William C. Hunt...... Editor Barbara Tipton...... Associate Editor Robert L. Creager...... Art Director Ruth C. Butler...... Copy Editor Valentina Rojo...... Editorial Assistant Mary Rushley ...... Circulation Manager Connie Belcher .... Advertising Manager Spencer L. Davis...... Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates: One year SI8, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address: Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con­ sidered for publication. A booklet describing procedures for the preparation and submis­ sion of a manuscript is available upon re­ quest. Send manuscripts and correspondence about them to The Editor, Ceramics Month­ ly, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap­ ple Macintosh computer system. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature articles, Sugges­ tions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s arti­ cles are indexed in the December issue. Copies and Reprints: Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Copies in micro­ fiche are also available from Bell & Howell, Micro Photo Division, Old Mansfield Road, Wooster, Ohio 44691. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster: Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Copyright © 1985 Professional Publications, Inc. All rights reserved November 1985 3 4 Ceramics Monthly Ceramics Monthly Volume 33, Number 9 November 1985

Feature Articles The May Show...... 24 Long Island Pottery...... 29 Allan Winkler by Peter von Ziegesar...... 32 The Wiz Glaze: 08-10! by Gerald Rowan ...... 34 Taylormade Pottery by Trey South...... 36 Terry Moores...... 38 Portfolio: Incisive Clay by Frank Boy den...... 39 Sandy Simon: Eccentric Porcelain by Saunthy Singh ...... 49 James Stephenson ...... 52 Bartering Your Work by Ross W. Murphy...... 53 Think Before You Compute by Joe Weingarten...... 83 The Irony of Soft Paste by Michael Forrest...... 84

Departments Letters to the Editor...... 7 Where to Show...... 9 Questions...... 11 Suggestions...... 13 Itinerary...... 15 Comment: Taking Care of Reality by Lili Krakowski...... 21 News & Retrospect...... 59 New Books...... 80 Classified Advertising...... 86 Index to Advertisers...... 88

The Cover Sandy Simon in her Benicia, California, studio. Working with a Grolleg-based porcelain, this Midwest-trained potter decorates thrown, altered forms with brightly colored slips and stain-colored frit/clay “rocks.” For more information, turn to the article beginning on page 49. Photo: Gloria DeForest. November 1985 5 6 C eramics Monthly Letters September Comment Protest Potters, Zombies and Others I used to criticize avant-garde ceramics, Hi ya, Ersatz. Gee! You mean that I’ve In response to Harry Davis’s article (Sep­ but now I see how it infuses this craft with just returned from a five-week assistantship tember): Why all the fuss, Harry? If you new blood. There is no need to reinvent the at Arrowmont, located in the Great Smoky feel so uncomfortable with the ever-changing wheel, but new ways to travel can be ex­ Mountains (they don’t call ’em Great for ceramic world, why not crawl inside a never- plored. nothing, ya know!) as a “gofer”? changing casserole, which you probably crank Anna Gundlach I could’ve sworn I was learning stuff from out day in and day out. Lake Park, FI. some of the big guys, such as raku from Rick To answer the question, “What else have Hirsch and Karl Borgeson, single firing from potters always done but produce pots?” I say Toxicity Index Request Steven Hill, and a whole new form from nothing, and that’s it. You might as well work I’m responding to the article in the May Mary Roehm. Also, I thought I saw a lot of on a drill press. issue (“Barium and Glaze Toxicity”) on pos­ the current national trends in crafts by hang­ Harry, you state, “Why not just stick with sible toxicity from glazes containing barium ing out in the school’s gallery. And what about the title ‘potter’ and leave the qualifying ad­ and cadmium. Since so many potters are more all those conversations held over meals with jective ‘artist’ to those who feel insecure or less self-taught and often have little con­ folks from all over the country who’ve shared without it?” tact with current research, I think it’s ex­ similar experiences and introduced me to new It seems that your article is trying to justify tremely important to keep this kind of in­ ones? why you’re a potter. Insecure, Harry? formation up to date and readily available. What a fool I’ve been! All of the above in Thomas Feyrer Would it be possible to establish a column exchange for a few van runs to the airport Burlington, Wis. or a standard place in the magazine to list and a few nights of locking up. Guess I should all such warnings published, with references consider returning my free Arrowmont T- Although I heartily agree with Harry to the original issues for further details? I’d shirt in protest! Davis’s article in the September issue, I would like to see occupational hazards such as clay Barbara Andrew Wiegenstein like to gently suggest that he may be missing dust and firing problems included as well. Cape Girardeau, Mo. the forest while correctly identifying many Betty Pen ski of the trees. My experience is that the potters Joppa, Md. Poisoning the Wells (your kind of potters, Harry) are out there/ I read the first two paragraphs of Jack here—it’s just that we aren’t very visible. In addition to the article you mention, a Troy’s article in the summer issue of I have been a full-time potter since 1961; sampler of articles on ceramic hazards pre­ Ceramics Monthly and quit right there. Why every year I sell everything I am able to pro­ viously published in CM includes:<( Are Lead continue reading someone who poisons the duce. Every October I coordinate a small Glazes Dangerous?” August 1954 and re­ wells of his own argument? Thanks for sav­ craft fair; the other five potters who partic­ printed in this issue, page 34; “Lead and ing me the time, Jack. ipate also make pots full time for a living. Cadmium Release” page 69, December 1977; Name withheld by request While none of us probably makes “great pots,” “Frit Formulas,” May 1978.—Ed. we do share Harry Davis’s goal of making How Do Potters Cope? “simple pots for mundane use that incor­ Need Substantive Discourse I have recently read two articles which I porate a function and a meaningful decora­ The Comment articles I have enjoyed most think would be adaptable to potters. In Es­ tive role.” The main reason that none of us are the ones which dealt with the personal quire, [several] writers discussed in brief, two- are very visible, particularly from the dis­ experiences of the writers. In some of the paragraph sections their lives, economics, tance of New Zealand, is that none of us are pieces devoted to aesthetics I sense a certain publicity, inspiration, daily life, etc. It was involved in the world of grants, publications narcissistic desire on the writers’ parts to hear quite enlightening to see how they lived. The and exhibitions. the music of their own words, with small other article, regarding instrument builders Harry Davis asks, “When are the potters attention to substantive discourse. I tend to and their lives, appeared in Frets, and cov­ going to get the sculptors out of their hair... or trust people who speak more from experience ered yearly income, hours worked per week when are some sculptors going to stop pre­ than from what they have read from other on craft, production versus one-of-a-kind, tending to be potters?” I don’t know when, scholars. supplemental work, price range of products, but I’ll suggest a clue which might indicate John T. Klure type of product, etc. It gave a percentage that the process has started: Instead of au­ Riverside, Calif. breakdown as well as brief commentary. Re­ tobiographical “puffs” about pots that are “coil sponses were tallied from an in-magazine built to maximize tension and asymmetry be­ Hobart Cowles Glazes survey of subscribers. fore regaining a sense of balance” or “sugges­ I very much appreciated the articles by Potters, as artists, are also solitary like tive conjunctions that elaborate accident/in­ Lili Krakowski containing the late Hobart writers and builders. I’m not sure we know tention, contradiction or even existence,” an Cowles’s Cone 5 glaze recipes (March, May, that much about what others do. Sometimes intelligent and independent writer will begin June/July/August, and October 1984). The I don’t know if my struggles and anxieties a News & Retrospect review, “So-and-so’s ones I tested are working for me and forming are typical or atypical. I would like to suggest recent work is a pile of crap.” the basis for a whole new glaze repertoire. CM conduct a similar survey among its read­ Peter Leach Incidentally, I took a summer course with ers. I’d like to know how other potters deal Dennison, Minn. Hobart in 1963 and greatly admired his with problems like solitude, rejection, stim­ mastery of the slide rule. ulation, length of time to start a full-time We are somewhat unhappy at the univer- Alice Jacobs business, how many are wholesale or retail, sity-graduate potters. Although we have ded­ Scarsdale, N.Y. etc. From the CM readers’ letters I read, it icated the past 25 years to potting full time, should appeal to other potters also. CM is we still view it as a trivial pursuit, unde­ Share your thoughts with other readers. All our link to each other and could provide an serving of a degree at university level. Or, letters must be signed, but names will be invaluable service to us all. perhaps academia has trivialized itself. withheld on request. Address: The Editor, Lisa Payne D. Morrill Ceramics Monthly, Box 12448, Columbus, Louisville, Ky. St. Louis, N.B., Canada Ohio 43212. November 1985 7 8 Ceramics Monthly Where to Show exhibitions, fairs, festivals and sales Send announcements of juried exhibitions, fairs, 4-May 2, 1986) is juried from slides. Awards. Fee: ham, Suite 501 Commerce Center, 2027 First Ave., festivals and sales at least four months before the $10 for up to 3 entries. Send self-addressed, stamped N., Birmingham 35203; or call: (205) 254-2626. entry deadline to: The Editor, Ceramics Monthly, envelope to: Student Center Craft Shop, Southern January 13, 1986 entry deadline Box 12448, Columbus, Ohio 43212; or call: (614) Illinois University, Carbondale 62901. ' Gaithersburg, Maryland The 11th annual 488-8236. Add one month for listings in July and February 1, 1986 entry deadline “Spring Arts and Crafts Fair” (April 18-20, 1986) two months for those in August. Elk Grove, Illinois “The A.R.T. Claybox Show” is juried from 4 slides. Fee: $100—$165. Send 66^ (April 11-May 11, 1986) is juried from 3 slides in postage to: Deann Verdier, Sugarloaf Mountain of a work not exceeding 12x11x6 inches. Jurors: Worjcs, Ijamsville, Maryland 21754; or call: (301) International Exhibitions John Glick, William Hunt and Martha Schneider. 831-9191. April 16, 1986 entry deadline Awards. Send a self-addressed, stamped business Gaithersburg, Maryland The 11 th annual Vallauris, France The tenth “Biennale Inter­ envelope to: Sam Rosby, A.R.T., 1555 Louis Ave., “Autumn Crafts Festival” (November 21-23, 1986) nationale de Ceramique d’Art de Vallauris” (July Elk Grove 60007. is juried from 4 slides. Fee: $110-$200. Send 66i 4-September 30, 1986) is juried from up to 2 works, February 21, 1986 entry deadline in postage to: Deann Verdier, Sugarloaf Mountain or a single large work that does not exceed 175 Lenexa, Kansas “Second Annual Lenexa Na­ Works, Ijamsville, Maryland 21754; or call: (301) pounds or 59 inches square if a panel. Application tional 3-Dimensional Art Show” (May 2-4, 1986) 831-9191. deadline: March 30, 1986. Awards include a is juried from 2 slides each for up to 3 entries. Gaithersburg, Maryland Ninth annual “Win­ F40,000 grand prize (approximately $4800). Con­ $4500 in awards. Fee: $15. Contact: William H. ter Crafts Festival” (December 12-14, 1986) is tact: Mairie de Vallauris, 06220 Vallauris; or call: Nicks, Jr., City of Lenexa, 12350 W. 87 St. Pkwy., juried from 4 slides. Fee: $110-S200. Send 66^ in 64-24-24. Lenexa 66215; or call: (913) 492-8800. postage to: Deann Verdier, Sugarloaf Mountain April 30, 1986 entry deadline February 28, 1986 entry deadline Works, Ijamsville, Maryland 21754; or call: (301) Mino, Japan “The 1st International Ceramics Lancaster, California “Desert West Juried Art 831-9191. Contest ’86” (November 2-9, 1986) is open to in­ Show” (April 19-25, 1986) is juried from slides. Fee: Timonium, Maryland Ninth annual “Spring dividuals or groups working in ceramic design and/ $5. Awards. Send self-addressed, stamped envelope Crafts Festival” (May 2-4, 1986) is juried from 4 or ceramic arts. Juried from up to 3 works, each to: Desert West Juried Art Show, Box 2811, Lan­ slides. Fee: $150. Send 66^ in postage to: Deann category. Jurors: Yusuke Aida, Nino Caruso, Lloyd caster 93539; or call: (805) 948-5886 or 945-5611. Verdier, Sugarloaf Mountain Works, Ijamsville, E. Herman, Yoshiaki Inui, Takuo Kato, Masahiro Maryland 21754; or call: (301) 831-9191. Mori, Timo Sarpaneva, Rudolf Schnyder, Peter Timonium, Maryland Tenth annual “Mary­ Voulkos and Carlo Zauli. Awards include a “Grand Regional Exhibitions land Crafts Festival” (October 17-19, 1986) is ju­ Champion” per category: ¥2,000,000 (approxi­ January 6, 1986 entry deadline ried from 4 slides. Fee: $165. Send 66in postage mately $8440) and a study trip; gold medals: Murfreesboro, Tennessee The ninth biennial to: Deann Verdier, Sugarloaf Mountain Works, ¥ 1,000,000 (approximately $4220); and silver “Currents” exhibition (March 3-28, 1986) is open Ijamsville, Maryland 21754; or call: (301) 831- medals: ¥500,000 (approximately $2110). Fees: to craftspeople residing east of the Mississippi River. 9191. ¥ 3000 (approximately $13) for one entry, ¥ 5000 Juried from slides. Juror: Nancy Saturn. Fee: $15 Manassas, Virginia Sixth annual “Manassas (approximately $21) for two, ¥7000 (approxi­ for up to 3 works. Contact: Currents ’86, Middle Crafts Festival” (June 13-15, 1986) is juried from mately $30) for three. Contact: The 1st Interna­ Tennessee State University, Art Department, 4 slides. Fee: $100-$ 150. Send 66^ in postage to: tional Ceramics Contest ’86, 2-15 Hinode-machi, Murfreesboro 37132; or call: (615) 898-2455. Deann Verdier, Sugarloaf Mountain Works, Tajimi City, Gifu Prefecture, 507; or call: (0572) January 17, 1986 entry deadline Ijamsville, Maryland 21754; or call: (301) 831 - 22-1111. Columbia, South Carolina “Annual Juried 9191. Exhibition” (April 16-June 29, 1986) is open to Manassas, Virginia Sixth annual “Virginia present and former residents (for at least a year) Crafts Festival” (September 19-21, 1986) is juried National Exhibitions of South Carolina. Juried from 5 slides. Awards. from 4 slides. Fee: $100—$150. Send 66^ in postage November 20 entry deadline Contact: Columbia Museum of Art, 1112 Bull St., to: Deann Verdier, Sugarloaf Mountain Works, New York, New York “Artquest ’86” (May 20- Columbia 29201. Ijamsville, Maryland 21754; or call: (301) 831 - June 10, 1986 and September 6-30, 1986 in Los 9191. Angeles) is juried from a minimum of 3 slides. January 24, 1986 entry deadline $5000 in awards. Fee: $5 per slide. Send self- Fairs, Festivals and Sales New York, New York The “3rd Annual WBAI addressed, stamped envelope to: ArtQuest, 2265 November 8 entry deadline Spring Crafts Fair” (April 25-27 and May 2-4, Westwood Blvd., Box 12420, Los Angeles 90064; Boca Raton, Florida The “6th Annual Fiesta 1986) is juried from 5 slides. Entry fee: $15; booth or call: (213) 399-9305. of Arts & Crafts” (February 1-2, 1986) is juried fee: $375. Contact: Matthew Alperin, WBAI Crafts December 6 entry deadline from 4 slides, 1 of display. Entry fee: $5. Booth Fair, Box 889, Times Square Station, New York Mesa, Arizona The “8th Annual Vahki Ex­ fee: $75. Send self-addressed, stamped envelope 10108; or call: (212) 279-0707. hibition” (March 14-April 19, 1986) is juried from to: Boca Raton Community Center, 201 W. Pal­ January 31, 1986 entry deadline slides. Awards. Contact: Galeria Mesa, Box 1466, metto Park Rd., Boca Raton 33432; or call: (305) New York, New York The “10th Annual Mesa 85201; or call: (602) 834-2242. 393-7806. American Crafts Festival” (June 28-29 and July December 12 entry deadline November 10 entry deadline 5-6, 1986) is juried from 5 slides. Entry fee: $8; Nashville, Tennessee “Political Statements” New York, New York The “3rd Annual Lin­ booth fee: $280-$320 per weekend. Send self-ad­ (January 26-February 18,1986 and one year travel) coln Square Area Christmas Crafts Festival” (De­ dressed, stamped envelope to: Brenda Brigham, is juried from slides. Fee: $10 for up to 3 works. cember 14-15 and 21-22) is juried from 5 slides. American Concern for Artistry and Craftsman­ Contact: JoEl Logiudice, 402 Sarratt, Vanderbilt Fees: $215-$240. Contact: Simon Gaon, American ship, Box 650, Montclair, New Jersey 07042; or University, Nashville 37240; or call: (615) 322- Arts & Crafts Alliance, 425 Riverside Dr., Apt. call: (201) 798-0220. 2471. 15H, New York 10025; or call: (212) 866-2239. New York, New York The “3rd Annual Au­ December 31 entry deadline November 12 entry deadline tumn Crafts Festival” (August 30-September 1 Washington, D C. “Looking at Earth” (May Cape Coral, Florida “Riverview Art Festival” and September 6-7, 1986) is juried from 5 slides. 8-October 31, 1986) is juried from a maximum (January 11-12, 1986) is juried from slides. Entry Entry fee: $8; booth fee: $265 for one weekend. of 6 slides of up to 3 works that focus on the world fee: $5. Booth fee: $50. Contact: Riverview Art Send self-addressed, stamped envelope to: Brenda as seen from above. $5000, $3000 and $2000 awards. Festival Committee, Lindsay, 4528A S.E. 15 Ave., Brigham, American Concern for Artistry and Contact: Looking at Earth Art Contest and Ex­ Cape Coral 33904; or call: (813) 549-4305. Craftsmanship, Box 650, Montclair, New Jersey hibition, Room 3162, National Air and Space November 19 entry deadline 07042, or call: (201) 798-0220. Museum, Smithsonian Institution, Washington Indian Rocks Beach, Florida “The Beach Art February 1, 1986 entry deadline 20560. Center’s Fall Arts & Crafts Show” (November 24) Kansas City, Missouri “Brookside Art An­ January 17, 1986 entry deadline is juried from slides, photos or brochure. Fee: $25 nual” (May 2-4, 1986) is juried from 5 slides. Fee: Radford, Virginia “Clay, USA 1986” (Feb­ for a 12x12-foot space. Contact: George King, The $85. Contact: Bonnie Clow, 10941 Lydia Ave., ruary 28-March 16, 1986) is juried from slides of Beach Art Center, 1515 Bay Palm Blvd., Indian Kansas City 64131. 2 works, up to 3 views each. Juror: Paula Wi- Rocks Beach 33535; or call: (813) 596-4331. February 3, 1986 entry deadline nokur. $1000 in awards. Fees: $10 for 1 entry; $15 January 10, 1986 entry deadline Boynton Beach, Florida “Boynton’s G.A.L.A. for 2. Send self-addressed, stamped envelope to: Birmingham, Alabama Third annual “Magic (Great American Love Affair)” (February 28- Felicia Lewandowski, Art Department, Radford City Art Connection” (April 11-12,1986) is juried March 2, 1986) is juried from 2 slides of work University, Radford 24142; or call: (703) 731-5324. from 3 slides. $12,000 in awards. Entry fee: $5; and 1 of display. $8000 in awards. Fee: $50. Con­ January 25, 1986 entry deadline booth fee: $60. Contact: Eileen Kunzman, Magic tact: Eleanor Wollenweber, Box 232, Boynton Beach Carbondale, Illinois “The Clay Cup” (April City Art Connection, Operation New Birming­ 33425; or call: (305) 734-8120, ext. 432. November 1985 9

