’s someone see You that. try and home more did I loosen upandgetmoreconfidence. as Then, Sweden. in working after particularly adul supue js uig h frs f ht ot kind soft that of forms the using just sculptures handbuilt olnt eit t I a t mk a lat n o whatever of one least at make to had I it. resist when work couldn’t else’s someone copying fear to tend You them. some­ see museum, a to go You everything. by influenced o a hl. o ko hw o ‘icvr atss I went I artists. ‘discover’ you how know You while. a for it wasthatmovedme,soIcouldgoon. You reaching. of part all is It out. that try to need may ihig h mdu ay oe I to oe tet years twenty wasn’t over I took wanted. It I more. anything any do medium could the I fighting finally felt I that hn i a ok ad e s tre o yu ae o rush to have you on turned so get and book, a in thing lvd hi sae n te ult ad i hnrd of hundreds did and quality the and shape their loved I n h ery er, o hvnt o te us o pn up. open to guts the got haven’t you years, early the In I et hog a tg o dig lt f ceramic of lot a doing of stage a through went “I We yu r yug ad s o g aog yu are you along, go you as and young, are you “When Yt qeto al h tm. lo a m ptey now pottery my at look I time. the all question I “Yet May 1982 45 to feel comfortable with the clay. I went through periods of the reasons I have gone to raku. Another is the color. of great frustration because my hands wouldn’t make a Now I live by the sea, the flowers are abundant and I particular piece. notice the colors and the lushness coming out in my work. “Like most people, I have a tendency to want to be At lower temperatures I can get almost any color, use loved. If I had some success in a line of stoneware, I glaze stains and cross and mix them into any glaze base. would repeat it. It was successful and people responded. I mix by hand for each pot just as I would paint. It is as Of course I would rationalize by saying that, after all, I if I have my own palette. There is a great sense of play. had to make a living. But, when you begin to break from “The same attitudes are involved when you are doing that, it isn’t easy. Not only because of the money, but a pot as when you are doing a painting; at least they can because you don’t know if you will have that audience. be. We are using the same values, the same sensitivities. There comes a time, though, when you have to. If you You can have a very crafty potter whose work stops at the are going to sit there and crank out a bunch of pots that craft. You wish for the life of the piece which just isn’t have lost their spirit, what is the point? It is only in the there. You look for the feeling. That is what I’m looking last five years that I feel my work is coming together. I for, and I experiment a lot to get there. You need the always reach, but I am feeling good about the direction. craft, of course, you cannot work without that. But you “I think we are all reaching for something, the ‘that’s must have the spirit. it’ sort of feeling that you really cannot explain. It is one “To me trying to explain where the energy in a pot

46 Ceramics Monthly The burner assembly for Walter's raku kiln. Opposite page Stoneware plate, 12 inches in diameter. Top left Walter decorates a leather-hard pot with slip. Top The downdraft stoneware kiln (left) and small raku kiln are both propane fired. Left Hay provides a gentle, post-firing reduction. comes from is like asking a painter why he is doing it. I tends to be very competitive when younger. I think that don’t really know. There have been times and places that is very healthy. You have to sit there and feel, ‘I can be are conducive to good work, but mostly it is getting in and better than that person, 5 including your teacher. I find doing it. I can tell when I shouldn’t push it. If it is a that as I have grown closer and closer to my own work, good day, or if you are in a state of grace, that is good. that earlier sense of competition has diminished. The Some writers, I am told, must wait until they reach that greatest thing is if you can get somebody else to react to state, but I don’t know if I believe in that. You just have your work in an excited and joyous way, then you know to get to work even if you aren’t in the right mood, you there is someone beyond yourself that loves the work, that just work until you are, and have the guts to try things. feels the work. Getting started is always risky. “As a teacher I stressed basics, I was very determined “Good pottery is that which is not afraid to fail, where about that. Students had to learn all of the techniques the work is not precious. If every piece is precious, then first. Of course, many students want to do their own thing you are in trouble. Often potters trying to survive do not from the beginning, that ‘just-give-me-the-glazes-and-ITl- take many risks. It takes a while. A young potter may show-you-what-it’s-all-about’ sort of attitude. I tried to make what he does because he has to, and that is fine. I emphasize that they could do anything if they learned the went through that stage. You have to take time to find technique first, and the practicalities of running a studio if what looks good elsewhere fits your own work. One as well. My own training was very good, but art school May 1982 47 Completed raku forms in Walter Dexter3s studio. ((Raku has loosened me up. I dont think ‘refinement / I think CI can do anything I want / ” Left Wheel-thrown stoneware plate, 14 inches in diameter, with wax resist. Right Lidded jar, 10 inches in height, polychrome slip decoration, raku fired. then was pure idealism and we had no idea how to make potters now who can stand up to the best anywhere, a living. Students have no sense of cost when they gradu­ although there is little publicity about them. Canada is ate. I feel it is important that they know the picnic is still a small country, 24 million people with enormous over when they get out of school. distances and a strong competition between them. People “Still, that period in the early ’70s, when I taught at are gradually feeling more comfortable with regionalism, the Kootenay School of Art in the mountains of British I think, and less worried about being national. Yet we Columbia, was a time of tremendous experimentation for must look internationally in order to get the criteria for all of us. It was a fluke that people that strong all came excellence. One must not put one’s head in the sand of together at once. The students were very keen, con- regionalism or one becomes stultified. frontive, demanding. It was during this time when I “Clay is very sensuous and I have always loved it. I began teaching that real experimentation came into my have tried other media, but they didn’t last very long. I work. Every artist should have the chance to come to­ don’t have the urge to paint any longer because I am gether with a strong group. The energy was everywhere. working it out on the clay surface. Also, we had the overflow from the States. At this time, “It is interesting, stoneware has been my backbone for the influence from there was very strong: Daniel Rhodes’s many years, yet there has always been less freedom than books Clay and Glazes for the Potter and Kilns came out. in the raku work. Lately, however, the two of them are Paul Soldner had put out some pamphlets by that time on coming together. Raku forms have been pushing into the his kilns, his wheels and his firing technique. The work stoneware. Raku has never been as ‘important’ so it has done at the Archie Bray Foundation and that of Peter loosened me up. I take a different attitude, I don’t think Voulkos all were very influential. ‘refinement,’ I think, ‘I can do anything I want.’ Also “I love the vitality of the Americans, the sense that you you have to consider the fact that raku may break because can do anything. In the early years our major influence of the technique. You yank it out of a hot kiln and plunge here was traditional English pottery. I remember being in it into leaves. I lose quite a few pieces. I know this before­ my studio a few years ago, and some students came in and hand, so I gear up, like a painter doing a number of said, ‘You can’t pull a handle that way,’ (because it wasn’t drawings. Some will make it and some won’t. in keeping with the traditional folk pottery of England). “There are times when I’m working that the work That simply astounded me, coming from my students, but comes through me, as if I didn’t do it. Sometimes I simply tradition is very strong in British Columbia. Americans feel as if I’m one in a long line of peasant potters. Then, are risk-takers and do not get hung up with ‘I can’t do it.’ when I do experiment, I feel so lucky, because our atti­ This has been a Canadian problem, although it is disap­ tude is different from the peasant potter. He did it with­ pearing. We have a sense of nationalism, but we really are out the joy of experimentation. It is different now, and having a hard time defining our identity. We are getting I like the difference—but still I feel that link.”

48 Ceramics Monthly

The salt-glazed stoneware of the four Martin Brothers The Martin Brothers reflects artistic styles and literary issues of Victorian England. Gothic revival fantasies and Dickensian charac­ byJ im Te Krony teristics are particularly apparent in the Martinware “curiosities” featured in “Boobies, Boojums and Snarks,” an exhibition shown at the Jordan-Volpe Gallery in New York City through February 13.—Ed.

Robert Wallace,, Walter, Edwin and Charles Martin were among the first of the independent English artist/ Below Chief decorator Edwin Martin. potters. At a time when most potteries provided mass- produced items or utilitarian “country” ware, the Mar­ Below right Youngest of the four brothers, Charles tins began making one-of-a-kind objects—vases with managed their retail shop on Brownlow Street, Holborn. relief and incised decoration, expressive face pitchers, grotesque imaginary animal vessels functioning as spoon Opposite page warmers and lidded jars. While all the brothers did some Left Founder of the pottery, Wallace modeled the designing, each specialized in a particular aspect of the “Wallybirds” which became the most well known business founded in 1873 by Wallace, the eldest. Martinware. There is little doubt that Wallace’s early training strongly affected the Martin pottery style. Coming from Right After joining Wallace, Walter, at age 16, a poor family, he left school and was employed for several developed into a master thrower, firer and glaze chemist. years as a stonecarver in studios producing Gothic archi­ tectural ornaments. As a young man he was able to pur­ Edwin and Charles were the last to join the studio. sue an interest in ceramics at the Lambeth School of Art, Edwin’s principal job was to decorate pots; he had where student work was salt glazed at the nearby Doulton worked for only nine months at Doulton’s, but had be­ kiln. But the decorating and firing techniques for salt- come quite skillful at incising and glazing. Charles took glazed pottery were a closely guarded secret. Anxious over the management of their new retail shop at 16 to set up his own studio, Wallace traveled for several Brownlow Street, Holborn. (Before, the Martins had sold months, visiting potteries in Staffordshire and Devon, their wares in London, arriving with pots crammed into collecting clays, constantly on the lookout for pertinent carpet bags.) As the most impressionable of the brothers, information. On his return to London in 1872, he went Charles suggested new ideas from exhibitions, museums to work as a designer and modeler at the Fulham Pottery. and books; he often passed along comments made by A year later he established the firm R. W. Martin, visitors to the shop, resulting in some modifications of the arranging to fire wares at Fulham. brothers’ ware. Joining his brother, 16-year-old Walter soon became a In 1877 the Martins moved their studio to an aban­ master at throwing large pots—good enough that other doned soap factory in Southall. Situated on the north potteries believed Wallace had hired an expert potter bank of the Grand Union Canal, their new headquarters from a rival company. Also determined to solve the had ready access to cheap and safe transportation for the mysteries of salt glazing, Walter converted his mother’s firm’s ware. Here, the Martins began an unusual tradi­ scullery fireplace into a miniature kiln, which overfired tion. Influenced by reports of the discovery of tools, and threatened to burn down the house. When the artwork and large sums of money, all hidden by John brothers leased a disused kiln, Walter became the firer, Dwight (a 17th-century potter), they began to set aside as well as the glaze chemist, chief thrower and mixer of the cream of each firing. No one knew where this collec­ clays (from deposits in western England). tion was hidden until after Wallace’s death in 1923, Double-sided face jug (the face on the opposite side is sneering), approximately 10 inches in height, sandy matt glaze, by the Martin brothers. Photos: Scott Hyde and courtesy of ]ordan-Volpe Gallery

52 Ceramics Monthly

when the cache was found beneath the floorboards of the Edwin began to concentrate on making organic forms Southall pottery. with vegetable skin-like surfaces, and the blue and brown In the mid-eighties the “canal bank” influence made painted oxides gave way to a range of glaze colors. its appearance in the Martins’ work and thereafter Ed­ Early in 1910 the Brownlow shop burned and most of win’s lightly etched designs included birds, flowers, reeds the brothers’ ware was destroyed by firemen putting out and grasses, pond life and denizens of the sea. Around the blaze. Charles never recovered from the shock and the same time Wallace began modeling the strange birds soon died. Two years later death claimed Walter while (“Wallybirds”) that became the most well-known of he was demonstrating at the Royal Institution on Alber- Martin figures. Ranging from 1 to 48 inches in height marle Street. Unfortunately, neither of the remaining (most are 6—12 inches), the Wallybirds were often brothers could decipher his glaze formulas and Martin­ grouped in pairs or triplets on one base, and feature the ware production ceased. same sort of mischievous or sinister expressions as on the Although the brothers were potters for more than 40 pitchers fashioned with human faces. years, relatively little of their work survives. Their initial After 25 years of production, the Martins felt they attempts at firing to the high temperature required for needed some fresh ideas and subsequently decided to salt glazing were often painful experiments. Once, out of attend the Paris Exhibition of 1900—where they must a firing of 600 pots, only one was salable. This fetched 25 have been surrounded by art nouveau decoration in every guineas and represented the financial return on a year’s medium. Abandoning their former designs for modeled work for four men. Today collectors pay much higher surfaces, texturing and ribbings, the Martins turned to prices—a Wallybird recently sold at auction for about the gardens along the canal for inspiration. Walter and $15,000.

Pair of covered jars, 9 inches in height, brown, blue and white salt-glazed stoneware: mischievous or sinister?

54 Ceramics Monthly

Top Walter, Wallace and Edwin pose for a publicity photo in their studio, 1912. Above, far left Covered jar (Wallybird with deep-set eyes), 11 inches in height. Above, left “W allybird” tobacco jar, 11 inches in height, stoneware. Above Dragon vase, stoneware with sgraffito decoration. Above right Stoneware vase, thrown, with sgraffito, carving.

56 Ceramics Monthly

American Earthenware

Smoked in sawdust, low-fire salted, left unglazed or astonishing. I always thought that pottery was pottery multifired in oxidation, variety of process characterized and porcelain was just another type of clay. As a 20th- the diversity of objects by 40 contemporary ceramists century artist, quality for me has never been in materials, whose work was presented recently in “Earthenware but only in the results achieved through a balancing of USA,” a national juried exhibition at the Hand and the materials and ideas ... an attitude shared by many other Spirit Gallery, Scottsdale, Arizona. “The history of ce­ ceramists. For although this exhibition is entitled Earth­ ramics is primarily that of earthenware,” observed juror enware USA, the quality of the work does not reside in Wayne Higby, of Alfred University, New York. “How­ some mysterious process or material, but in the freshness ever, for centuries the goal of potters was to transcend of expression enhanced by a knowledge of tradition. this humblest of materials and produce increasingly fine, “One chooses to work in earthenware because of the white, jewel-like ceramics. With the accomplishment of softness of the final product, or because of the great this goal through the discovery and development of por­ range of brilliant color available, or for the intimacy and celain came a growing assumption that quality was inher­ immediacy of the fire at low temperatures. All of these ent in material. As the West celebrated intellectual and aspects trigger or intensify an aesthetic ideal, and it is scientific power, the focus on material perfection became this ideal that is at the heart of quality. Perfection in an abstract ideal in ceramic art. ceramic art is not the captive of science, skill or craft; it “Not long ago, I was told by an art critic/collector that is the truth achieved in an unerring balance between pottery was one thing, but porcelain was art. This was these things and the free human spirit.” Photos: Dan Bailey, Abe Frajnolich, Martin Linsey

58 Ceramics Monthly l Opposite page, left Vessel, 10/2 Below left “Crazed Quilt Cube Below Handbuilt earthenware form, inches in height, by Bennett Bean, No. 2,” 71/2 inches in height, by 15 inches in diameter, by Marge Levy, Blairstown, New Jersey. Robert Kibler, Los Angeles. West Lafayette, Indiana. Opposite page, right Plate, 28 inches Below “Drawing ” 14 inches in Bottom Press-molded platter, 19 in diameter, by Kurt Weiser, height, slipcast earthenware, stains, inches in length, feathered slip Helena, Montana. by James Jordan, Dallas. pattern, by Ben Ryterband, Boston.

May 1982 59 Decorative Abstractions

In “Decorative Abstractions/5 earthenware wall plates and Egyptian paste sculptures by Cliff Garten, plus large lidded jars by Curt Hoard, were presented, along with paintings by Lee Bjorklund and Stuart Nielsen, at the Minneapolis Institute of Arts. For this first showing of contemporary clay objects within the Minnesota Artists Exhibition Program, “the piling up and tight arrange­ ment of objects express the reciprocal agreement of four artists to embellish the room, integrating common aspects of their work, 55 Cliff explained. The gallery program is designed to respond to regional artists 5 need for exhibition space, artistic recognition and critical dialogue through bimonthly exhibitions of work selected by a panel of ten artists. During the show the exhibitors lead tours, discuss­ ing roles, process, materials and traditional art history with the public. Above Thrown covered jar, approximately 3 jeet in height, incised earthenware, painted slip and underglaze decoration , clear glaze overall, by Curt Hoard. Above right Incised earthenware jar, 4 feet in height, thrown, painted slip and underglaze, by Curt Hoard. Far right Tile detail, slip and underglaze decoration, by Curt Hoard. Left “Hold Back ” 6 feet in length, Egyptian paste on wire, with gold leafporcelain and acrylic; detail of a similar Egyptian paste sculpture, by Cliff Garten. Center right “Turkish Mambo ” 32 inches in diameter, earthenware, glaze, gold leaf, by Cliff Garten. Right Installation view of Decorative Abstractions” at the Minneapolis Institute of Arts.

60 Ceramics Monthly May 1982 61

Photos: courtesy of the Minneapolis Institute of Arts carved patterns. Quite different in feeling was his wax- Jepson Exhibition resist decoration: the fluid brush strokes more restrained and graceful than the terse, agitated slip work. Some re­ byT om Shafer peated patterns have become almost automatic, lively, unconstrained. Martha’s wax-resist decoration was very formal in con­ cept and execution. Compositions were complex and in­ Recent work by Stephen and Martha Jepson (Geneva, Florida) was shown in an exhibition at the Indianapolis tricately detailed with precisely controlled brush lines. Museum of Art. The overall impression was of color, Patterns were generally contained within the form, but richness and variety, although only three glazes were an arbitrary diagonal was sometimes effectively incorpo­ employed. A smooth, opaque white with intense (blue, rated. The influence of Chinese and Japanese pottery, red, orange, green) responses to coloring oxides was the especially Imari ware, was evident in asymmetrical com­ ground for wax-resist patterns, while slip-treated forms positions with overlapping elements: graceful scroll pat­ were glazed with one of two bright celadons. Some shapes terns, stylized flowers, diaper motifs. were complex (octagonal bowls with carved feet and Although Martha and Stephen work closely together, chunky covered jars reminiscent of Chinese bronzes), but using the same glazes and techniques, as well as some most of the thrown and press-molded pots presented un­ similar designs, their styles are distinctly different. This broken surfaces for polychrome decoration. contrast was especially evident with identical forms (press- Across these surfaces, Stephen’s slip decoration was molded by assistants) treated with their individual deco­ expansive and quickly executed in blue, green, pink and rative concepts. brown on a white slip ground. Platters often were divided The author A studio potter in Columbus, Ohio, Tom into diagonally oriented squares by incised lines, framing Shafer has written two books in the field, Pottery Decora­ repeatedly trailed motifs, spontaneous brush strokes and tion and The Professional Potter. Photos: Robert Wallace and courtesy of the artists

62 Ceramics Monthly Opposite page Press-molded dish, 18 inches square, incised, with slip trailing, by Stephen ]epson. Left Oval platter, 20 inches in length, by Stephen Jepson. Below Oval platter, 20 inches in length, with wax-resist decoration, by Martha Jepson.

Overleaf Above Oval platter, 20 inches in length, by Martha Jepson. Below Octagonal bowl with carved foot, 15 inches in length, by Stephen Jepson.