Questions Answered by the CM Technical Staff Q I have been making terra-cotta platters decorated with various layers of slip colored with commercial stains. These are oxidation fired to Cone 04-03. Can you suggest a matt or semimatt gloss finish that would be just enough to give the color a little spark? The unglazed pieces seem dead; the clear-glazed ones are too shiny. I’ve been testing various semigloss combinations without notable success. Matt glazes I’ve tried tend to gray the following black slip which I would prefer remain black: GILL'S BLACK SLIP (Cone 04-03) Ball Clay...... 23.0% Cedar Heights Redart Clay...... 48.0 Black Iron Oxide ...... 4.9 Black Stain (Mason) ...... 10.6 Manganese Dioxide ...... 13.5 100.0% How can I get the results I’m after?—H.H. There are a variety of methods used to liven slip color without resorting to glossy surfaces: Prior to bisque firing or after bisque firing, the piece can be lightly sprayed with a shiny glaze—not enough to turn glossy, but just enough to “wet” the color. It takes very little spray to achieve this effect, which can be applied either with a spray gun or airbrush. After bisque firing slip-decorated ware, there are some other alternatives: A shiny glaze may be drast­ ically thinned and the ware dipped in the batch; or the slip-decorated and bisqued ware can be dipped in a normal glaze batch which is then wiped away with a sponge. The residue is sufficient to wet the colors. Q What can be done to remedy fuel freeze-up? I use a 173-gallon propane tank with a high-pressure regulator (0-15 pounds) that feeds a 1-inch gas line to my 16-cubic-foot kiln. Normally, I fire at 2 pounds of pressure for 8 hours to reach Cone 6. In cold weather the regulator freezes up and the'pressure drops significantly even when the tank is more than half full. What do you suggest?—B.C. To understand the cause and remedies for your fuel line/regulator freeze-up you should understand how gas pressure, volume and temperature relate to each other during firing, as expressed by the following mathematical statement: . When firing your kiln, both pressure and volume are reduced, thus directly reducing tank and fuel line temperature in proportion to the volume and speed of gas flow. When the outside temperature is low the problem is compli­ cated further. We recommend the better (two-stage) propane system discussed in “Low-Pressure Propane Firing,” by John Perri, December 1976 CM. This should solve your problem outright. If that kind of ad­ aptation is too extensive, here are some general comments about propane firing and alternative courses of action: First, make sure you begin each firing with a full tank. If that is insufficient, a larger regulator, larger pipe and fittings may solve the problem by giving the propane more volume to flow through. Try to locate the source of freeze-up, and give the fuel more room there. If the problem is still unsolved, acquiring a larger propane tank is the next course of action, since this offers a greater propane volume from which to draw. Some potters go to great lengths to work with the system at hand, sometimes placing an electric blanket over the propane tank, using heat lamps,- etc. Such “make-do” techniques are ill advised because of the obvious hazards they pose. Subscribers’ inquiries are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered personally. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. November 1985 11 12 Ceramics Monthly Suggestions from our readers Production Aid cement dries very rapidly. I prefer to rebisque the repaired piece When preparing clay for the wheel to make a large batch of small before glazing. My can of cement has lasted eight years because to items, stack pugged extrusions on plastic in a triangular fashion, keep it from drying out I pour a thin layer of water over the top then cover the clay completely to age. When the clay is ready, cut before closing the lid. —Ed Higgins, Pittsboro, N.C. vertically through the pugs with a harp or other cutting wire to Adding Suspension Commercial glazes often settle out in minutes after water is added. To prevent this, add bentonite. Put water in a kitchen blender and with a teaspoon slowly add bentonite until the liquid gets thick. To a 4-ounce jar add five to ten drops of this “liquid bentonite” and shake. Your glaze may settle out again someday but it should shake up easily. Liquid bentonite can be added to a homemade glaze too, but don’t exceed 2% of the dry weight of the glaze. —Douglas Grimm, Missoula, Mont. Screen Mender produce a number of cylinders of identical length and predetermined Silicone caulking compound, the clear stuff used to make mirrors weight. The cylinders may then be thrown without any other prep­ adhere to frames or to mend aquariums, is excellent for patching aration at all. This technique greatly reduces the time spent pre­ sieves. Use it to repair a tear in the middle, or, if the sieve has a paring clay for the wheel, and the 70 pots an hour I often achieve metal frame, to glue the screen to the edge. Mine has worked for when working alone includes the time spent slicing the extrusions. years with such a patch. — Barbara Harrison, Toronto —John Dix, Leeds, England Dollars for Your Ideas Bisque Mender Ceramics Monthly pays $10 for each suggestion published; submis­ Sairset refractory cement (available from most ceramic suppliers sions are welcome individually or in quantity. Include an illustration for repairing kiln walls) will mend cracks, fill in holes and attach or photo to accompany your suggestion and we will pay $10 more broken bisqueware parts. Stir the cement well and apply it to the if we use it. Send your ideas to CM, Box 12448, Columbus, Ohio moist (either dipped in water or sprayed) bisqued section. The 43212. Sorry, but we can't acknowledge or return unused items.