Albany Slip Clay in Oxidation Firing

byR ichard Zakin

Albany slip clay is one of the few glaze materials I proportion promotes glaze flow and melting (alumina would call truly indispensable. Stable and compatible discourages melting) ; the high and varied flux propor­ with a wide range of ingredients, Albany slip is a high tion encourages melting and rich glaze texture. iron, high impurity clay quarried near Albany, New A potter’s glaze repertoire can be expanded simply by York. It is available at most ceramic supply houses in the introducing Albany slip clay in place of like materials in United States and Canada. While not particularly good standard recipes. Just remember it cannot be substituted as a clay body ingredient (because of the impurities), it for kaolin or ball clay; rather, it should be substituted for can be extremely useful in a variety of glazes and is all or part of the feldspar. Adapted recipes tend to be not necessarily limited to dark-colored recipes (even very much like the originals, but with warmer color and though it fires to a dark color when used alone). For richer visual texture. potters who fire in oxidation, Albany slip is especially Albany slip is often considered a glaze in itself. It con­ helpful in encouraging richer color and visual texture. tains a significant amount of colorant (iron oxide), and Albany slip clay’s significant amounts of iron, calcium other oxides and carbonates may be added to it produc­ and other impurities promote complex surfaces. A typi­ ing handsome results. In small amounts, Albany slip is cal percentage analysis reveals its great variety of com­ likely to have a pleasing, softening effect on cobalt oxide ponents: silica—57.64, alumina—14.66, calcium—5.78, and copper carbonate; rich oranges and tans often occur iron—5.20, potassium—3.25, magnesium—2.60, sodium— with additions of red iron oxide and rutile or manganese 0.8, titanium—0.8, with traces of barium, strontium, dioxide. Glazes containing larger amounts of Albany slip lithium, manganese and lead. Loss on ignition (the mois­ produce deep browns and blacks when colored with ture, carbonates and organics which burn away in firing) copper carbonate and cobalt oxide, and rich tans and is 9.4. browns when colored with red iron oxide, rutile or man­ Compared to other clays, Albany slip is not like ball ganese dioxide. clay and kaolin; instead, it is closer in composition to a The following recipes include transparent, opaque, feldspar because of its high silica, low alumina and sig­ dark and highly textured Albany slip glazes for Cones 3, nificant flux content: 6 and 9: Carmel II Glaze (Cone 3) Gerstley Borate...... 10% Lithium Carbonate ...... 10 Albany Slip Clay ...... 52 Frit 3110 (Ferro) ...... 14 Cedar Heights Goldart Clay ...... 14 100% The high silica proportion, though not a melter itself, A satin amber, this recipe is very durable; with an addi­ combines easily with fluxes (melters). The low alumina tion of 5% red iron oxide, it yields a burnt umber color.

Stoneware pencil holder, approximately 4 inches in height, Woodland glaze sprayed over all, Titus glaze sprayed on top, by the author. Albany slip glazes may significantly vary in color from the typical black/ brown associated with this material used alone. May 1982 65 Carmel III Glaze (Cone 3) Brutus SRP Glaze (Cone 6) Bone Ash ...... 2% Bone Ash ...... 3.7% Gerstley Borate ...... 10 Dolomite ...... 14.0 Lithium Carbonate ...... 10 Lithium Carbonate ...... 4.0 Albany Slip Clay...... 50 Zinc Oxide ...... 0.3 Frit 3110 (Ferro) ...... 14 Wollastonite ...... 38.0 Cedar Heights Goldart Clay...... 14 Albany Slip Clay...... 40.0 100% 100.0% The glaze flow and visual texture are quite rich in this A rich honey yellow, this glaze is especially useful as an satin tan/amber recipe. overspray on other glazes. Bombay Base Glaze (Cone 3) Dolomite ...... 7.8% Mouse Black III Glaze (Cone 6) Gerstley Borate ...... 7.8 Bone Ash ...... 2% Lithium Carbonate ...... 2.2 Whiting ...... 10 Albany Slip Clay...... 33.3 Zinc Oxide (calcined) ...... 2 Frit 3110 (Ferro) ...... 15.6 Albany Slip Clay...... 86 Kona F-4 Feldspar ...... 22.2 Too% Kentucky Ball Clay (OM...... 4) 11.1 Add: Cobalt Oxide ...... 1% 100.0% Manganese Dioxide ...... 2% Add: Opax ...... 11.1% This economical cobalt/manganese combination pro­ A creamy matt, this glaze works well in combination with duces good blacks and grays. other glazes. Pine Tavern Base Glaze (Cone 3) Bohemia Base Glaze (Cone 6) Barium Carbonate ...... 8% Bone Ash ...... 3% Gerstley Borate ...... 16 Lithium Carbonate ...... 8 Lithium Carbonate ...... 2 Magnesium Carbonate ...... 20 Albany Slip Clay...... 18 Wollastonite ...... 14 Frit 3110 (Ferro) ...... 20 Albany Slip Clay...... 25 Kona F-4 Feldspar ...... 36 Cedar Heights Goldart Clay ...... 30 100% 100% This durable satin matt base recipe yields color variations Goldart works very well in Albany slip glazes, contribut­ with the following additions: ing more iron and titanium than do ball clays or kaolins. 1.5% Cobalt Oxide...... Slate Blue Bohemia is a burnt-orange recipe that will yield red- 2% Copper Carbonate...... Soft Grass Green brown with an addition of 5% red iron oxide. Walworth Glaze (Cone 3) Cambria Base Glaze (Cone 6) Barium Carbonate ...... 8% Barium Carbonate ...... 8.70% Gerstley Borate ...... 20 Lithium Carbonate ...... 4.34 Lithium Carbonate ...... 2 Talc ...... 21.74 Albany Slip Clay...... 20 Albany Slip Clay...... 21.74 Frit 3110 (Ferro) ...... 20 Kona F-4 Feldspar ...... 21.74 Kona F-4 Feldspar ...... 25 Cedar Heights Goldart Clay ...... 21.74 Kentucky Ball Clay (OM...... 4) 5 100.00% 100% Add: Zircopax ...... 8.70% This translucent slate blue glaze is somewhat shiny, very durable and especially suitable for functional ware. A durable cream-tan satin glaze, Cambria yields soft blue with an addition of 1% cobalt oxide. Although less economical to fire than Cone 3 glazes, Cone 6 Albany slip recipes encourage richer color and Lindonville Glaze (Cone 6) visual textures. Barium Carbonate ...... 10.99% Pitcarin Glaze (Cone 6) Gerstley Borate...... 19.78 Gerstley Borate ...... 3.0% Lithium Carbonate ...... 2.75 Lithium Carbonate ...... 2.0 Zinc Oxide (calcined) ...... 0.55 Talc ...... 10.0 Wollastonite ...... 21.98 Zinc Oxide ...... 0.5 Albany Slip Clay...... 26.37 Albany Slip Clay...... 79.5 Kentucky Ball Clay (OM 4) ...... 17.58 Kentucky BallClay (OM...... 4) 5.0 100.00% 100.0% Add: Opax ...... 9.89% Pitcarin is a durable tan-orange recipe. This durable gloss glaze has strong visual texture.

66 Ceramics Monthly Mycenae Glaze (Cone 6) The previous chocolate brown glaze has an interesting Bone Ash (artificial) ...... 6.1% flow pattern which emphasizes form and texture. Dolomite ...... 20.4 Lithium Carbonate ...... 2.1 Castle Engobe (Cone 6) Albany Slip Clay...... 36.7 Barium Carbonate ...... 7.95% Kentucky Ball Clay (OM 4) ...... 16.3 Lithium Carbonate ...... 2.27 Flint ...... 18.4 Whiting ...... 13.64 100.0% Albany Slip Clay...... 25.00 Add: Zinc Oxide (calcined) ...... 4.1% Kona F-4 Feldspar ...... 22.73 Mycenae is a durable, soft-yellow, satin glaze. Kentucky Ball Clay (OM...... 4) 28.41 100.00% Burboe Glaze (Cone 6) Add: Opax ...... 13.64% Barium Carbonate ...... 6.8% Cobalt Oxide ...... 2.27% Bone Ash ...... 6.8 Manganese Dioxide ...... 2.27% Dolomite ...... 11.4 Rutile ...... 4.55% Lithium Carbonate ...... 2.3 A vitreous engobe, this recipe should be applied as a thin Albany Slip Clay ...... 22.7 coating to avoid covering fine detail; almost metallic, it Kona F-4 Feldspar ...... 22.7 works well on sculpture. Kentucky Ball Clay (OM 4) ...... 27.3 100.0% While aware of the economic disadvantages of firing Add: Opax ...... 9.1% at Cone 9, it cannot be denied that many Albany slip Zinc Oxide (calcined) ...... 4.5% glazes formulated for this temperature are unusually rich. Red Iron Oxide ...... 2.3% Rutile ...... 2.3% Thornden Base Glaze (Cone 9) A satin matt, this is a burnt-orange glaze with some visual Dolomite ...... 20.0% texture where thick. Albany Slip Clay ...... 22.2 Custer Feldspar ...... 35.6 Vosburg Glaze (Cone 6) Kentucky Ball Clay (OM 4) ...... 22.2 Bone Ash ...... 6.25% Dolomite ...... 18.75 100 .0% Lithium Carbonate ...... 2.08 Add: Zircopax ...... 11.1% Albany Slip Clay ...... 20.83 This durable, soft, ivory satin matt produces gray-blue Nepheline Syenite ...... 31.25 with the addition of 1% cobalt carbonate. Kentucky Ball Clay (OM 4) ...... 11.46 Burnet Glaze (Cone 9) Flint ...... 9.38 Bone Ash (artificial) ...... 1% 100.00% Dolomite ...... 14 Add: Copper Carbonate ...... 1.25% Gerstley Borate ...... 5 Rutile ...... 4.17% Albany Slip Clay...... 60 This durable recipe is a rich grassy green with strong Cedar Heights Goldart Clay ...... 20 visual texture. 100% Arkport Glaze (Cone 6) Shiny, translucent and extremely durable, this glaze is Bone Ash ...... 6.3% a deep amber color. Lithium Carbonate ...... 2.1 Wollastonite ...... 22.9 Euclid Glaze (Cone 9) Albany Slip Clay...... 25.0 Bone Ash ...... 3% Nepheline Syenite ...... 8.3 Lithium Carbonate ...... 4 Kentucky Ball Clay (OM...... 4) 35.4 Magnesium Carbonate ...... 20 100.0% Wollastonite ...... 14 Add: Zinc Oxide (calcined) ...... 4.2% Albany Slip Clay ...... 27 Copper Carbonate ...... 2.1% Cedar Heights Goldart Clay ...... 32 Straw yellow to green in color, this durable glaze is fairly 100 % shiny and smooth, with some visual texture. Caramel-orange to brown in color, this durable satin matt glaze has strong visual texture. Haskinville Glaze (Cone 6) Lithium Carbonate ...... 2% Brighton Glaze (Cone 9) Zinc Oxide (calcined) ...... 2 Dolomite ...... 18% Albany Slip Clay ...... 70 Gerstley Borate ...... 10 Nepheline Syenite ...... 12 Albany Slip Clay ...... 52 Edgar Plastic Kaolin ...... 14 Cedar Heights Goldart Clay ...... 20 Too% 100% Add: Copper Carbonate ...... 2% This durable recipe is a translucent gold-ocher gloss. May 1982 67 Colvin Glaze (Cone 9) Titus Glaze (Cone 9) Bone Ash ...... 4% Barium Carbonate ...... 12% Gerstley Borate ...... 16 Dolomite ...... 22 Albany Slip Clay ...... 65 Albany Slip Clay ...... 32 Cedar Heights Goldart Clay...... 15 Custer Feldspar ...... 12 100% Kentucky Ball Clay (OM...... 4) 22 Shiny, transparent and durable, this glaze is a warm 100% brown. Add: Red Iron Oxide ...... 10% This saturated-iron glaze is a rich earth brown, with Quintard Glaze (Cone 9) darker areas of visual texture. Dolomite ...... 20.0% Potters who enjoy working with Albany slip clay may Albany Slip Clay...... 22.2 also want to experiment with locally available high- Custer Feldspar ...... 35.6 impurity clays. Though not identical, these materials can Cedar Heights Goldart Clay ...... 22.2 serve as interesting substitutes for Albany slip. Local clays 100.0% may not offer much real economy (while free, they re­ Add: Zircopax ...... 11.1% quire time-consuming preparation and testing), but in This rich ivory glaze offers a durable, opaque, satin many cases the results offer a nice variation. surface. Often found by the banks of streams and lakes, these clays generally contain pebbles and twigs. They are most Woodland Glaze (Cone 9) easily cleaned in the form of a fairly thin slip passed Bone Ash ...... 1% through three screens: the first very coarse (perhaps 2 Dolomite ...... 24 mesh), the next fairly coarse (a kitchen sieve works well), Lithium Carbonate ...... 3 and finally a 60-mesh potter’s sieve. When dry, the local Wollastonite ...... 14 clay is used in the same manner as Albany slip. Albany Slip Clay...... 24 Cedar Heights Goldart Clay ...... 34 The author A frequent contributor to CM, Richard Za­ Too% kin is on the ceramics faculty at the State University of Color varies from yellow to burnt orange with this satin New York, Oswego. He is the author of a recently pub­ matt glaze marked by rich visual texture. lished book, Electric Kiln Ceramics.

Handbuilt pencil holder, approximately 4 inches in height, oxidation-fired to Cone 6 with Albany slip-containing glazes, by Richard Zakin.

68 Ceramics Monthly May 1982 69 Itinerary Continued from Page 25 Clay Pot gallery, 162 Seventh Avenue. New York, Hastings-on-Hudson May 8— June 6 “Grass Roots: Form and Photo,” an exhibition of ceramics and photog­ raphy, includes raku sculpture by Gerrie Shapiro and porcelain forms by Lynn Small; at the Gallery at Hastings-on-Hud- son, Municipal Building. New York, New York through May 9 “Young Americans: Award Winners,” an exhibition featuring the work of 19 crafts­ persons; at the American Craft Museum, 44 West 53 Street. through May 15 Ceramics by Clifford Mendelson, Phyllis Folk and Madeline Lane; at Greenwich House Pottery, 16 Jones Street. through May 16 “A Selection from the Permanent Collection,” a 20th anniver­ sary exhibition, includes ceramics; at the Museum of American Folk Art, 49 West 53 Street. through May 16 “The Museum and the Creative Artist,” includes clay sculpture by Vera Lightstone; at the American Museum of Natural History, Akeley Gallery, 79 Street and Central Park West. through May 30 “The Communion of Scholars—Chinese Art at Yale,” a selec­ tion of objects from the Yale University Art Gallery, including Ch’ang-sha ceram­ ics; at the China Institute Gallery, 125 East 65 Street. New York, Rochester May 1—26 Low- fired, salt-glazed handbuilt porcelains by Jacqueline and Roy Owens and Aurora Potters; at Hopper’s Gallery, 647 South Avenue. New York, Syracuse through May 31 Bi­ annual regional exhibition of work byup­ state New York artists, includes ceramics. May 7—June 27 “Martin Brothers Pot­ tery,” an exhibition of decorated vases, face pitchers and sculptural birds by these turn-of-the-century British potters; both at the Everson Museum of Art, 401 Harri­ son Street. New York, Utica through May 2 “Found in New York’s North Country: the Folk Art of a Region,” includes ceramics from New York State north of the Mohawk River Valley; at Munson-Williams-Proctor Institute, 310 Genesee Street. New York, White Plains through May 16 “Mamaroneck Artists Guild 29th Open Juried Exhibition”; at the Community Unitarian Church, Rosedale Avenue and Sycamore Lane. Ohio, Cleveland through May 12 A group exhibition including porcelain works by Joan Rosenberg; at the Mather Gallery, Case Western Reserve University, 11111 Euclid Avenue. through May 30 “The May Show,” an exhibition of works by artists of the West­ ern Reserve; at the Cleveland Museum of Art, 11150 East Boulevard. May 7—30 “Art in the Garden,” a mul­ timedia show; at Sylvia Ullman’s Ameri­ can Crafts Gallery, 13010 Woodland Ave. Ohio, Columbus May 2—25 An exhibi­ tion of the Harry Schneider collection,

70 Ceramics Monthly includes ceramics; at Columbus Cultural potters; at Helme House, 1319 Kingstown Arts Center, 139 West Main Street. Road. May 2—31 Ceramics by Bill and Leslie Genzler; at Helen Winnemore’s, 150 East Rhode Island, Providence May 14—23 Kossuth at Mohawk, German Village. “Rhode Island School of Design Graduate Students” annual exhibition; at Rhode Ohio, Middletown through May 7 “3rd Island School of Design Museum of Art. Gala Fine Arts and Crafts Exhibition”; at Middletown City Building, One City South Carolina, Charleston May 1—June Center Plaza. 6 “Three Women—Three Views,” an ex­ hibition including clay sculpture and pot­ Ohio, Toledo through May 30 “Animals tery by Bette Mueller-Roemer; at Nancy’s in Ancient Art from the Leo Mildenberg Gallery, 38 Queen. Collection,” includes ceramic animal ves­ sels and sculpture from ancient Near East­ Texas, San Angelo May 3—28 “1982 ern, Egyptian and classical cultures; at the Kiln God Festival”; at Angelo State Uni­ Toledo Museum of Art, Monroe Street at versity Center. Scottwood Avenue. Washington, Cheney through May 30 “National Ceramics Invitational: All Ohio, Valley View May 8—9 Recent Clay,” features new work by Larry Clark, work by Moira Beale, Miaja Gruzitis, Don Cathleen E. Elliott, Dick Evans, Andrea Holzman, Marjorie Paller and Johanna Gill, John Gill, Liza Halvorsen, Ron Judd, Vandenbroek; at the Hothouse Pottery Barbara Jensen Lamont, Mick Lamont, Gallery, 6744 Hathaway Road. Andrew Martin, Lynn R. Munns, Michael Nordstrom, John Rogers, Jim Romberg Ohio, Westerville through May 15 A and Dave Shaner; at Cheney Cowles group exhibition including ceramics by Memorial Museum. Mary Ellen Dwyer. May 1—June 12 “All Clay,” a three- May 20—July 3 A group exhibition in­ person exhibition of stoneware forms by cluding handbuilt raku pots by Barry W. Ken Ferguson, low-fire sculpture by Mar­ Kishpaugh; both at Herndon House, 40 garet Ford and raku and low-fire salt Winter Street. pieces by Kurt Weiser. May 7—28 “All Clay: E.W.U. Alumni Ohio, Wooster through May 2 “Func­ Exhibition”; both at Eastern Washington tional Ceramics 1982,” an exhibition of University. work by 29 ceramists from 14 states; at the College of Wooster art museum. Washington, Kennewick through May 31 Recent work by Kurt and Linda Johnson; Oregon, Portland May 3—28 Salt-fired at the Village Gallery, 8651 Gage Blvd. earthenware by Patricia Burns and Andrew Wisconsin, Milwaukee through May 3 An Balmer; at the Multnomah Art Center, exhibition of sculpture and functional pot­ 7688 Southwest Capitol Highway. tery by Abraham Cohn, Greg Miller and Pennsylvania, La Plume through May 7 Richard Woppert; at the Frame Up Gal­ “Fire and Ashes,” an exhibition of contem­ lery, 111 West Milwaukee Street. porary wood-fired ceramics; at Keystown Junior College. Pennsylvania, Loretto through May 16 Fairs, Festivals and Sales “Continuity and Change: 3 Generations Arkansas, Eureka SpringsMay 7—9 of American Potters”; at the Southern “Eureka Springs Guild of Artists and Alleghenies Museum of Art, Saint Francis Craftspeople Sixth Annual Spring Art College Mall. Fair”; at the Convention Center. Pennsylvania, Philadelphia through May 28 An exhibition of the works donated by California, Livermore May 30 The tenth Peters Valley Craft Center’s resident and annual “Art in the Vineyard”; at Con- visiting artists, which will be auctioned cannon Vineyard, 4590 Tesla Road. May 1; at Philadelphia Art Alliance, 251 South 18 Street. Connecticut, Westport May 29—30 “Six­ May 14—June 24 “Fire and Ashes,” an teenth Annual Westport Handcrafts Fair”; exhibition of contemporary wood-fired ce­ at Staples High School, North Avenue. ramics; at the Civic Center Museum, Illinois, Chicago May 15—16 “The First Thirty-fourth and Civic Center Boulevard. Annual Loop College Art Fair,” a juried Pennsylvania, Pittsburgh May 7—June 13 show; at State Street Mall. “Associated Artists of Pittsburgh 72nd Annual Exhibition”; at Museum of Art, Indiana, Evansville May 8—16 “Ohio Carnegie Institute, 4400 Forbes Avenue. River Arts Festival”; at the Walkway, May 10—June 17 “Birds and Cats,” an downtown. exhibition of earthenware ceramics for Indiana, Indianapolis May 15—16 the house and garden by Ed Eberle and “Broad Ripple Village Art Fair”; on the George Johnson, at the Clay Place, 5600 grounds of the Indianapolis Art League, Walnut Street. 820 East 67 Street. Pennsylvania, Sewickley through May 1 An exhibition including ceramics by I. B. Iowa, Dubuque May 20—23 “Dubuque- Remsen; at Bird in the Hand Gallery, Fest” art fair; at Washington Park, Sixth 427 Broad Street. and Locust. Rhode Island, Kingston May 14—28 Massachusetts, Cambridge May 27—30 “Ninth Annual Earthworks Show,” a ju­ “Annual Spring Show and Sale,” new ried competition of works by Rhode Island Continued May 1982 71 Itinerary work by 26 potters and sculptors; at Rad- cliffe Pottery, 245 Concord Avenue. Massachusetts, Worcester May 14—16 “Worcester Craft Center 12th Annual Craft Fair”; at the Worcester Craft Cen­ ter, 25 Sagamore Road. Michigan, Troy May 6—8 “Somerset’s Twelfth Annual Art Invitational” show and sale; at 2801 Somerset Mall. Missouri, Marvel Cave Park May 1—16 “Silver Dollar City’s 6th Annual Spring Crafts Festival”; at Silver Dollar City. Mississippi, Laurel May 8 “Day in the Park,” arts and crafts show; at Mason Park, Seventh Avenue. New Jersey, Boonton May 7—9 “11th Annual Carriage House Crafts Show and Sale”; at 445 Vreeland Avenue. New York, Pound Ridge May 15—16 “Gallery in the Park”; at Pound Ridge Town Park, New York, Spring ValleyMay 7-—9 “The Green Meadow Invitational Pottery Show and Sale”; at Green Meadow Wal­ dorf School, Hungry Hollow Road. Ohio, Cincinnati May 12—16 “Appala­ chian Festival 1982”; at Cincinnati Con­ vention Center, Fifth and Elm Streets. South Carolina, Charleston May 28—30 “Fifth Annual Piccolo Spoleto Crafts Fair”; at Marion Square. South Carolina, Columbia May 1 “May- fest/Arts Festival”; at Senate and Bull Streets. Utah, Logan through May 1 “Cache Valley Potters’ Sixth Annual Spring Sale”; at Utah State University Student Center. Virginia, Portsmouth May 29—31 “Twelfth Annual National Seawall Art Show”; at Seawall Boardwalk.