November 1985 13

Itinerary conferences , exhibitions, workshops, fairs and other events to attend

Send announcements of conferences, exhibitions, 6 Bill Burke, low-fire talc sculpture; at Barry California, Mill Valley November 4-23 Beth workshops, juried fairs and other events at least University, 11300 N.E. Second Ave. Changstrom, Richard Deutsch, Maureen and Bill two months before the month of opening to: The Illinois, Chicago November 15-fanuary 16, 1986 Ellis, Tom Hoadley and Mary Roehm, “Clay In­ Editor, Ceramics Monthly, Box 12448, Columbus, Alexandra Kochman, sculpture; at the Ukrainian vitational” exhibition; at Susan Cummins Gallery, Ohio 43212; or call: (614) 488-8236. Add one Institute of Modern Art, 2320 W. Chicago Ave. 32 Miller Avenue. month for listings in July and two months for those November 22-January 4, 1986 Philip Cornelius, California, San Diego through February 23, in August. paper-thin porcelain; at Esther Saks Gallery, 311 1986 “Water: Liquid of Life,” artifacts docu­ West Superior. menting water rituals in the ancient Americas; at Massachusetts, Boston through November 12 the San Diego Museum of Man, 1350 El Prado, Conferences Mary Rogers, handbuilt porcelain and stoneware; Balboa Park. California, Oakland June 4-7, 1986 “Art/ at Westminster Gallery, 132A Newbury St. California, San Francisco through November Culture/Future: American Craft ’86,” organized November 23-December 8 John Wolfrum, “Spi­ 16 Emmanuel Cooper, Nick Homoky, Peter Lane, by the American Craft Council, will include work­ ral Revisited,” stoneware bowls installation; at Al- David Leach, Ursula Morley-Price, Mary Rich, shops, demonstrations, films, exhibitions and tours. chemie Gallery, 286 Congress St. Geoffrey Swindell and Angela Verdon, “British ACC has announced an open call for papers on November 23-January 4, 1986 Jerry Berta, “City Ceramics”; at Elaine Potter Gallery, 336 Hayes the following topics: the craft artist in the arts Lights,” ceramic and neon cityscape; at Alianza Street. community; the responsibilities of museums to­ Gallery, 140 Newbury St. through November 30 “Meissen Porcelain and ward the crafts; galleries marketing systems; in­ Michigan, Detroit through November 10 Allie Its Influence on Continental Manufacture,” 18th- dividual, institutional and corporate collecting; the McGhee; at Pewabic Pottery, 10125 Jefferson Ave. century works; at the California Palace of the Le­ role of the craftsperson in architecture and urban New Jersey, Trentonthrough December 1 “Eva gion of Honor, Lincoln Park. planning; criticism and the history of the crafts Zeisel: Designer for Industry”; at the New Jersey November 3-January 21, 1986 “The Art of Wine movement; the art educator’s responsibilities to­ State Museum, 205 W. State St. in East Asia,” includes Shang dynasty wine ves­ ward crafts; new aesthetic directions. Entry dead­ New Mexico, Albuquerquethrough November sels, Han period wine cups and jugs, Tang and line for summaries: January 15, 1986. Send self- 30 Fred Wilson, large-scale sculpture and mu­ Song dynasty ewers from China; sake bottles from addressed, stamped envelope to: ACC Forum Pro­ rals; at Muddy Wheel Gallery, 4505-07 Fourth Japan; and wine storage containers from Korea; gram Chair, c/o V.P. for Academic Affairs, Cal­ St., NW. at the Asian Art Museum of San Francisco, Gold­ ifornia College of Arts and Crafts, 5212 Broad­ New York, New York through November 22 en Gate Park. way, Oakland, California 94618. For further Cary Esser, “Architectural Clay/Clay in Archi­ California, San Pedro November 10-January conference information contact: Susan Harkavy or tecture”; at the Greenwich House Pottery, 16 Tones 12, 1986 “Contemporary Crafts”; at the Angels Patricia Greenhill, American Craft Council, 45 W. Street. Gate Cultural Center, 3601 S. Gaffey St. 45 St., New York, New York 10036; or call: (212) November 5-December 7 Elsa Rady, altered California, Taft through November 27 “Vessels 869-9425. porcelain bowls; and Henry Varnum Poor, ce­ Aesthetic ’85”; at Taft College, 29 Emmons Park New York, New York February 13-15, 1986 ramics; at Garth Clark Gallery, 24 W. 57 St. Drive. The 1986 annual meeting of the College Art As­ November 9-27 Tova Beck Friedman, “The Val­ Colorado, Arvada through November 24 sociation of America. For details, consult CM Oc­ ley of the Bones,” sculpture; at Amos Eno Gallery, “Carroll and Hiroko Hansen Collection of Ce­ tober Itinerary. A placement service is provided 164 Mercer Street. ramic Art”; at the Arvada Center for the Arts and for those interested in college teaching, art ad­ Ohio, Delaware November 11-December 19 Humanities, 6901 Wadsworth Blvd. ministration and related fields. Contact: College Alvin Sher, architectural sculpture; at Lynn May- Colorado, Pueblo November 1-22 The 25th Art Association of America, 149 Madison Ave., hew Gallery, Ohio Wesleyan University. annual “Own Your Own” exhibition; at the Sangre New York 10016; or call: (212) 889-2113. Those Oregon, Corvallis November 1-26 Angela de Cristo Arts and Conference Center, 210 N. interested in suggesting sessions for the 1987 meet­ Cassidy, “Designs on Porcelain”; at the Corvallis Santa Fe. ing in Boston, Massachusetts, should submit pro­ Arts Center, 700 S.W. Madison. Connecticut, Greenwich through November posals by November 15, 1985. Send art history Pennsylvania, Pittsburghthrough November 19 “Northeast/Northwest,” includes works by proposals to: Jeffrey M. Muller, Art Department, 10 Kirk Mangus, “Girls/Pony Tails,” wood-fired Tony Marsh, Elaine and Tom Coleman; at the Brown University, Providence, Rhode Island 02912; vessels. November 18-December 26 Jack Troy, Elements, 14 Liberty Way. studio sessions proposals to: Natalie Charkow, 95 “The Fire as Decoration,” stoneware and porce­ Connecticut, Guilford November 9-December Beecher Rd., Woodbridge, Connecticut 06525. lain; at the Clay Place, 5600 Walnut St. 24 “Holiday Expo & Sale 85”; at Guilford Texas, San Antonio March 19-22, 1986 The Utah, Salt Lake City through December 1 Handcrafts, 411 Church St. annual conference of the National Council on Ed­ Suzanne Klotz-Reilly, sculpture; at the Salt Lake Connecticut, Middletown November 30- ucation for the Ceramic Arts (NCECA). For de­ Art Center, 20 S. W. Temple. December 15 “Wesleyan Potters Annual Exhibit tails, consult CM October Itinerary. Contact: Steve Wisconsin, Neenah through November 17 and Sale”; at Wesleyan Potters, 350 S. Main St. Reynolds, Division of Art and Design, University Bacia Edelman, sawdust-fired vessels; at Bergs- Connecticut, New Haven November 11- of Texas, San Antonio 78285; or call: (512) 537- trom-Mahler Museum, 165 N. Park Ave. December 23 “Seventeenth Annual Celebration 4867 (home), or 691-4382 (school). Wisconsin, Sheboygan through November 17 of American Crafts”; at the Creative Arts Work­ Ron Fondaw, large-scale ceramic and iron sculp­ shop, 80 Audubon St. ture; at the John Michael Kohler Arts Center, 608 D.C., Washington November 3-March 9, Solo Exhibitions New York Ave. 1986 “The Treasure Houses of Britain: Five California, Los Angeles November 2-December Hundred Years of Private Patronage and Art Col­ 4 Adrian Saxe; at Garth Clark Gallery, 170 S. lecting,” includes Meissen, Sevres, Chelsea, Derby La Brea. Group Exhibitions and Chinese porcelain; at the National Gallery of California, Montrose through November 23 Arizona, Scottsdale November 14-December Art, Fourth St. at Constitution Ave., NW. Rosalie Roth, crystalline-glazed porcelain vessels; 4 Neely Tomkins, primitive-fired wall forms; and Florida, Coconut Grove November 1-30 John at the Village Artisans, 2331 Honolulu Avenue, George Tomkins, raku pottery; at Mind’s Eye Craft Donoghue, Susana Espinosa, Michael Lamar, Suite B. Gallery, 4200 N. Marshall Way. Charles Olson and Jaime Suarez, “Ceramics: On California, Sacramento through November 27 Arizona, Tucson November 20-December 29 and Off the Wall”; at Netsky Gallery, 3107 Grand Fred Babb, porcelain masks, plates and sculpture; “Spectacular Vernacular: Traditional Desert Ar­ Avenue. at Himovitz/Salomon Gallery, 1020 Tenth St. chitecture in West Africa and Southwest Asia,” Florida, Hollywood through December 2 The California, San Francisco through November photographic documentation of clay dwellings; at “35th Annual Florida Craftsmen Show”; at the 30 Robert Arneson, sculpture; at Fuller Goldeen the University of Arizona. Hollywood Art and Culture Center, 1301 S. Ocean Gallery, 228 Grant Ave. California, Fresno through November 9 “Pairs Drive. November 5-30 Judy Moonelis, sculpture; at for Plums,” collaborative and individual works by Florida, Miami Beach through November 10 Quay Gallery, 254 Sutter St. couples; at Plums Contemporary Arts, 3135 N. “Newcomb Pottery: An Enterprise for Southern Colorado, Boulder through November 16 Bob Maroa. Women, 1895-1940”; at the Bass Museum, 2121 Smith, flash-fired raku vessels; at the Boulder Arts California, La JollaNovember 2-December Park Ave. and Crafts Cooperative, 1421 Pearl St. 31 “Cookie Jar”; at Gallery Eight, 7464 Girard Georgia, Atlanta through November 10 “Dutch D.C., Washington through November 9 Eve Avenue. Table Tops,” includes 17th-century tin-glazed Watts, handbuilt figurative sculpture; at Gallery California, Los Angeles through November 21 earthenware; at the High Museum of Art, 1280 K, 2032 P Street, NW. “Culinary Arts ’85,” functional and decorative de­ Peachtree St., NE. Florida, Miami Shores November 1-December signs; at del Mano Gallery, 11981 San Vicente. Continued November 1985 15 16 C eramics Monthly at the League of New Hampshire Craftsmen Gal­ Itinerary lery, 205 N. Main St. New Jersey, Morristown through December Georgia, Gainesville through February 1, 1 “New Jersey Arts Annual: Clay and Glass”; 1986 “Pieceworks,” national competition of works at the Morris Museum of Arts and Science, 6 inspired by quilts; at Georgia Mountain Crafts, Normandy Heights Rd. 311 Green St., SE. New Jersey, Newark through December 31 Georgia, Madison through November 17 “Treasures from the Collections,” includes Greek “Indian Ceramics: 16th—20th Century”; at the pottery and figures, English art pottery, and 18th- Madison-Morgan Cultural Center, 434 S. Main and 19th-century Chinese export porcelain; at the Street. Newark Museum, 49 Washington St. Hawaii, Kaneohe November 1 -January 31, New Jersey, Oceanvillethrough December 1986 “Ban Chiang: Discovery of a Lost Bronze 15 “All Join Hands—A Celebration of Crafts in Age”; at the Hawaii Loa College. New Jersey”; at Noyes Museum, Lily Lake Rd. Illinois, Chicago through November 19 New Mexico, Los Alamosthrough November Christine Federighi and Indira Freitas Johnson, 17 “Black, White & Red/Read,” juried exhibi­ sculpture. November 22-January 4, 1986 tion; at Fuller Lodge Art Center, 2132 Central “Possibly Functional”; at Esther Saks Gallery, 311 Avenue. W. Superior St. New York, Brooklyn through December 2 November 1-29 Frank Fleming and S. Judson “Indian Pottery of the American South­ Wilcox, “Two Approaches to Realism in Clay”; west.” through February 3, 1986 “Contemporary at Lill Street Gallery, 1021 W. Lill St. American Prints and Ceramics,” includes works Indiana, Indianapolis November 26-January by Rudy Autio, Christina Bertoni, Judy Chicago, 19, 1986 “Recent Acquisitions 1982-1985” in­ Rick Dillingham, Ken Ferguson, Maija Grotell, cludes ancient Chinese ceramics; at the Indianap­ Wayne Higby, Gertrud and Otto Natzler, Edwin olis Museum of Art, 1200 W. 38 St. Scheier and Beatrice Wood; at the Brooklyn Mu­ Iowa, Mason City November 10-January 5, seum, 200 Eastern Pkwy. 1986 “Iowa Crafts: 18”; at the Charles H. Mac- New York, Buffalo through November 15 Nider Museum, 303 Second St., SE. “Crafts: National”; at the State University of New Louisiana, New Orleans November 23-January York College at Buffalo. 12, 1986 “Selections from the Campbell Mu­ New York, New York through November 9 seum Collection,” soup tureens; at the New Or­ “Echoes and Visions”; at Carlyn Gallery, 1145 leans Museum of Art, City Park. Madison Ave. Louisiana, Shreveport November 4-30 “Spar through February 16, 1986 “High Styles: Twen- National Art Show 1985”; at the R. S. Barnwell tieth-Century American Design”; at the Whitney Memorial Garden and Art Center, 501 Clyd Fant Museum of American Art, Madison Avenue, at Pkwy. 75th Street. Maine, Portland November 29-January 11, North Carolina, Ashevillethrough November 1986 Woody Hughes and Kazuko Matthews; at 25 “Salute to the Blue Ridge Parkway Golden Maple Hill Gallery, 367 Fore St. Anniversary”; at the Folk Art Center, Milepost Maryland, College Park through December 382, Blue Ridge Pkwy. 8 “New Vistas: American Art Pottery, 1880-1930, Ohio, Parma through November 15 “Faculty From the Cooper-Hewitt Museum”; at the Uni­ Show” includes works by David Vargo. versity of Maryland Art Gallery. November 18-December 11 “Natural Elements” Massachusetts, Boston through November 16 includes Rob Mihaly sculpture; at Gallery West, “Contemporary Classics”; at the Society of Arts Cuyahoga Community College, 11000 Pleasant and Crafts, 175 Newbury St. Valley Rd. Massachusetts, Cambridge through November Ohio, Toledo November 24-January 5, 23 A group exhibition with Patrick Loughran, 1986 “The Amasis Painter and His World: Vase earthenware; and Eileen Simpson, slab-built raku; Painting in Sixth-Century B.C. Athens”; at the at Ten Arrow Gallery, 10 Arrow St. Toledo Museum of Art, 2445 Monroe St. November 11-December 26 A group exhibition Rhode Island, Providence through December with Larry Page, handbuilt work; at Mobilia, 348 29 “Forty-Five Alumni”; at the Museum of Art, Huron Ave. 224 Benefit St. Massachusetts, Northampton November 9- Utah, Logan through November 24 “Chron­ January 5, 1986 Sixth annual “A Tea Party”; at icles: Historical References in Contemporary Clay”; Pinch Pottery, 150 Main St. at the Nora Eccles Harrison Museum of Art, Utah Massachusetts, Worcester through November State University. 20 “Erie Clay National”; at the Worcester Craft Vermont, Middlebury November 9-December Center, 25 Sagamore Road. 27 “Treasures from the Heart,” multimedia works; Michigan, Detroit through November 10 at Vermont State Craft Center at Frog Hollow. “Ancient Art of the American Woodland Indians,” Virginia, Alexandria through December 1 includes ceramics, through January 5, 1986 “Fantasy and Function,” works by the Ceramic “Italian Renaissance Sculpture in the Time of Guild of Bethesda; at the Scope Gallery, 101 N. Donatello,” includes terra-cotta sculpture; at the Union Street. Detroit Institute of Arts, 5200 Woodward Ave. Wisconsin, Sheboygan through November 17 through November 16 Robert Sedestrom and “Nineteenth Century Sheboygan County Potter­ Gordon Orear. November 22-January 2, ies.” through December 30 “Clay: Everyday Plus 1986 “Christmas Invitational”; at Pewabic Pot­ Sunday”; at the John Michael Kohler Arts Center, tery, 10125 E. Jefferson Ave. 608 New York Ave. Michigan, Lansing November 11 -December 22 “Marketplace ’85”; at the Lansing Art Gal­ lery, 425 S. Grand Ave. Fairs, Festivals and Sales Missouri, Saint Louis November 5-27 John Alabama, Birmingham November 16-17 “The Chalke, Barbara Diduk, Paul Dresang, Bob 13th Annual Alabama Designer/Craftsmen McNeely, Kris Nelson, Norm Schulman, Alyce CraftsFair”; at the Highland Racquet Club Com­ Schermerhorn and Jim Shrosbree, “Figuratively munity Center, 3300 Highland Ave., S. Speaking”; at Pro Art, 5595 Pershing. Arkansas, Little Rock November 8-10 The November 10-December 6 “Saint Louis Clay 13th annual “Arkansas Arts, Crafts and Design Artists“; at 39th Street Gallery, 2207 S. 39 St. Fair”; at Little Rock Robinson Convention Center, New Hampshire, Concord through January 18, Markham and Broadway. 1986 “Unearthing New England’s Past: The California, San Diego November 9-10 San Ceramic Evidence”; at the New Hampshire His­ Diego Potters Guild “Fall Sale”; at the Spanish torical Society, 30 Park St. Village, Balboa Park. November 12-January 3, 1986 The “11th An­ California, Sierra Madre November 22-24 nual Juried Exhibit: New and Innovative Work”; Continued November 1985 17