Workshops California, Richmond May 2 and 15 “Pit Firing,” a workshop with Andree Thomp­ son, includes a slide presentation, with a demonstration on burnishing and forms appropriate to smoke and glaze patterns. Participants will pit fire their own work. Fee: $15 for members of the Richmond Art Center; $17 for nonmembers. Con­ tact: Richmond Art Center, Civic Center Plaza, Richmond 94804, or call: (415) 231-2163. Connecticut, Brookfield May 1—2 “Col­ ored Clay and Inlay Workshop” will in­ clude mixing clays, body recipes, trans­ parent glazes and millefiore technique. Instructor: Katie Kazan. Fee: $80. May 8—9 “Alternative Fuels for Potters,” an overview of renewable and recycled resources of energy. Instructor: Harriet Brisson. Fee: $75. May 22—23 “Surface Effects for Potters,” colored clays, slips, stains, press molds and

72 Ceramics Monthly firing techniques. Instructor: Elizabeth Clay Art Center, 40 Beech Street, Port MacDonald. Fee: $75. Chester 10573, or call: (914) 937-2047. May 29—30 “Spray Glazing for Special Effects” will explain techniques for ap­ New York, Scarsdale May 2 “Large Scale plying glaze to earthenware, raku, porce­ Sculpture,” a demonstration and lecture lain or stoneware. Instructor: Nancy by Elsbeth Woody. Rawls. Fee: $75. For more information May 12—14 “Neriage,” a workshop with on these workshops contact: Brookfield Makoto Yabe. Craft Center, Box 122, Brookfield 06804, May 16 “Surface Treatment for Archi­ or call: (203) 775-4526. tectural Environments,” a demonstration and lecture by Marilyn Fox. Connecticut, West Hartford May 3—6 A May 23 “Slab Construction for Bas-relief 4-day workshop with Ron Nagle will in­ and Collage,” a demonstration and lecture clude mold making, slip casting, china by Dale Zheutlin. paints and multifiring processes. For more May 24—26 “Mold-making for sculp­ information contact: Walter Hall, Hart­ ture” with Robert Sedestrom. For infor­ ford Art School, University of Hartford, mation on all these events contact: Art 200 Bloomfield Avenue, West Hartford School, YM/YWHA of Mid-Westchester, 06117, or call: (203) 243-4393. 999 Wilmot Road, Scarsdale 10583, or call: (914) 472-3300. Georgia, Carrollton June 7—19 “Zinc Crystalline Workshop” with Cameron Co­ North Carolina, Brasstown May 23—29 vert. For information contact: Continuing A session on primitive pottery with Mar­ Education, West Georgia College, Carroll­ cia Bugg. For more information contact: ton 30117, or call: (404) 834-1360. John C. Campbell Folk School, Route 1, Brasstown 28902, or call: (704) 837-2775. Illinois, Chicago May 8 A workshop with Tony Hepburn, includes slide presenta­ Oklahoma, Stillwater May 17—21 “The tion and lecture on risk-taking. Fee: $15 Ceramic Surface,” a workshop on surface includes lunch. possibilities with Gloria Dearcangelis. For June 12—13 A session with Tom Turner more information contact: Richard Bivins, and Richard Hensley, includes throwing Department of Art, Oklahoma State Uni­ demonstrations, slide show and lectures. versity, Stillwater 74078, or call: (405) Fee: $40 for two days, $22 for one. For 624-6016, or 624-5647. more information about these events con­ tact: Kristin Poole, Lill Street Gallery, Pennsylvania, Erie May 14—15 “Michi­ 1021 West Lill Street, Chicago 60614, or gan Clay,” a slide lecture and workshop call: (312) 248-4414. with John and Susanne Stephenson dem­ onstrating their work. Maine, Unity June 26—July 3 “Elder- June 11 “Arbitrary Forms,” a slide lec­ hostel—Ceramics for Anyone” with Gret- ture and discussion with Robert Milnes chen Lucchesi on handbuilding and throw­ and Martha Holt. ing. Contact: David Purdy, Unity Col­ June 18—19 “Surface Decoration on Por­ lege, Unity 04988, or call: (207) 948- celain,” will include throwing, trimming, 3131, extension 234. embossing and decorating, with Dick Massachusetts, Boston June 1—August 27 Schneider. For information on all these Massachusetts College of Art is offering a events contact: Erie Art Center, 338 West series of day and evening workshops: Sixth Street, Erie 16507, or call: (814) “Handbuilding” with Janna Longacre, 459-5477. “Wheelthrowing” with Ben Ryterband, “Fire Painted Clay” with John Barrimore Pennsylvania, Somerset June 21—August and “Wheelworking” with Cate Hubbard. 28 A series of 1-week pottery workshops. For further information contact: Program Fee: $95, plus materials. Contact: Hidden of Professional and Continuing Education, Valley Pottery, Route 4, Box 243, Somer­ Massachusetts College of Art, 364 Brook­ set 15501, or call: (814) 443-1414. line Avenue, Boston 02215, or call: (617) 731-2340. Rhode Island, Providence May 24 —June 10 A 3-week intensive workshop on raku New York, New York June 6 “One of a and low-temperature earthenware firings Kind Functional Pottery” with Sandy Si­ with Richard A. Kenyon. For more infor­ mon. Fee: $20. Contact: Janet Bryant, mation contact: Richard A. Kenyon, 92nd Street YM/YWHA, 1395 Lexington Rhode Island College, Providence 02908, Avenue, New York 10028, or call: (212) or call: (401) 456-8054. 427-6000, extension 172. June 28—August ,7 August 9—September South Dakota, Madison May 22—30 18 Two 6-week workshops on wheel “Low Fire Salt Glaze Ceramics” with throwing, handbuilding, glazing and fir­ Tony Martin. Registration deadline: May ing, for beginning through advanced stu­ 12. For further information contact: Con­ dents, with Sue Aaronson and Karon nie Herring, Art Department, Dakota Doherty. For information contact: Lisa State College, Madison 57042, or call: Kleinholz, Earthworks, 251 West 85 St., (605) 256-3551, extension 219. New York 10024, or call: (212) 873-5220. Texas, Dallas May 21—22 A session with New York, Port Chester June 7-—11 Philip Leach on English medieval encaus­ Wheel throwing for advanced students tic tile making and traditional methods of with Jim Makins. North Devon potters. For more informa­ June 14—July 12 One- or two-week work­ tion contact: Craft Guild of Dallas, 6923 shops on ceramic sculpture with Elsbeth Snider Plaza, Dallas 75205, or call: (214) Woody. 857-2271. July 19—23 A session on Japanese wheel throwing techniques with Makoto Yabe. Utah, Moab June 14—25 “Canyonlands Fees: $125 for one week; $225 for two. Primitive Pottery and Kiln Building Work- For information on these events write: Please Turn to Page 76 May 1982 73 Anna Siok Faculty artist Anna Siok presented new clay works and drawings at Greenwich House Gallery in New York City through March 13. For figures in “The Animal Kingdom Is At Hand,” the artist drew on slab plates and pots, added three-dimen­ sional creatures to vessel rims, and bal­ anced cut-slab beasts to stand alone.

Cut slab “Hippo” From the exhibition, “Hippo” is approxi­ mately 11 inches in length, reduction- fired stoneware. Gail Corcoran Clay-on-wood wall figures by Atlanta artist Gail Corcoran were featured re­ cently at E-clectic Design, a gallery open only to interior designers and their cus­ tomers, in Boca Raton, Florida. Among

‘Lady with Heron Fan . . .** the forms shown were “Lady with Heron Fan and Tiger Lily,” above, 32 inches in

You are invited to send news and photographs about people, places or events of interest. We will be pleased to consider them for publication in this column. Mail submissions to: News & Retrospect, Ceramics Monthly Box 12448, Columbus, Ohio 43212. 3

74 Ceramics Monthly News 8c Retrospect height; and “Lady with Peonies and then control its future. Due to some re­ 18 inches in height, thrown and altered Hummingbirds,” 68 inches in height. cent sales, I was able to return the porcelain, with transparent glaze. Working with 5/2-inch-thick whiteware $18,500. . . ’ Prospective purchasers of slabs, Gail sketched the images and cut ‘Portrait of George 5 are directed to Arne- them into segments “like a puzzle.” son’s agent, Diana Fuller of the Hansen Todd Piker Treated with stains, and bisqued, the seg­ Fuller Goldeen Galleries. . . . ‘sales of Functional wares, wood fired by Todd ments were then clear glazed and fired to other works establish the [portrait’s] fair Piker and his assistants at Cornwall Bridge Cone 05 in oxidation. After a Cone 018 market value at $50,000,’ says Arneson.” Pottery (Connecticut), were exhibited at Surroundings Gallery in Soho, New York City, through March 20. “It was 1970, in Studio Potter Staff Changes Cornwall, England, during my apprentice­ Louise Cort has joined the staff of ship to Michael Cardew, that I first saw Studio Potter magazine (Goffstown, New pots from the great folk traditions,” Todd Hampshire) as editorial associate. An au­ commented. “I saw Cardew’s pots, those thor and craft historian, she is addition­ of Shoji Hamada and Bernard Leach. I ally with the Freer Gallery of the Smith­ saw cooking pots from Nigeria, peasant sonian Institution, Washington, D.C. pots from Korea and China, and incred­ Co-editor Peter Sabin has returned to ibly handsome stoneware pitchers from full-time studio work. North Devon. All had been made swiftly and with obvious vigor . . . then wood fired. I resolved to learn and continue Investment Recommended those techniques and traditions and, in The Art Economist, an information ser­ 1974 in Cornwall Bridge, Connecticut, vice for collectors, dealers, corporations, built my own wood-fired kiln.” investors, critics and artists, recently ad­ Production is now a group effort, with vised buying works by Boulder, Colorado, visiting potters Robert Barron and Mark ceramist Betty Woodman. “We recom­ Hewitt, from Australia and England re­ mend Woodman’s less expensive plates spectively; decorator David L. Bean; and and vessels, in the $400 to $600 range, kiln-loader David Paton. “This 3-gallon although her larger, more ambitious pieces justifiably command prices as high as $3500.” Published twice a month, the newsletter casts a critical eye on art and the art market to report on “the individ­ uals who make the art world what it is and on the institutions they create,” pro­ vide financial analyses and forecast trends, emphasizing up-to-date news on the busi­ “Lady with Peonies . . .” ness of art. firing for lusters, Gail reassembled and glued the figures on saber saw-cut wooden silhouettes, then grouted the spaces be­ Janice Rowell tween segments. Photos: Gail Corcoran. “Porcelain Raku,” an exhibition of works reduced in natural fibers by Pacif­ ica, California, ceramist Janice Rowell, Moscone Update was on view at the Palo Alto Cultural The Robert Arneson bust of San Fran­ Center through April 18. Resin deposits cisco’s assassinated mayor George Mos­ cone, which caused such an uproar in art circles, has come out of the closet and for an indefinite time will be on display at the San Francisco Museum of Modern 3-gallon storage jar in Soho Art. Bringing this work back into the pub­ storage jar, 16 inches in height, was in­ lic eye is the result of activism by art spired by purely Western influences,” lovers, reports James Irwin, author and Todd explained. “The painted bird, exe­ photographer of the Ceramics Monthly cuted with cobalt pigment, is a motif with article on the censored work which ap­ the flavor of the decorations found on peared in the February issue. According American salt-glazed crocks of the late to Irwin, “supporters began picketing in 1800s. The pot was coated with white front of the San Francisco Museum of slip, then wood fired—fully exposed to the Modern Art to demand the bust be put ash and sodium in the kiln atmosphere.” on public display. The picketers were a Photo: Donald Pahl Heiny. fairly jovial group. Many carried placards with no words whatsoever—just abstract drawings.” The San Francisco Chronicle William Crutchfield reported that “the piece now belongs to Concerned with the relationship of Arneson, who has returned the $18,500 color, line and space, William Crutchfield advance on the $37,000 commission. After (Watsonville, California) employed a va­ consulting a lawyer, says Arneson, ‘it was riety of techniques for surface designs on apparent that while I may well be able to Porcelain “Bottle Neck Piece” stoneware and porcelain featured in a re­ use legal means to force the city to com­ and smoke from the burning fibers pat­ cent exhibition at del Mano Gallery in plete payment on the work, I could not terned forms such as “Bottle Neck Piece,” Continued May 1982 75 Itinerary Continued from Page 73 shop,” a 10-day session with Tim and Pamela Ballingham. Participants will dig local clay, make tools, build a kiln with available natural materials, handbuild and fire. Contact: K. Hancock, Box 938, Moab 84532, or call: (801) 259-7432. Washington, Bellevue May 20—21 “En­ glish Folk Pottery Techniques” with David Leach. Fee: $40. For further in­ formation contact: Bellevue Art Museum School, 10310 Northeast Fourth Street, Bellevue 98004, or call: (206) 454-3323. Washington, Cheney May 13—15 “All Clay,” a ceramic conference featuring guest artists Ken Ferguson working with stoneware, Margaret Ford with low-fire sculpture and Kurt Weiser with raku and low-fire salt glazing. Activities include demonstrations, slide lectures and three exhibitions. Contact: Bill Sage, Art De­ partment, Eastern Washington University, Cheney 99004, or call: (504) 359-2493. International Canada, Alberta, Banff May 31-—June 25 Two workshops on material awareness: “Earthenware,” with Walter Ostrum and guest artist John Gill (June 7—11); and “Stoneware,” with Franklyn Heisler and guest artist Wayne Higby (June 14—18). July 5—August 13 “Design Symposium IV,” with William Daley (July 5—9, August 10—12); Phillip Rawson (July 12—15); William Parry (July 19—22); Jim Melchert (July 26—29) ; and Frank­ lyn Heisler (August 4—6). Contact: Ce­ ramic Studio, Banff Centre School of Fine Arts, Box 1020, Station Banff, T0L 0C0, or call: (403) 762-6180. Canada, British Columbia, Kelowna May 17—June 11 A workshop with Denys James on handbuilding, constructing and firing raku and low-fire salt kilns. Contact: Community Education Services, Okana­ gan College, 100 K.L.O. Road, Kelowna VIY 4X8, or call: (604) 762-5445. Canada, Ontario, Toronto through May 2 “Hill Potters’ Guild” sale and exhibition; at one mile north of Highways 11 and 7, between Yonge Street and Bathurst Road. through May 2 “Annual Spring Open House” of the Potter’s Studio; at 2 Thorn- cliffe Park Drive, Unit 16. Canada, Quebec, Montreal through May 1 “Luc Beauparlant—Process and Obses­ sion.” May 7—29 “Pot Pourri,” juried exhibition of Quebec student ceramics; both at Inter­ action, Galerie d’Expressions Ceramiques, 4060 Saint Laurent, First Floor. Canada, Saskatchewan, Regina through May 18 “Recent Work” by Randy Wool- sey; at Regina Public Library, Glen Elm Branch Gallery. May 21—June 25 “Recent Work” by Randy Woolsey; at Regina Public Library, Sherwood Village Branch Gallery. England, Herefordshire, Ledburythrough Continued

76 Ceramics Monthly News & Retrospect Los Angeles. “The clay forms remain simple and unobtrusive, allowing greater freedom with glazes, oxides and wax re-

William Crutchfield’s 16-inch plate sist,” Bill explained. Although he limits himself to seven or eight glazes and a few oxides, application may involve airbrush, stencil, overlay, inlay and sgraffito. De­ signs on his latest works* such as the stoneware plate above, 16 inches in diam­ eter, with inlaid glazes, fired to Cone 10 in reduction, “have been somewhat un­ consciously influenced by the art of stained and leaded glass.” Jim Leedy “Recycled Life ” an exhibition of clay and mixed-media sculpture by faculty art­ ist Jim Leedy was presented recently at the Kansas City Art Institute.—Ed. People have always attempted to recon­ cile themselves to the presence of death. Jim Leedy’s “Recycled Life” works re­ bound many ancient attitudes, especially the Egyptian attempt to overcome death by ritual and sheer physical force. Death is existent in his constructions, part of an impenetrable fabric flung in the face of the void, holding it at bay. For works such as “Soul Wagon,” 4 feet in length, clay and mixed media, the artist employs found objects-—skeletons or par-