10th annual “Herkimer County Arts & Crafts Fair”; Wisconsin, Milwaukee November 29-December Itinerary at Herkimer County Community College campus. 1 “Holiday Craft & Gift Show”; at the Wiscon­ New York, New York November 29-December sin State Fair Park, 8100 W. Greenfield Ave. “Creative Arts Group 25th Annual Art Sale”; at 1, December 13-15 and 20-22 The 14th annual 108 North Baldwin Avenue. “WBAI Holiday Crafts Fair”; at Columbia Uni­ Colorado, Boulder November 7-10 Boulder versity, 115 St. and Broadway. Workshops Potters’ Guild “Members’ Fall Sale”; at the Ar­ New York, White Plains November 16-17 Arkansas, Little Rock November 15-17 Helen mory Building. “Eighth Annual Craft Fair”; at Westchester Coun­ Phillips, lecture and sculpture demonstration. Fee: Connecticut, Middletown November 30-De­ ty Center Bldg. $54; nonmembers $60. Contact: The Arkansas Art cember 1, December 7-8 and 14-15 “Wes­ North Carolina, AshevilleNovember 29- Center, Education Department, Box 2137, Little leyan Potters 30th Annual Invitational Exhibit and December 1 “High Country Christmas Art & Rock 72203; or call: (501) 372-4000. Sale”; at 350 S. Main St. Craft Show”; at the Asheville Civic Center. California, Los Angeles November 16 “The Georgia, Gainesville November 23-24 North Carolina, Rocky MountNovember 7-9 Ceramics of Mexico—A Living Legacy,” lecture “Holiday Marketplace”; at Georgia Mountain The “Coastal Plain Arts and Crafts Fair”; at Tar- and seminar with Jens Morrison. Contact: South­ Center, 311 Green St., SE. rytown Mall, Hwys. 64 and 301. west Museum, Box 128, Los Angeles 90042; or Illinois, Hinsdale November 30-December 1 Ohio, Cincinnati November 29-December 1 call: (213) 221-2164. “The 16th Annual Holiday Craft Show”; at Hins­ “The Cincinnati Crafts Affair”; at the Cincinnati Connecticut, Guilford November 17 “Clay dale Community House, Eighth and Madison. Convention Center. Castles.” Fee: $22. Contact: Guilford Handcrafts, Illinois, Rockford November 9-10 “Metro Ohio, Columbus December 5-8 “The Colum­ Box 221, Guilford 06437; or call: (203) 453-5947. Expo,” includes antique, folk and contemporary bus Winterfair”; at the Ohio State Fairgrounds. Illinois, Edwardsville November 21-22 ware; at the Metro Centre, Main at Elm St. Ohio, Kettering November 30-December 1 “Christopher Staley Workshop.” Open to the pub­ Iowa, Dubuque December 1 “Dubuque Art “Rosewood Festival of Fine Crafts”; at the Rose­ lic. For further information contact: Daniel An­ Association’s 13th Annual Juried Art Sale”; at the wood Arts Centre, 2655 Olson Dr. derson, Box 1774, Department of Art and Design, Old Jail Gallery, Eighth and Central. * Pennsylvania, Allentown November 22-24 Southern Illinois University, Edwardsville 62026; Maryland, GaithersburgNovember 22-24 “First Annual Lehigh Valley Art & Craft Show”; or call: (618) 692-3071 or 692-3146. “Tenth Annual Autumn Crafts Festival”; at the at the Agricultural Hall, Allentown Fairgrounds. Massachusetts, Northampton November 6 Montgomery County Fairgrounds. Pennsylvania, Camp HillNovember 16-17 “Photographing Your Work and Effective Slide Massachusetts, Worcester November 29- The “5th Annual Creative Source”; at the Penn Presentation” with Michael Cohen. November December 1 Third annual “Fall Craft Fair”; at Harris Convention Center. 9 “Decoration and Glaze Techniques” with An­ the Worcester Craft Center, 25 Sagamore Rd. Pennsylvania, PhiladelphiaNovember 8-10 gela Fina. November 16 “Functional Forms, A New Jersey, EnglewoodNovember 22-24 The The ninth annual “Philadelphia Craft Show”; at Throwing Workshop” with Ellen Jacobson. Con­ 6th annual New Jersey Designer Craftsmen “Crafts the 103rd Engineers’ Armory, 33 St. tact: Jane Sinauer, Horizons, 374 Old Montague Weekend”; at the Dwight Englewood School. Pennsylvania, York November 23-24 Rd., Amherst, Massachusetts 01002; or call: (413) New Jersey, Princeton November 23 The 12th “Pennsylvania Christmas Craft Market”; at Me­ 549-4841. annual “Craftwomen’s Marketplace”; at the morial Hall, York Fairgrounds. Michigan, Detroit November 15-16 Robert Princeton YWCA, Paul Robeson Place. Texas, DallasNovember 9-10 “Craft Guild Sedestrom, “Slip Casting Workshop.” Fee: $40. New Jersey, West Orange November 9-10 Fair”; at Kramer Center, 7131 Midbury Dr. Contact: Pewabic Pottery, 10125 E. Jefferson Ave., “New Jersey Craft Experience”; at South Moun­ Virginia, Richmond November 8-10 Tenth Detroit 48214; or call: (313) 822-0954. tain Arena, Northfield Ave. annual “Richmond Craft Fair”; at the Richmond New York, New York November 2-December New York, Herkimer November 9-10 The Arena. Please Turn to Page 62

November 1985 19 20 Ceramics Monthly Comment Taking Care of Reality by Lili Krakowski

There is something very attractive second trade; disabled veterans forced to about killing the bearer of bad news. change professions; and a number of self- Unfortunately, it doesn’t improve the supporting adults who were working their news. way through school. There was, as well, Recently, those who have said aloud the parent-financed contingent of “reg­ that potters are unlikely to make a living ular” college students taking intensive from production alone have been mocked art or pottery courses as adjuncts to art- and scolded—a wonderful exercise in free related careers in stage design, advertis­ speech, but not one in facing reality. ing, and so on. And there was the ex­ Honest opinion varies about what pected gaggle of directionless students “making a living” means. So let me state taking courses for fun. my definition at the start. No one expected to live only from the I neither believe one should make sale of creative work; or, more accu­ oneself a eunuch for the sake of heaven, rately, no one lacked or intended to lack nor for that of Cone 10 reduction glazes. an alternate means of support. One makes a living at an adult level The schools neither urged us to live when one can support oneself and one off our art alone, nor represented it as other person completely and indefinite­ a realistic goal. How one was going to ly—when one can capitalize, maintain pay one’s bills simply did not come up and replace what one needs in home and for discussion. We—schools and pupils studio, plus meet contingent expenses of alike—may have hoped a cruel world the normal (as distinguished from the would come to its senses and honor our catastrophic) kind. More elusive of exact genius with fame and fortune. No one definition, but no less important, is that sober counted on it. one makes a living at an adult level when Change came, in part, from a specific one can fulfill the aforesaid financial du­ phenomenon of goats, sitars and tofu ties at the social/cultural level to which which belonged to a larger romantic one “belongs.” movement. Primitive folkways were ex­ Potters, therefore, who have dowries tolled as more organic and sincere (hence (be they wheels, kilns, cars, land, houses, more humane) than ours, particularly medical care) do not qualify, unless they by those who had safe passage home! could pay for such from their profits. Living “off the earth” and by manual Potters who get alimony, food stamps, labor became goals in themselves from A.D.C. or pensions, also fail the test as which reason and economics were di­ much, if perhaps not as happily, as those vorced. whose pottery income is supplemented It was a dear and charming time, but by trust funds and legacies. it left its whole-wheat flower children I insist on an income for two because, dismally unprepared for the tidal waves when one lives alone, shortcuts can be of reality that engulf one on the thresh­ taken, sacrifices made. When one is part old of middle age. This problem afflicts of a twosome, be it two adults or cer­ a lot of people, not just potters, but it is tainly when it is an adult and child, the they (us) who concern me. responsibility built into the relationship If one loves potting, one finds it heart­ has economic overtones. breaking to see good and talented people These considerations, reinforced by forced to choose between the basic de­ observation and reflection, make me cencies of life and their craft. It saddens question the way we school young pot­ me that people are forced to leave work ters. to which they have given their hearts When I went to art, then later to pot­ and their youth, in which they are just tery school shortly after World War II, beginning to gather the fruits of matu­ most of my fellow students came equipped rity, because “baby needs shoes.” with money-making skills. They were And it is because I can compare a veterans using the G.I. bill to learn a Continued November 1985 21 22 Ceramics Monthly Comment new. In Western society, many practiced more than one trade (as housewives, of generation of craftspeople that had other course, have always done). John Adams, means of self-support with one that Sr., father and grandfather of presidents, doesn’t that I urge a complete redesign farmed in summer and worked leather of a potter’s schooling to include a sec­ in winter. He was not original, eccentric ond means to a livelihood. or alone. Some may call my attitude defeatist. And it might be remembered that the To which I only reply, “Forewarned is rabbinate, surely as intellectual a forearmed.” Being prepared for the worst profession as any, was not a full-time is a commitment to life so profound it occupation till relatively modern times. envisages crisis as a challenge not a threat. Many Talmudic sages are identified by What I propose is that pottery schools their often humble trades. Hillel, for expand their curricula to include a mi­ whom all those Hillel Foundations are nor in any/all occupations at which a named, was a woodcutter. Shammai, his decent amount of money can be made major opponent, was a mason. Others on a part-time basis. Schools, already were tanners, blacksmiths, tailors, brew­ affiliated with universities where stu­ ers. And, yes, there was Rabbi Abba the dents in different disciplines can minor Potter. And all served as judges, lawyers, in pottery, should have no difficulty ar­ scholars. Upon their shoulders rested the ranging mirror-image minors for pot­ preservation of a religion and a culture! tery majors. Independent schools might I have nothing but admiration for arrange any number of “trade school” production potters who support them­ courses to be made available to their stu­ selves and their families entirely by their dents. Bookkeeping, mechanics, short­ pottery sales. (I will overlook here the hand/typing, practical nursing, hair­ point a potter friend made—that, pos­ dressing, plumbing, welding, bar- sibly, knowing skills like bookkeeping keeping—the possibilities are enor­ and cost accounting enabled them to suc­ mous. ceed at production.) I admire them as I don’t expect much protest of the idea hard-working, dedicated people who have that a potter might minor in skills al­ a lot to teach the economy about effi­ ready taught at the university level. But ciency. How I feel about their wares is the notion that potters might be taught another matter. blue-collar skills, as distinguished from I judge pots on aesthetic lines. I don’t picking them up, haphazardly, under care if it took ten minutes or ten hours duress, no mezzo del camino, may not to produce a pot; whether it is a money­ go down as well. maker or a money-loser; if the one who Yet I know artists who supported made it pays all bills by potting, or drives themselves at plumbing, welding, typing a school bus, teaches or writes copy! Nor and such before success struck; and this do judges at shows care. They ask to see work did not interfere with their crea­ slides, not income tax returns. tivity, nor their later triumphs. I, for It must also be clear by now that I one, would be deliriously happy if, be­ don’t really care about how potters ac­ yond fixing my electric kiln, I knew how tually make ends meet. to wire a house or repair TVs. Surely In the past years I have become con­ it is better to be trained at something vinced that the principal, maybe sole, that from the start one can integrate with difference between self-defined potters a studio schedule, than to find oneself and self-defined ceramic artists is the working the graveyard shift to make ends underlying philosophy that scaffolds their meet. lives. Potters belong to a romantic move­ That I feel a need to explain, almost ment which centers on how one lives apologize, for the suggestion that a pot­ rather than on what one actually does. ter might learn a blue-collar skill, shows Romantic movements characteristically how deep the division between artist (in­ spring up among the well-educated chil­ tellectual) and craftsperson (worker) re­ dren of the comfortably well-off. (This mains. Yet we, as heirs to the arts and is a frightful simplification, but it will crafts movement, are sworn to healing do here.) Such movements fail because that rift—which came about during the any mishap overstresses the tensions be­ industrial revolution, with the fragmen­ tween aesthetics and economics, ideal­ tation of work in the early factories. ism and duty. Romantic movements have I might point out that the notion that been incapable of perpetuating them­ intellectuals “must” live entirely by the selves. sale of their brainchildren is historically Please Turn to Page 57 November 1985 23 The May Show

The $500 Ceramics Award for the 1985 tions of the exhibition, Edward Hen­ “More prizes were awarded since there “May Show” at the Cleveland Museum nings, the museum’s chief curator of were more categories to enter—five in of Art was presented to Sandra Amitay modern art, commented: oil painting alone: Landscape and Mis­ for two sculptural containers construct­ “It’s nearly 50 years since I first be­ cellaneous, Portrait, Figure Composi­ ed from porcelain slabs and accented with came aware of the May Show and al­ tion, Industrial (because of its heavy in­ underglazes. Now at Kent State Uni­ most 40 since I first entered it. During dustry and active WPA arts program in versity, Sandra had previously been these years many memories have accu­ the thirties, Cleveland may be the only awarded first place in crafts for stone­ mulated. community to have had such a category), ware forms entered in the 1977 May “It was a very different kind of ex­ and Still Life. Each had a Special Award Show. hibition in the thirties and forties. Wil­ as well as first, second and third prizes A competition open to artists of the liam Milliken and Henry Francis were and honorable mentions, but there was Western Reserve area in northeast Ohio, in charge, Milliken as director of the no prize money. Milliken stressed sales the May Show has been held 66 times museum and Francis as the curator of rather than money awards, and almost since its inception in 1919. Among the paintings and of prints and drawings. single-handedly he built a local market 242 works included this year were 40 Artists appearing regularly in the show for Cleveland art. During the thirties and clay sculptures and functional ceramic and usually winning the top awards in­ even the forties some artists depended objects. Selection from 2693 entries was cluded Henry Keller (who submitted hors on May Show sales for a large part of by jurors Linda Cathcart, director of concour), William Sommer, Carl Gaert- their income. Each artist could enter ten Houston’s Contemporary Arts Muse­ ner, Paul Travis, Frank Wilcox, Ken­ objects and often one entry would in­ um; Rose Slivka, editor of Craft Inter­ neth Bates, Edris Eckhardt, Sol Bauer, volve many pieces; there was no limit national] and members of the Cleveland Viktor Schreckengost and Michael Sar- on editions. Since the May Show was Museum’s staff. The jury also cited ce­ isky. Among the young lions were John large and had no special gallery, almost ramists Patrick Burke and Jo Kirschen- Teyral, Hazel Janicki, Peter Paul Du- half the regular galleries would be emp­ baum, Cleveland; Doug Gilliam, Cleve­ baniewicz, Dean Ellis, Roger Anliker tied before the jurying process began, land Heights; and Sue Keebler, and Marco de Marco. Roy Lichtenstein and the Rembrandts and Cezannes sent Willoughby; for special mention. was around, but I doubt that he entered to storage for a couple of months. In a review of the history and tradi­ the May Show; if he did, he was rejected. “The time of jurying and installing

24 Ceramics Monthly “Closed Vessel with Bamboo Handle ” wheel-thrown, altered porcelain, 12 inches in height, by Sue Keebler, WilloughbyOhio., Opposite “Ellipsis Suite 3 ” slab-built porcelain with underglazes, 18 inches high, by Sandra Amitay, Kent. the exhibition was wild, tense, invigo­ rector), glowering in the receiving line, that it was a mistake to have the for­ rating and exhausting. Everything was nursing a hand sore from several hundred malist Bannard and the conceptualist done in about two weeks; everyone in­ shakings, and vowing to change things Morris to dinner—much less to jury an volved worked weekends, evenings and when he became director. And he did. exhibition—together. Since they couldn’t often nights, with Milliken resting his He did not end the May Show, as many agree, Rosenblum cast the deciding vote legs and back by whipping through the people were sure he would, because he in almost every decision, but for the galleries in a wheelchair. was too conscious of the important role awards the vote had to be unanimous. “Silence about the exhibition was en­ it played in the life of the community. After spending most of the morning forced. No one except jurors and the Still, it seemed obvious that the show watching an unshaven Morris clad in staff needed to hang the show was al­ required some changes. During the thir­ jeans, pacing up and down chewing on lowed in the gallery and woe betide the ties it had often helped artists to earn a cigar, while a well-tailored Bannard poor soul who whispered a word about money for food and shoes, but by the late stood cooly aloof, Rosenblum an­ the results. When the show was being fifties the war had ended the Depression nounced that they had agreed that they installed one year, a well-meaning guard and it was no longer necessary to help couldn’t agree and would leave the let Milliken’s adored mother into the artists eat regularly. The New York awarding of prizes to us. gallery to see her son; he, however, hus­ School of abstract artists had seized a “Such problems are bound to occur tled her right back out, admonishing her dominant role in the world of art, and occasionally when jurors have different not to peek on the way. Reporters from what became important was that local points of view and strong convictions. the three major newspapers vied for ad­ artists learn about and contribute to the (And who wants jurors without convic­ vance information. One weekend Mil­ serious art being produced in this coun­ tions?) One year when William Milli­ liken caught a well-known columnist try. The museum could encourage this ken was director, juror Walter Stuemp- trying to climb through the transom over best by exhibiting important contem­ fig, bitterly resenting certain ‘helpful the door to his office, hoping to see a list porary art and by recognizing profes­ hints,’ turned his back on the proceed­ of prizewinners. sionalism and creativeness (rather than ings, loudly proclaiming ‘wonderful’ each “No one, including the artists, was skill alone) in the May Show. time the other two jurors’ decisions were notified of the results of the jurying until “The secrecy and formality were end­ reported to him. Another year I en­ the day of the preview. The first year ed. The number of categories for entries countered Yasua Kuniyoshi in the men’s that I won a prize, I was nearly crazy was decreased and editions were either room, bitterly complaining that he with anxiety; at the same time, when the reduced in number or were ended. Even­ couldn’t even visit that sanctuary with­ letter telling me I’d won arrived, I was tually, the region covered by the show out being monitored by ‘Millikens.’ exhilarated. When I arrived with family was enlarged to include the thirteen William was waiting for him outside the and friends at the preview in the eve­ counties of the old Western Reserve rather door to see that he didn’t give away any ning, we were announced to a receiving than just Cleveland. Cash prizes began secrets between there and the galleries. line made up of the director, trustees, in 1966 when William and Elizabeth “Milliken deeply loved the May Show curators and their spouses resplendent Treuhaft offered a prize of $1,000 for and never did anything to harm an art­ in formal attire. It was indeed a mad, a painting selected by the jury (the Mu­ ist. His occasional suggestions to jurors hectic, lovely, funny, worrisome, awful seum trustees soon approved the same always represented an effort to get one and delightful time. amount for sculpture, graphic arts and more work accepted—never to have one “Among the many scenes I remem­ decorative arts). The jury was expanded rejected. And if his insistence on secrecy bered from those early years is Milliken to allow for different jurors for painting, annoyed some of us, it was nevertheless holding on to one end of a painting when sculpture and graphic arts on the one good showmanship. the entries were being accepted forjudg­ hand, and decorative arts on the other, “During the exhibition, Milliken spent ing, with the artist, a young Turkish with a specialist for photography. Fur­ Saturday and Sunday afternoons and painter, on the other, trying to wrest it thermore, no one was permitted to try Wednesday and Friday evenings in the away from him and withdraw it from to influence the jurors’ decisions—no galleries literally selling the works. One the show. Milliken won the contest and matter how beneficial for an artist it might of my most poignant memories is of him the painting now hangs in my home. I be. These changes at first resulted in waiting behind the parking lot fence at can also envision row after row of little some very thin May Shows and a couple the preview of the first May Show after ceramic squirrels (or were they chip­ of near disasters. his retirement (he could not bring him­ munks?) in storage waiting for their “One jury selected an exhibition and self to enter the museum). My car was purchasers, many of whom would com­ then spent the evening at the home of a parked nearby, and when he realized I plain that they bore little resemblance local collector who urged its members to had seen him, his curiosity overcame his to the one in the show. apply the highest international stan­ embarrassment and he asked how the “I recollect one year that Paul Travis, dards to the show. They came back the show was going. I don’t think he ever who had received a painting prize, was next morning breathing fire and weeded forgave us forchanging some of the rules entertaining friends and admirers while out about two-thirds of the works chosen of ‘his show.’ He possibly did not realize taking his ease against a stone griffin at earlier. I reminded them that they had that by the late fifties the art scene had the top of the main stairway. When he already selected the show, but they re­ changed dramatically from what it had noticed Milliken bearing down on him, plied that they hadn’t finished. We stood been before the war. He loved helping Travis extended his hand in friendly an­ by helplessly as they cut the show to the artists and never seemed to recognize that ticipation of congratulations. His happy bone. Later, two of them wrote letters, his generosity had probably contributed delusion quickly gave way to astonish­ apologizing for harm they might have to the creation of an isolated, self-pro- ment as Milliken took his elbow and done to fellow artists. tective, and self-satisfied art community. lifted him off the sculpture. “Another year Robert Rosenblum, “One of the more dramatic, although “Finally I can see Sherman Lee (then Robert Morris and Walter Darby Ban- superficial, changes that occurred was curator of Oriental art and assistant di­ nard served as jurors. We soon realized the appearance of the preview crowds. 26 CERAMICS MONTHLY Right “Keepers ” 38 inches in height, handbuilt earthenware with slips and stains, by Marvin Smith, Lakewood, Ohio. Below “Rococo Platter” 35 inches in length, handbuilt earthenware with multifired glazes, by Mary Jo Bole, Cleveland.