Ceramics and mixed-media “Soul Wagon” tially decayed carcasses—as fetishes. Pre­ served and decorated in an art context which arrests the decaying process, they are lovingly recycled and resurrected as Continued May 1982 77 Itinerary May 8 A three-person exhibition includ­ ing pottery by Walter Keeler and Jim Malone; at Collection Craft Gallery, 13 The Southend. England, Kent, Folkestone July 4—9 A pottery workshop on slab and throwing techniques for beginning to advanced stu­ dents. Instructor: Deirdre Mattin. Fee: £20. July 11—16 A pottery workshop with Gillian Bevan. Fee: £20. For further in­ formation on these events contact: Shep- way Adult Education Centre, Arts Centre, New Metropole, The Leas, Folkestone, or call: (0303) 56537. England, London through May 30 “West Coast Ceramics” by California artists, an exhibition on loan from the Stedelijk Mu­ seum, Amsterdam; at Crafts Council Gal­ lery, 12 Waterloo Place, Lower Regent Street. May 14—June 3 An exhibition of works by Alison Britton and Jacqui Poncelet; at Amalgam Art Limited, 3 Barnes High St. June 12—15 “The International Ceram­ ics Seminar and Fair,” 2000 years of por­ celain, pottery and glass; at Dorchester Hotel, Park Lane. For more information contact: I.C.S.F. Booking Office, 112 Brompton Road, London SW3 IJJ. England, Oxford May 17—June 16 “Dark Lustre,” an exhibition of ceramics by Sut­ ton Taylor; at Oxford Gallery, 23 High Street. France, Anthy June 12—September 18 Several one-week workshops at the border of Lake Geneva in France with instructor Liekie Schooneman. Emphasis will be on handbuilding and glaze technology for ce­ ramic murals. Fee: $250 per week includes tuition, materials, studio, live-in accommo­ dations, trips and transportation to and from airport. Six students per session. For further information contact: Liekie Schoo­ neman, 33 Les Savoyances, 74200 Anthy. France, Paris through May 15 Sculptures by Marc Emeric; at Galerie Farenheit, 48 Rue Dauphine. France, Saint Julien de Cassagnas July 5—August 28 Mas Cassac pottery is offer­ ing a series of 2-week workshops special­ izing in stoneware, for students at all levels. Registration includes materials, fir­ ings, lodging and meals. For further infor­ mation contact: Michel Simonot, Mas Cassac 31910 Saint Julien de Cassagnas, or call: (66) 85 65 65. Greece, Crete, Rethymnon July 2—Au­ gust 16 “Summer in Greece,” a study program including courses on earthenware and traditional decoration techniques (slips or engobes without glazes), sculp­ ture and art history of Crete. A deposit of $100 before May 15 is required. For more information contact: Louis Trakis, Sum­ mer Session in Greece, Manhattanville College, Purchase, New York 10577, or call: (914) 694-2200, extension 331 or 337. West Germany, Dusseldorf through June 30 An exhibition of ceramics by Takako Araki from Japan; at Hetjens-Museum, Schulstrasse 4.

78 Ceramics Monthly News & Retrospect expressions of the regenerative (creative) principle of art and life. “My intent is to deal as much as possible with the real, and as little as possible with illusion,” Jim commented. “I never try to hide how something is done. Usually I try to be honest to the inherent characteristics of the material, but never to the point where it restricts creativity. There are no rules. Tools, materials, processes and skills are finally after the fact. All of the pieces in ‘Recycled Life’ were related to dead forms given new symbolic life through art. I try to treat the fact of death in two ways: festively, not unlike the Mexican ‘Day of the Dead’ celebrations, and more seriously as a statement about man’s inhumanity to

Jim Leedy s 4-foot sculpture man.” (From the exhibition is this sym­ bolically decorated form, 4 feet in height.) The works physically strain into the space of the gallery, forcing direct audi­ ence confrontation. Reaction is inescap­ able since the artist compels us to engage his private world of fear and fantasy. We are shocked into the realization of the mortality of all living things, including ourselves. However, by externalizing and vividly materializing the spirit of death, Jim has in a way rendered it essentially harmless. Text: Michael Cadieux, photos: Gary Sutton. Israeli Workshop In an effort to draw public attention to environmental preservation concerns, the Israel Nature Reserve Association re­ cently sponsored an 18-day ceramics work­ shop in Machtesh Ramon. A craterlike erosional valley in the Negev desert, Machtesh Ramon provides a variety of clays (including a flint clay, kaolinites and bentonite) and raw materials for the local ceramics and glass industries. Led by Eial Zigelman, of the Har Hanegev Field School, 17 ceramists worked with the materials and conceptual elements of Continued May 1982 79 News & Retrospect the Negev landscape to produce individual sculptural statements. After fetching clay from nearby pits, we spent several days preparing suitable mix­ tures for each workshop participant. We wanted to avoid exploiting nature’s beauty, instead cooperating with the environment

Ceramics in the Negev desert in a modest way. My “House of Reality,” approximately 6 feet square, made from nearby earth mixed with water, and “Bowl of Hope,” approximately 13 feet in diam­ eter, made from prepared clay and fired on site, were designed to be “accepted” by nature. As participant Josef Blumenthal (Tel Aviv) noted: “The emphasis was on land­ scape ; the wild and hilly desert is an incentive for the concept of the artist’s work . . . far from the influence of ugly civilization.” Text and photo: Rayah Redlich. British Ceramics in New York Featuring handbuilt architectural forms by Val Barry, organic sculpture by Ursula Morley Price and intricately carved vessels by Angela Verdon, “British Pottery ’81” was presented at Graham Gallery in New York City earlier this year. Characteris-

Angela Verdon’s bone china vase tic of Angela’s work, this slip-cast bone china vase, 5 inches in height, was pierced, incised and polished. Photo: Ken Cohen. Ohio Clay Workers A juried exhibition of works by 30 members of the recently formed Clay Workers of Central Ohio was presented at

80 Ceramics Monthly Franklin University in Columbus through February 19. Surveying the diverse inter­ ests within the group, the selected objects ranged from decorative functional ware to

Ban Kajitani’s neriage vase sculptural forms, such as this neriage vase, 16 inches in height, by Ban Kajitani , fac­ ulty artist at Columbus College of Art and

Kathy Veverka’s stoneware teapot Design. Also shown in the exhibition was this stoneware teapot, 10½ inches in height, by studio potter Kathy Veverka, Hillard. Photos: Jo Dreve. Ruri A recent exhibition of thrown and handbuilt functional porcelain by Oregon ceramist Ruri was featured at the Law­ rence Gallery in Sheridan. For continuous designs “going from inside to outside, or all the way around” her work, Ruri deco­ rates with colored slips during the green­ ware stage. Favorite design techniques in- include zogan (a Japanese variation of Continued May 1982 81 82 Ceramics Monthly News & Retrospect inlaid slip), torn rice paper soaked in slip and applied to damp surfaces, and thickly

Ruri’s brushed slip vase brushed slip as in this vase, 16 inches in height, covered with semimatt white glaze, fired to Cone 10 in reduction. American Potter in Tahiti “Just beyond the Gauguin Museum, count two markets on the mountainside, up the dirt road and across the river from the pig farm. If you have trouble, ask for the man who makes pots. Anyone will know.” These directions will take you to a rural studio (30 miles from Papeete, Tahiti) established five years ago by Ghislaine and Peter Owen. Since Paul Gauguin put it on artists’ maps at the turn of the century, many have been lured to Polynesia. Peter’s dream to live on one of these islands was sparked by a family visit there when he was just 12. Later, intrigued with clay, Peter (at 14) began working at the Mud in Your Eye Pottery in Los Gatos, Cali­ fornia, sweeping floors in exchange for use of the facilities. After a summer ceramics course at the University of California at Santa Cruz, “where I learned good throw­ ing techniques,” and an apprenticeship with Mayer Schacter in Mendocino, Peter set up a pottery in his garage. While sup-

Peter and Ghislaine Owen porting himself with a wheel from his eighth grade teacher and a rented kiln across town, he met Ghislaine when she was an exchange student at the local high school. Both returning to her homeland, Continued May 1982 83 84 Ceramics Monthly News & Retrospect they were married and became the only potters currently in Tahiti. Largely self-taught, they “learn from reading, lots of experimenting, and from other people—especially children.”

A studio “just beyond the Gauguin Museum . ** . Taking advantage of the tropical cli­ mate, Peter throws all the ware at a wheel set outside the windowless studio. But sur­ face treatment is a cooperative effort. Their thrown and assembled forms are decorated with sgraffito patterns through blue slip (equal parts Kentucky Ball Clay, cobalt oxide and red iron oxide) or brown slip (equal parts Kentucky Ball Clay, red iron oxide and rutile). Ghislaine adapts old Polynesian designs originally carved on wooden bowls or ceremonial paddles. Addi­ tionally, local artist Romano Natua draws designs on their ware to capture the life around them—outrigger canoe races, the banana harvest, a bus at the marketplace. After bisquing, the pots are glazed with: Clear Glaze (Cone 10) Talc ...... 20% Whiting ...... 20 Nepheline Syenite ...... 20 Kaolin ...... 10 Flint ...... 30 Too% Add: Bentonite...... 2% The work is fired to Cone 10 in a 12- cubic-foot downdraft kiln. In a business new to Tahiti, the Owens have found there is a better market for large one-of-a-kind objects. By incorporat­ ing designs from local art and culture, their work has gained support in private and public sectors—several of their pots are displayed in government buildings in Papeete. Text and photos: Janet Kinnane. David Mahoney Glazed kiln shelves and extruded tube assemblages were among the wall forms by David Mahoney, featured recently in a one-man show at the Swearingen Gal­ lery in Louisville, Kentucky. The kiln shelves, some intact and some rearranged after being broken in use, were boldly decorated in geometric and stylized nature motifs with slip and commercial low-fire glazes (often mixing two or three to­ gether). Reliefs, such as “Sea Scroll,” 24 inches in length, were composed of ex- Continued May 1982 85 86 Ceramics Monthly News & Retrospect truded stoneware or porcelain—round, square or hexagonal tubes—arranged in

David Mahoney's “Sea Scroll” horizontal rows, glazed and fired to Cone 4 in oxidation. David’s philosophy has long been that materials alone do not determine the quality of work. What matters is what is done with them. As a Louisville high school teacher, he became tired of com­ plaints that students could not do good work because of the low-fire clay and commercial glazes issued by the public school system. He has since employed such materials to make sophisticated utilitarian and decorative works. Text: Ginny Marsh, photo: Tom Marsh. Bruce Dix Studio potter Bruce Dix, Epping, New Hampshire, recently presented a stone­ ware vase to President Ronald Reagan in the Oval Office at the White House.