November 1985 27 Photos: courtesy of the Cleveland Museum Art

“Watching TV” 7 inches in height, handbuilt, white earthenware with underglazes, clear glazed, by David Vargo, Cleveland. The artists used to rival the staff and one fresh eye from outside the museum neuver all the works into and out of the trustees in conservative dress; Kalman staff each year seemed desirable. I’m sure museum for jurying. We finally decided Kubinyi’s arriving in a scarlet lined cape that this arrangement will be modified to follow the rest of the country and use and broad brimmed hat in the early thir­ sooner or later, however, as weaknesses slides. Since slides are inadequate for ties was a notable event. Milliken would become apparent. Someone once told me judging a work of art, we determined to have been reluctant to admit the more that the May Show’s development over use slides only in a preliminary step of colorfully costumed among those now the years could be charted by noting the the show. The rest of the objects are attending the previews. changes made in the rules. brought to the museum and the exhi­ “Twenty years ago, Evan Turner “One year we made the unfortunate bition is finally chosen. This system has served as a juror for painting, sculpture decision of ending the secrecy surround­ worked well, although a few problems and graphics. I remember him kidding ing the jurying process and invited a remain. For example, it’s difficult to keep Sherman Lee about our Barcelona chairs television station to broadcast the jury from trying to select the final show from remarking that ‘only the Cleveland Mu­ at work. Now, I’ve never served on—or the slides. We have to keep reminding seum’ provided such elegance for jurors. seen—a jury that did not get a little silly ourselves that we want to see all works I also remember that he was a consci­ after looking at hundreds of works of art. that have any chance of making the ex­ entious juror. It doesn’t mean that the jurors are not hibition. “No matter how good the jurors and taking the art or their jobs seriously; it “Two years ago Evan Turner became the shows were, however, they always only means that their eyes and minds the museum’s fourth director. This time drew plenty of criticism, and the mu­ need a little rest and relaxation. When there were no rumors that the new di­ seum staff was a handy target. The year taken out of context and broadcast, how­ rector intended to end the May Show, following the Morris/Bannard debacle, ever, it seems to an anxious artist that and—recognizing its distinguished his­ we decided that since we were invariably the jurors are frivolous. After the storm tory and its important contributions to criticized we might as well jury the shows. of protest died down, we decided that we the community—Turner decided not even At least we could in good conscience de­ had carried public education a step too to consider modifying it until he had ob­ fend our own decisions. For a few years far. served its operation over several years. this system worked well, until it became “With the enlarged scope of the May “There are many memories after al­ obvious that the show was in danger of Show, the number of entries increased most 50 years: not all bear repeating, acquiring a ‘museum’ character. At least until it became all but impossible to ma­ but most bring pleasure.” 28 Ceramics Monthly Long Island Pottery

Below Iron-banded brick chimneys and Left Loosely applied brushwork and an thick, black smoke reveal the presence of impressed logo/volume in cobalt oxide large kilns in this watercolor by Edward decorate this Brown Brothers salt-glazed Lange, depicting Brown Brothers Pottery stoneware jug, 121A inches in height, of Huntington, Long Island, 1880. 1863-circa 1870.

CLAY is one of Long Island’s most abun­ loading their sloop with white clay dug functional earthenware and stoneware dant natural resources. Deposited in from the land for shipment to the South. to mass-produced porcelain decorated parallel veins by a glacier, it is easily Whitestone, on western Long Island, was according to the tastes of the Victorian found along the shoreline from Great the site of the first pottery there (1751) era. Accompanied by information from Neck to Greenport and along the cut for to produce earthenware for sale at Man­ recent archaeological projects, 50 ex­ the Long Island Rail Road, intersecting hattan’s Fly Market. By the 19th cen­ amples illustrating the variety of Long the center of the island. In colonial days, tury, potteries flourished in Brooklyn and Island’s historical functional ware were the clay was mined and sold to off-island the western portion of Queens, Hun­ exhibited in “Useful Art: Long Island potteries. As early as 1698, a record kept tington and the eastern end of Long Is­ Pottery” at the New York State Museum by the Lloyd family lists the expense for land. The output ranged from brick to in Albany. November 1985 29 Above Trailed earthenware dish, 10¾ inches in diameter (with slip decoration resembling Gothic design elements, such as a rose window, crockets, quatrefoils and the wheel of life), from the Huntington area, 1805-60. This and related slipware patterns are similar to folk carving found on 18th-century Long Island gravestones, derived from Gothic or medieval sources. This is not to suggest Huntington potters copied stone carvings in decorating their wares; rather it affirms that these designs were devised as something aesthetically familiar and easily worked. Left Huntington earthenware platter, HV2 inches in length, with a shard from a similar form overlaying the slip design. How masterfully was the pattern repeated by hand? You be the judge. Huntington earthenware slip-trailed decoration is characterized by the use of one slip cup, and placement is in or near the center of the dish. 30 CERAMICS MONTHLY Above Stoneware crock, 11 inches high, Below left Graham Chemical Pottery Below right Two of Graham Pottery's with slip trailing probably referring to the Works in Brooklyn, circa 1895, cast both “imperishable” laundry tubs were joined East Hampton homestead of “Home Sweet porcelain and earthenware laundry tubs, with cast ironwork for installation in Home” songwriter John Payne. the latter from local clay. “modern homes.”

November 1985 31 Allan Winkler byP eter von Ziegesar

Looking west from the porch of the “I sold a lot of pieces in college, and was a big thing in Montana. Allan, who 19th-century brick house, you can see it made me think of my work as pop­ is a vegetarian, was horrified as well as what remains of the cattle yards: miles ular—which was discouraging. I thought slightly amused. His reaction was to make of old railroad tracks and low-lying fac­ there must be something wrong with it, a series of ceramic deer with their hands tories with glints of light from the Mis­ something that made it too cute, a little raised and wall plaques of mythical an­ souri River showing through the haze. too attractive. I wanted to make strong, imal heads. Fifty years ago the stockyard stench drove powerful work, and I had no wish to Leaving the Bray in 1979 with a ce­ most of the residents away from this once become a commercial artist.” ramic menagerie strapped to the seats fashionable hill in western Kansas City, So, after getting his degree at the of his bus, Allan moved to San Fran­ and even now the neighborhood is not Kansas City Art Institute, Allan spurned cisco. Here he again temporarily left ce­ what you would call upscale. Yet, after graduate school and a chance for an ac­ ramics to sew patterned quilts and cloth­ years of wandering, Allan Winkler chose ademic career, dropping out of ceramics ing, make paper cutouts, prints and this place to make ceramic art. for a while. Allan muses, “It was some­ paintings, and also work as a drummer Though he has tended to remain out­ thing I needed at that time.” He contin­ in a jazz band for a time. Meanwhile, side the system, a solo exhibition of Al­ ued to explore other media though, mak­ his ceramic figures were on display in lan’s work was on display recently at ing an animated film, painting large the window of a former J. C. Penney Dorothy Weiss Gallery in San Francis­ canvases and cutting linoleum blocks, department store on Market Street. In co. Such aboveground recognition was while working for a living at a green­ this block-and-a-half-long space, Allan not easy to come by. house. was able to create a fantasy environment A student of Ken Ferguson at the Then, for two years at the Archie Bray that remained on public view for more Kansas City Art Institute in the early Foundation in Helena, Montana, Allan than two years. seventies, Allan says, “Ferguson saw I returned to clay. This was a productive With the return to Kansas City three was working hard and he pretty much time, and his work began to reach a new years ago and the purchase of his house let me do what I wanted.” At the time scale and intensity. The figures grew to plus an electric kiln, Allan resumed pro­ Allan was drawing crude pictures on near life size, and he began to combine duction of large ceramic sculpture. His platters and cups, and just beginning to the features of animals and people in wandering had taken its toll, however; evolve the large ceramic figures that now humorous ways. more works probably had been broken characterize his work. Hunting for deer and other big game or lost than had ever been displayed or

Kansas City (Missouri) artist Allan Winkler with his “Broom People” in 1979. 32 CERAMICS MONTHLY sold. “Now I want my work to be ap­ preciated and preserved,” he says. While his figures are often called na­ ive or primitive, it would be as much a mistake to call Allan a folk artist as to call Bob Dylan a folk singer. His work also catches the spirit of Jesse Howard of Missouri and the Reverend Howard Finster of Georgia, isolated primitivists who labored to create an artistic para­ dise from the insight of their personal visions. Although Allan admires the sin­ cerity and power of such men and wom­

en—he maintains an extensive collection Photos: Diana Osterfeld, E. G. Schempf, Peter von Ziegesar of primitive and folk art in his home— he also remains a dedicated contempo­ rary artist, alert to the place ceramics as a medium is gaining at the forefront of art. “It’s always been so much fun to just create people from clay. For me it’s a spiritual activity. I just start at the bot­ tom and build upward. After 3 or 4 inches (

The following article presents a glaze to 9.27% and replace the white lead with reous engobes; such engobes can be which contains lead in each of the com­ 51.0% frit G-l (a Standard Ceramic lead brushed on ware surfaces in the same positions suggested. Only ceramists with monosilicate frit). manner as slips, but will produce a glassy a strong knowledge of glaze chemistry Other substitutions: Pemco frit 54 may surface. should attempt to use this recipe because be replaced with an equal amount of What’s more, the following are among of hazards from lead dust during for­ Ferro frit 3134 or Hommel frit 14. Cus­ the possible additions to the recipe for mulation of the batch, firing emissions ter feldspar may be substituted directly color variations: and leaching in fired glazes. —Ed. for the nepheline syenite content; this will raise the maturation temperature of White 1: Looking for a glaze that can do every­ the glaze about one cone and reduce any Tin Oxide...... 5.00% thing? The following is an extremely running tendency at the higher cone lev­ versatile glaze designed to fire from Cone els. This variation produces excellent Not Quite White 2: 08 to Cone 10. Really! At the lower end results on sculptural work fired in elec­ Zircopax...... 10.00% of the temperature range it is ideal for tric kilns; where the glaze is thin, iron- wall and floor tiles, sculpture, earth­ bearing clay bodies burn through, yield­ Off White 3: enware and raku objects. At higher tem­ ing an attractive rust red. Titanium Dioxide ...... 8.00% peratures it exhibits the attractive, lus­ trous surface usually associated with lead Wiz Glaze Enamel White 4: glazes. This surface quality makes it ideal (Cone 08-10) Tin Oxide...... 5.00% for overglaze lusters, fuming and mul­ White Lead...... 45.90% Zircopax...... 6.00% tiple firing. Frit 54 (Pemco) ...... 17.55 Although this is a “safe” lead glaze, Nepheline Syenite ...... 9.25 Black 1: it should not be used for ware surfaces Georgia Kaolin...... 12.93 Cobalt Oxide ...... 2.00% which would come in contact with food. Flint (320 mesh)...... 14.37 Manganese Dioxide ...... 3.00% For those who do not wish to work with Red Iron Oxide ...... 5.00% raw lead compounds: Replace the white 100.00% lead, nepheline syenite and flint with Add: Bentonite...... 3.00% Black 2: 69.52% frit 28 (a lead bisilicate frit By increasing the bentonite content to Tin Oxide...... 2.00% available from Standard Ceramic Sup­ 5% and adding 10% opacifiers or com­ Chrome Oxide...... 3.00% ply Company, Box 4435, Pittsburgh, mercial glaze stains, the Wiz Glaze is Cobalt Oxide ...... 1.00% Pennsylvania 15205); or reduce the flint also an excellent base for developing vit­ Red Iron Oxide ...... 5.00%

trol the solubility of the lead because this factor depends on the other oxides used in Are Lead Glazes Dangerous? the formula. Boric acid, for example, in­ creases the solubility of lead. The alkalis, by Edgar Littlefield potash and soda have a similar effect, though to lesser degree. On the other hand, alumina is a powerful ingredient for decreasing sol­ The novice in ceramics does not work at of lead poisoning: first, in the use of food ubility, and silica is only slightly less effec­ the craft long before hearing something of containers which have been glazed with a tive. Calcium oxide, zinc oxide, barium oxide the dangers of using lead in glazes. The re­ poorly made or very soluble lead glaze; and and zirconium oxide—all help to thwart sol­ action may be to assume that all lead glazes second, in working with lead-bearing ma­ ubility, calcium being the most effective of are unsafe. Some people develop an unrea­ terials. In regard to the first area, a lead- the four. sonable phobia regarding their use while glazed food container can be used with safety The low-solubility lead glaze we desire others go blithely along, apparently unaware if the glaze has been well made and properly would, therefore, be one that contains as little or unconcerned with the possible toxicity of fired. Actually, the great majority of com­ alkali and boric oxide, and as much alumina, their glazes. Either course is foolish; the best mercial dinnerware is glazed with lead-bear­ silica, calcium and/or zinc oxide as possible, thinking on the subject would recognize the ing glazes that are so compounded as to have considering the requirements of the glaze dangers and then follow procedures designed no toxic effect whatever. A dangerous glaze formula used (fit, firing temperature, etc.). to nullify them. While it is possible and prac­ would easily dissolve in weak food acids, thus Further additions of other materials, such as ticable to make leadless glazes, few ceramists contaminating the foodstuffs. zirconium oxide, might be made. would wish to entirely exclude lead glazes If you are using commercial glazes, the In the second area, that is working with from their recipe books, especially when manufacturer can tell you whether they con­ lead-bearing materials, sensible precautions working in the lower temperature ranges. tain lead, and whether any particular glaze can easily be taken to minimize or completely In ceramics, there are two areas where we can be safely used for food containers. eliminate any danger. When working with should be concerned about the possibilities If you make your own glazes, you can con­ lead glazes or lead compounds, take extreme 34 Ceramics Monthly Almost Metallic Black 3: True Blue 2: Amber 3: Zircopax...... 4.00% Tin Oxide...... 2.00% Titanium Dioxide ...... 6.00% Cobalt Oxide ...... 1.00% Cobalt Oxide ...... 1.00% Red Iron Oxide ...... 3.00% Copper Oxide...... 3.00% Iron Chromate ...... 5.00% Opaque Blue 3: Brown 1: (Whenever any form of copper is pres­ Tin Oxide...... 5.00% Tin Oxide...... 2.00% ent in lead glazes, potentially toxic re­ Cobalt Oxide ...... 2.50% Manganese Dioxide...... 0.50% lease from the fired product is always Red Iron Oxide ...... 5.00% an increased concern. Never use a cop- Milky Blue 4: per/lead glaze on surfaces that might Bone Ash ...... 4.00% Dark Brown 2: come in contact with food.) Cobalt Carbonate...... 0.25% Manganese Dioxide...... 3.00% Red Iron Oxide ...... 5.00% Loaded Black 4: Toned-Down Green 1: Copper Carbonate...... 5.00% Tin Oxide...... 2.00% Neutral Brown 3: Potassium Dichromate ...... 5.00% Copper Carbonate...... 2.50% Nickel Oxide ...... 1.00% Red Iron Oxide ...... 5.00% Red Iron Oxide ...... 1.00% Red Iron Oxide ...... 4.00% Vanadium Pentoxide ...... 5.00% Rutile...... 2.00% Green-Green 2: Warm Gray 1: Tin Oxide...... 2.00% Yellow 1 (Cone 08-2): Cobalt Oxide ...... 0.50% Chrome Oxide ...... 1.00% Vanadium Pentoxide ...... 8.00% Manganese Carbonate...... 0.40% Copper Oxide ...... 3.00% Pink Stain...... 1.50% Light Yellow 2: Clouded Green 3: Tin Oxide...... 3.00% Cool Gray 2: Bone Ash ...... 4.50% Vanadium Pentoxide ...... 8.00% Tin Oxide...... 2.00% Copper Carbonate...... 3.00% Iron Chromate...... 2.00% Orange 1 (Cone 08-06): Golden Amber 1: Tin Oxide...... 1.00% Blue/Gray: Tin Oxide...... 2.00% Potassium Dichromate...... 4.00% Tin Oxide...... 5.00% Red Iron Oxide ...... 2.00% Vanadium Pentoxide ...... 3.00% Cobalt Oxide ...... 0.50% Rutile...... 3.00% Iron Chromate ...... 3.00% Red 1 (Cone 08-06): Opaque Amber 2: Tin Oxide...... 1.00% Medium Blue 1: Zircopax...... 2.00% Manganese Dioxide ...... 0.50% Cobalt Carbonate...... 0.75% Rutile...... 6.00% Potassium Dichromate ...... 4.00%

care to avoid transferring lead from your hands also, to wear a dustmask as you work. opening the cooling kiln while it is still quite to your mouth. This means that your hands Several ceramists have asked me to sound hot should be abandoned. This practice is should be well scrubbed after handling lead, a warning about the fumes which come from not only harmful for the kiln’s contents, but, and that habitual smoking or eating while hot ceramic kilns when the lead in glazes due to the possible presence of residual lead working with lead invites trouble. volatilizes. These fumes do constitute a very fumes, a health hazard for the potter. Some ceramists think that hazards are real health hazard. Lead compounds are quite These facts about lead, ceramics and you eliminated when they use lead frits, but this volatile at elevated temperatures and, in this have been presented not to frighten but to is true only if the frit is so compounded as state, readily assimilated by the body when inform! Certainly it is not my intention to to have very low solubility in dilute hydro­ inhaled. Recognizing that lead glazes expel discourage the use of lead-bearing materials chloric acid, the chief component of the gas­ lead fumes when being fired and, too, that or of food containers glazed with lead glazes, tric juices. Frit manufacturers are aware of kilns are not gastight, it follows that the at­ but rather to help the ceramist use these safe­ the problem, and should be able to supply mosphere in the vicinity of a hot kiln con­ ly and successfully. information about the dissolving factor in their taining lead glazes is apt to bear a dangerous Use common sense is a good way to sum lead products. concentration of toxic lead. Specific preven­ up. Recognize the dangers and then be care­ It would seem wise to stress here the virtue tive measures for this particular hazard seem ful. You know that fire, too, is dangerous, but of good housekeeping practices in maintain­ rather obvious. Whenever possible, the kiln properly used and controlled, it is a boon to ing a ceramic shop. Dust in the workshop should be located away from the work area mankind. may carry lead; it is dangerous and should so that no one is forced to work in a lead- be eliminated, but not by sweeping or any contaminated atmosphere. Ideally, the kiln The author Edgar Littlefield (1906-1970) other method which stirs it into the atmo­ would be situated in a separate room or small was professor of ceramic art at the Ohio State sphere. A [commercial ceramics] vacuum shed remote from other activity. All kilns, University. He began his career with a degree cleaner should be used for all dusting. including those fired by electricity or a com­ in ceramic engineering in 1928, then taught An absolutely necessary precaution in bustion fuel, should be provided with effi­ ceramics in the school of art until his retire­ working with lead glazes is efficient venti­ cient exhaust hoods to carry off all poisonous ment in 1967. This article is excerpted from lation for the spray booth. It would be wise, fumes. Moreover, the occasional practice of the August 1954 issue of CM. November 1985 35 Taylormade Pottery byT rey South

A SOLO EXHIBITION of porcelain and self to producing a limited range of forms stoneware functional objects by Elmer that are continually refined,” Elmer Taylor, Denton potter and North Texas commented. “Some refinements come State University faculty artist, was fea­ from observations made in daily use of tured recently at Waco Artworks in Waco, the pottery in my own home. Others come Texas. Having apprenticed in England from repeatedly working with similar with Michael Leach after earning an forms over a period of years. My main M.F.A. degree at Arizona State Uni­ goal is not to make pots but to allow versity, Elmer was influenced by the En­ them to grow from the interaction be­ glish tradition of form/function. tween the qualities inherent in clay as “I gear my pottery to satisfy the needs a material and my skill as a craftsper- of the kitchen and table, restricting my- son.”

Right Functional potter Elmer Taylor at Below Thrown and faceted stoneware his studio in Denton, Texas. teapot with ash glaze.

36 CERAMICS MONTHLY Photos: John Jackson

Covered jar, 18 inches in height, by Elmer Taylor. (T gear my pottery to satisfy the needs of the kitchen and table ” November 1985 37 Terry Moores

ASYMMETRICAL FORMS by studio pot­ ter Terry Moores were exhibited re­ cently at the British Crafts Centre in London. “The pots are of an irregular shape, squeezed smoothly out of the cir­ cular, and bent, or rather folded over, in the manner almost of a top boot flop­ ping gently to one side, or perhaps some­ thing like the form of the lower leg bend­ ing relaxedly through the knee to the lower thigh,” remarked reviewer Wil­ liam Packer. Constructed from thrown and slab- built ‘T’ material (stoneware), the forms were bisqued, then accented with slip glazes and fired to 1260°C (2268°F) in an electric kiln. “Each is made for it­ self,” William Packer observed, “but is then set up in relation to one or more of its fellows, as though it were an element in a group of standing stones or perhaps a clump of some rather more organic growth. The color is severely restrained, Asymmetrical forms, to approximately slip glazes in subtly varying shades of gray, low and close toned, a quiet, mottled 15 inches in height, wheel-thrown and fired in an electric kiln to 1260°C, by surface of stone grays that modulate from slab-built T material (stoneware), with British studio potter Terry Moores. warm to cool all but imperceptibly.” Photos: Joel Degen