A get-well gift for the President Made as a “get well” gift shortly after the President was shot, the vase is 17 inches in height, with saturated-iron glaze and bands of turquoise at the bottom and the shoulder, reduction fired to Cone 9. Myrna Goodman Playing on common words and phrases, mixed-media sculpture by Scarsdale ce- Continued May 1982 87 88 Ceramics Monthly News & Retrospect ramist Myrna Goodman was featured in an April exhibition at the Mamaroneck Artists Guild, Westchester, New York. “Stick Ball,” 9/2 inches in height, com­ bines a handbuilt and textured stoneware

Myrna Goodman’s “Stick Ball” ball with colored clay sticks, rope and a curved natural branch. The “ambiguities of language” expressed in the work are “often a satirical response to the disorder of modern life,” Myrna commented. Christine Le Page Burnished, sawdust-smoked whiteware by ceramist Christine Le Page, Belleville, Wis­ consin, was featured in a recent multi- media show at Sylvia Ullman’s American Crafts Gallery in Cleveland, Ohio. From

Sawdust-fired whiteware vessel/sculpture the exhibition, this vessel sculpture, 12 inches in height, was constructed with thrown and press-molded sections, incised, burnished, sprayed with terra sigillata (on all but the carved area) bisqued to Cone 012, and smoked briefly in 5sawdust. Irish Pottery at Bloomingdale’s Salt-glazed pottery by Nicholas Mosse Bennettsbridge, Kilkenny, was featured in } Continued May 1982 89 90 Ceramics Monthly News & Retrospect a model room during the recent “Irish Promotion” at Bloomingdale’s New York

Irish potter Nicholas Mosse City store. Among the forms exhibited by Nicholas and other contemporary Irish potters were basic tableware, kitchenware and reproductions of primitive Irish cot­ tage spongeware. I. B. Remsen “Fluid Elements,” a show featuring slip-decorated functional ware by Michi­ gan potter I. B. Remsen, was presented at the Bird in the Hand Gallery in Sewick- ley, Pennsylvania, through April 28. The artist learned marbling and feathering techniques, as on “Reticulated Bottle,” 17

“Reticulated Bottle” inches in height (Cone 10 stoneware), while studying in Sweden. “Because fossil fuels are scarce and electricity (from hydroelectric plants) is abundant in Swe­ den, most of the firing is in oxidation at the mid-range or lower temperatures; we used raw pot slips to do most of our deco­ ration. After setting up my own studio in Continued May 1982 91 92 Ceramics Monthly with finished porcelain, symmetry with News & Retrospect casualness, or quiet glazes with a visually Ann Arbor, I started exploring other spectacular array of color.” traditional slip techniques, including free- As the first show in the new gallery, “Progressions in a Personal Vision” fea­ tured a retrospective selection of forms as well as 30 current works, including double-walled jars, narrow-based, flared bowls with translucent rims, and vases with winglike pinched or torn-slab handles. Shown from the exhibition is this copper

I. B. Remsen’s slip brushwork hand trailing and brushwork,” as on the tea set above (the \l/

“Hurdling” ine the nature of structure and the join­ ing together of different materials,” Phyllis explained. “The pieces relate to folk art through the use of materials and through the literalness of images; but be­ cause of the obvious awareness of the dis­ tinction between the materials and the idea of the materials, they are more re­ flective than intuitive.” Photo: Gene Ogani. Mayer Shacter “The reconciliation of opposites is the essence of my work,” commented Mayer Mayer Shacter Shacter about his recent exhibition at the suggests a new direction,” he observed. Napa College Art Gallery (Napa, Califor­ “My work is a journey, not a destination. nia). “I attempt to resolve tensions cre­ I want to push every idea to its limit— ated by combining classic and contempo­ and then beyond.” Text: Leonard Breger , rary forms, massive claylike sculptures photos: Susan Page, Mayer Shacter. May 1982 93 r

94 Ceramics Monthly New Books

Apprenticeship in Craft dex and readers’ comments forms. $7.95. edited by Gerry Williams National Assembly of States Arts Agencies, Of interest to students and professionals, 1010 Vermont Avenue, Northwest, Suite this handbook (based on papers presented 316, Washington, D.C. 20005. at the 1978 Conference on Apprenticeship in Purchase, New York) offers personal Imari experiences and observations by 40 Ameri­ by Takeshi Nagatake can craftsmen, educators and government Sixth in the “famous ceramics of Japan” administrators. The question is whether series, this large-format volume discusses apprenticeship can be made economically the development of porcelain production viable and socially useful in the 20th cen­ in the Arita area. Shipped through the tury. As Michigan potter John Glick notes: port of Imari, these blue-and-white and “Too often the label apprentice is applied polychrome glazed wares soon became to any job in a studio—possibly to legiti­ known by that name in the West. The mize it. The apprentice candidate there­ secret of porcelain came to Japan with fore must realize, from the beginning of his potters brought from Korea in the early search for a position, that all openings will 1600s. They built kilns along the slopes of not offer the same chances for growing and Tengudani valley, in time adapting their learning.” Several contributors go on to wares to suit current tastes. Forms and de­ outline various situations (identifying the signs rapidly expanded upon a Yi dynasty apprentice’s and the craftsman’s rights) style to include Chinese Ming decoration. for working on a one-to-one basis or within “Old Imari wares reached their peak in a school program. The text’s four sections the mid 1760s. By this time, demand was focus on apprenticeship stages—finding, so great that porcelain wares were mass keeping, nurturing and releasing—to inves­ produced and used by all classes.” While tigate possible arrangements. 216 pages in­ traditional stoneware potteries were run cluding an appendix on National Endow­ by farmers on a seasonal basis, the typical ment for the Arts programs, selected bibli­ Imari porcelain workshop was centered ography and index. $9.50 (soft cover). around a kiln owner who employed spe­ Daniel Clark Books, Box 65, Goffstown, cialists to throw or form, decorate and New Hampshire 03045. fire the pots—filling orders from Japanese and foreign customers. 40 pages, including plate notes. 50 color plates. $17.75. Ko- All in Order: dansha International/USA, 10 East 53 Information Systems for the Arts Street, New York City 10022. by Mary Van Someren Cok with Henry A. Bromelkamp, Ellen Thurston and Thomas Wolf The New Potter’s Companion Since 1977, public arts agencies at com­ by Tony Birks munity, local, state and national levels For beginning potters, this expanded ver­ have been working toward compatible in­ sion of The Potter's Companion (published formation retrieval systems. Reporting on in 1974) offers step-by-step instructions the National Information Systems Project, for basic forming and decorating tech­ this guide discusses manual, mechanical niques. Since the text is written by an and electronic methods; notes the advan­ English potter, some terms may require tages of intercommunication; and suggests translation to American (“biscuit” is used nine steps to standardize various estab­ instead of “bisque,” “batwash” instead of lished systems. With the implementation “kiln wash,” etc.) and temperatures are of the National Standard for Arts Infor­ listed in Centigrade, nevertheless, expla­ mation Exchange, groups throughout the nations are quite clear overall. Empha­ nation “will be able to gather their sepa­ sizing throwing techniques, the book also rate information resources to identify both includes chapters on coiling, pinching, what they have accomplished collectively slab building and casting. Surface treat­ and where future energies should be con­ ment information covers greenware textur- centrated to increase and improve public ing and slip or glaze decoration, as well as understanding of and support for the providing 21 glaze recipes for various firing arts.” Planning for the time when all arts ranges. Following a discussion of kilns agencies will be able to provide com­ and firing methods are suggestions for parable data about programs, constituents setting up a studio. 168 pages, including and funding, the project offers financial a list of American, British and Australian and technical assistance to organizations suppliers, glossary and index. 200 black- adopting the National Standard explained and-white illustrations; 8 color plates. in Part II of the text. 191 pages, includ­ $16.96. Prentice-Hall, Inc., Englewood ing programming notes, bibliography, in­ Cliffs, New Jersey 07632. May 1982 95 Comment Continued from Page 29 deal with this single issue. The taking of photographs has assumed an im­ portance that almost matches the making of the objects. It is difficult to judge a poor photo of a good work. But the fact that poor work is often judged by a good photo has been regretted more than once. Because of the liberal feast of pro­ motion, it is becoming easier to iden­ tify with an image rather than an object. We plaster bulletin boards and walls with colored postcards, we seek out a person’s work with pic­ tures, we discuss a certain work with­ out having seen the actual piece. Too often this is done without knowing what we are missing. It is important to become aware that not all our senses are teased and stimulated by this cornucopia of images. Failure to realize this might seriously weaken our art and our­ selves. The author Lucy Breslin is currently in the graduate ceramics program at Kent State University, Ohio.

96 Ceramics Monthly