38 Ceramics Monthly

Working intensely onas the a type of dance. It is subjugate those things ble characteristics. It takes smooth surface of a tallaction and reaction. When which get in the way so on personal attributes and vase, Frank Boyden jabs,it works right, it’s fluid. that we can see the skele­ they become mysterious. slashes and punctures Similarit with drawings are tons of what we do—the They tell you about things a sharpened piece ofdone weld­ over and over, so ideas. Not that technical they can do that you can ing rod. He pauses tothat, hopefully, they keep things are unimportant. never see—things which change the rod for angetting etch­ stronger. I practice You can’t have your pots perhaps happen at night— ing tool. Nearly ambidex­an image, honing away the falling apart or the glaze animals and forms of rela­ trous, he alternately drawsunnecessary stuff, working shivering off them. Those tionships which change at with both hands. Squinting,toward a minimum. I have things all have solutions. night and become some­ pacing a few steps backto to squeeze as much power The skeletons and the con­ thing else. It is not a observe, scratch his headas possible from the lines cepts behind them are the dream or overstressed and tug at his hair, Frankand images before I think things which avoid solu­ imagination. It is more a concentrates on fittingmy the drawings are good. tion, or the solutions matter that an image image to the form. He stopsI have to study the form change as do our minds. evolves, that it demands to drawing to talk about hisand mate the drawing to it. Most of my ideas of form evolve. If you can focus on work.—K.G. That’s my favorite part. were assimilated from those images, you can Most often the form deter­ functional vessels. This clearly see and respond to mines how the drawing does not restrain convert­ those demands. I spent a tremendous fits. It’s a balance. ing those forms to a non­ I will spend 20 or 30 amount of time surfacing utilitarian purpose. For hours on a large, highly this pot. Starting out with thousands of years, people decorated pot. There is a a well-tooled surface is have made functionally ori­ spectrum of quality in my very important. It’s like ented objects which func­ pots, from the very worst the difference between tion peripherally in the that have some technical drawing on a piece of culture. Whether objects problem, to those that are newsprint and drawing on are used that way or for good enough to go out. a beautiful piece of hand­ everyday eating and drink­They are critiqued at every made paper. It’s the same ing, the question is always step and phase. All seconds thing with the shape of the the same: How did the are broken, as well as pot. I want a shape that is maker imbue the object forms that don’t appeal to fluid. with the power and energy my aesthetics. Behind the Then I attack it. Inci­ which continue to transmit studio is a vast wild black­ sions often go in ½ inch, to others over time? The berry bush that consumes so the pot must be quite degree to which the maker copious amounts of shards thick. This form is light, can load the object with from my growing “landfill” though. A lot of the holes Frank Boyden clarity, material truth, con­ of dissatisfying pots. go all the way through. There’s only one way for cept and kinesthetic ener­ It’s important to spend This gives the lines and me to get a good drawing gy determines the eventual time doing the things you holes a quality of black onto a pot and that is to success of that object re­ love to do. In my leisure shadow, and visually re­ draw directly on the piece. gardless of how it comes time, I like to take friends lates the inside of the pot Doing preliminary draw­ into contact with the mak­ salmon or steelhead fishing to the outside. It’s like all ings on paper doesn’t work er or others. at my favorite water holes. that black inside the pot is because paper is not My work changed when I also have an aerated pond coming out the hole. Mak­ round. You must make the I moved out here near that is presently full of ing a big gouge also im­ best pot that you can, then Otis, Oregon. My whole healthy, leaping 4-pound plies a certain amount attack it as though it isn’t way of thinking changed. rainbow trout, which I en­ of violence. I try not worth a thing—a totally I have solitude and time joy feeding and talking to. to mince around. I like nonprecious approach. for reflection. It has mold­ When you like to do what to draw on the surface in That’s the reason I spend ed my imagery. Subjective­you are doing and take one shot. all day making a thick, 70- ly, I utilize cyclic things charge of doing every­ It hasn’t always been pound pot look light. It such as the salmon’s reap­ thing, you create a situa­ that way. I’ve worked to denies what it is and that’s pearance every year, and tion in which you are to­ get this kind of loose exciting to me. somehow the reuse of the tally responsible. When graphic spontaneity. I Everything has to fit to­ image makes these ideas you do that, you deny don’t like to do highly me­ gether. You must consider stronger and more con­ yourself the ability to ticulous drawings. the fast and the slow areas, densed. It hones the ideas make excuses. Removing The hardest thing to do or how light or how heavy behind the drawings. yourself from any situation is to make the first mark, the form is when drawing There is time to look at that might cause you to but you have to start some­ on it. What does gravity the environment, relax and make an excuse is the way where. You must defile the do? How do the shadows think. I’m involved with to live, as far as I’m con­ surface somehow. As soon work? I enjoy drawing on the immediacy of nature, cerned. as you do that you’ve clay, especially the way itcoming back to refine In 1962, I was in Crete. changed the entire piece. holds a pencil. those things that I see. I was a painting student Things begin to evolve. There is a great need for When 1 deal with an im­ then. The art department Then you respond to all potters to explore the mys­ age for a long time, that at my college simply de­ the different parts. I look teries of drawing and of image responds by chang­ nied the existence of clay at drawing around a piece form: to get rid of, solve or ing and taking on improba­ and no ceramics were per- A Ceramics Monthly Portfolio Above“Raven Reflection," 23V2 inches in diameter, stoneware, with incised porcelain slips. LeftFrank Boyden's home and studio were built into a barn located on meadowland above the Salmon River estuary to the Pacific Ocean. Portfolio cover“Death Narrative with 13-Eyed Raven," 27V2 inches in height, Cone 5 stoneware, with incised porcelain slip, iron and manganese. A Ceramics Monthly Portfolio mitted. So I didn’t take canic ash and beach sand, the Salmon River estuary apply to almost anything. pots seriously, nor had I and coerced local grader and the ocean. We were You can have a color that’s really spent much time and back hoe operators to able to get a loan to build warm as opposed to a col­ looking at them. However, tell me when they ran a house into the west end or that’s cool. That’s a very one day I visited the mu­ across clay deposits. Dump of the barn. In 1975, I dynamic, complex prob­ seum in Iraklion where an truck drivers were paid to took a whole year off, can­ lem. For instance, if I con­ immense Minoan collec­ deliver loads of it to my celing shows and commis­ front you with a hot pink tion is housed. It was the yard. This endeavor was sions to build it—every­ surface, a huge sheet of appropriateness and the vi­ rather too successful and thing except the stairs. hot pink color, it will de­ tality of the drawings on the yard quickly became The mathematics of those mand your reaction. If I the vessel forms that got heaped with giant clay stairs are really complicat­ lay a bright green down me. That was a seminal ex­ mounds. There are still ed and I couldn’t handle that hot pink surface, that perience and probably the boxes of local materials that. is going to do something root of my involvement stored in the studio. I wouldn’t build a house to you that will make you with clay, although I Eventually, I made the again, but it is a wonderful react differently from the did not begin to make pots transition from production process. Doing it and put­ hot pink. That is a visual until 1968. ware to one-of-a-kind, ting it together is just like idea. That’s abstraction. It First, I received an highly decorated pots. This building a big pot, except can be done with black M.F.A. in painting and art transition happened when it goes on and on. Building and white, fast and slow, history with a minor in an­ I was making wood-burn- a house is also a little like hot and cold, sharp and thropology at Yale. I was ing stoves decorated with theater. You know you dull, danger and safety. very interested in anthro­ large raku tiles. One day, have a situation; you act You have the problems pology at the time and ap­ as I was firing a ^x2-foot and react within it. If it of positive and negative plied for a grant to study tile, a man, attracted by goes on for a long period when dealing with figures petroglyphs located in the the reduction smoke, of time, it’s like a play or even totally abstract northern Great Basin for stopped to watch. He with many acts. As you wavy lines. A human fig­ the Museum of Natural asked if I could make grow, you’re able to do ure, for example, can be History in New York. After about 20 big pots for a certain things in it. If you presented to the viewer in spending five months pho­ bank in Portland. He leave it open, you can any number of different tographing and taking rub­ would pay for those pre­ change the plot continu­ mental and visual configu­ bings of Piute and Shosho­ liminary pots, and if they ously. My studio, which is rations. You can imbue a ne artworks in a remote were what the bank need­ just a huge space, can be figure with tremendous area, I was hired by the ed, he would order more altered to make big spaces sensuality. You can imbue University of New Mexico than 100 more. or intimate places to meet a figure with very little to take over the contempo­ It took me six months to the needs of what I’m sensuality and direct sex­ rary art history program complete the commission doing. That seems to be uality. You can imbue a and to teach painting. I for 150 giant pots. I coil necessary in my life. figure with neither of continued studying petro­ built them out of native Artists have to constantly those elements, but with glyphs in remote places clay dug by the side of the pay attention to what is serenity. A figure can take and was pressed into road in the foothills of the going on around them. The your eye on a muscular bringing back native raw Cascade Mountains. I want­ richness you bring to your trip. Your eyes are moving, materials for friends Dick ed to stimulate the bank life is reflected in your so your muscles are react­ Masterson and Jenny Lind, workers by making a lot of work. You can’t be bored ing to it. It can be a whole who were starting to make drawings on the pots, in­ and you can’t take any­ set of visual dynamics. pots. They gave me their cising them, drawing ani­ thing for granted. Every Again, the idea of dance is old painting studio and I mals and other funny time I attempt something, there since a pot exists in worked there every day. I things all over them. I it turns out differently, so time for the maker and guess being around all that even wrote stories. People there is a tremendous viewer. Everyone who con­ clay finally got to me. The would come into the bank, amount of excitement in fronts that pot must move kilns also had a lot to do see those decorated pots the discovery. I use themes to experience it. with getting me involved; with a forest planted in from nature because of the When drawing on a pot I was fascinated by them. them and want to place or­ balance there and that bal­ today, I approach it from I started making a few pots ders with me. I soon real­ ance is always changing— that point of view, trying in 1968 and was pretty ized I could make a living like an idea. to use those sorts of well hooked by 1970 doing this type of work. At When an idea is ready to things. When making a when we moved to Ore­ that point I started sending go, it just sort of happens. vase, I think about it pure­ gon. to galleries and doing The idea finally lets go of ly from the point of view I had a romantic notion shows. me and I begin to watch of how that shape is going of using all these native We were broke during the thing unfold almost by to relate to the drawing clays from Oregon, the those early years in Ore­ itself. Then those pieces that goes on it. How am I state where I was born and gon. Seriously, we ate a lot have life and energy, and going to make that drawing raised. The first three or of clams and salmon. After at a certain point they demand something from four years, I did raku, five years, though, we sold move beyond that and de­ the shape? It’s interesting stoneware and earthenware a little piece of land that velop an authority. how one mates those two production work, using al­ had been a wedding pres­ I am interested in the things, and how to use the most entirely native mate­ ent and used the money possibilities of things that clay to support the draw­ rials. I collected and used for a down payment on advance and things that re­ ing. That’s what will put a diatomaceous earth, vol­ meadowland high above cede. It’s an idea you can pot into outer space, really A Ceramics Monthly Portfolio Above"Changing Form," 25V2 inches in diameter, Cone 5 stoneware plate, with porcelain slips, stains, iron and manganese, plus a light application of Cone 05 glaze.

LeftThe majority of the barn is devoted to Frank’s studio, which can be altered "to make big spaces or intimate places to meet the needs of what I’m doing." Partitions separate the kiln room from clay and glaze areas. A Ceramics Monthly Portfolio make something happen whole year in advance, wore masks of each other, grand and various issues of with that piece. month to month. I think mated together, ate each the ceramic world. If something needs to be I know where I’m going, other because they were Some things started to drawn upside down, I too. I am very organized, blind, danced in death and become clear. The pots draw it upside down. It and try to have work for experienced each other as which were made along makes no difference. If the shows made at least three ghosts. It was a story, a those rivers were not poor image is of something months before they are creation myth of sorts but for lack of such lingo or dead, I often draw it up­ due to go out. That way if it was also zoomorphically the lack of ego or the lack side down. I’ve been deal­ something goes wrong or if political. So at the point of competition. They were ing with dead things for a I make better pots after that I had a grasp upon the powerful and complex. few months. If I make a lot that, I can substitute, shift image I also was free to Strangely enough, I real­ of them, that doesn’t mean or juggle the work. turn that image into a ized with some shock, it’s a static image that I’m It’s fundamentally im­ functional idea. At that these people also had all overworking. It takes a portant to present a broad point the image began to the problems I had in mak­ long time to learn how to spectrum of work in exhi­ have a life of its own. The ing clay objects. make a drawing of some­ bitions. My recent show in idea went on and became The wonderful thing for thing dead or upside Rochester, New York, dis­ metaphorical and I was me was seeing in action down, and to put that played eight large high-fire free to just do it. When for the first time a 3000- drawing in a situation plates, ten tall terra sigilla- that happened it came as a year-old tradition which where you’re eliciting the ta/raku forms and ten litho­ surprise, just being free to was vital, unquestioned, most power. graphs. Though varied in do it. One of the connota­ alive and useful. The pot­ It’s funny. Sometimes the utilization of tech­ tions of that approach ters were fully aware of upside-down drawing gets nique, the work was relat­ means that materials which the vast complexity of you in trouble. I’ve had ed by theme. It had a great you use are inconsequen­ their work and designs. two shows in which the deal to do with death and tial. Clay, paper, steel— They were fully aware of gallery has printed a photo things dying, based on the each has its own appropri­ the genealogy which nur­ of a pot upside down on remarkable annual event of ate quality for the idea. tured those designs and the announcement because the salmon leaving the sea That is freedom also. the forms upon which they they couldn’t conceive of to return to their river of It is hard to talk about were applied. Although the the rightness of an upside- origin near my home. They the evolution of an image, designs manifested them­ down bird. I had even put spawn, die, rot and are though in reality it is very selves within recognizable arrows on the back of the consumed by scavengers simple. You look and traditional patterns, the in­ photograph to make sure such as ravens. think, then just sit down dividual potters were re­ everyone knew. The lan­ The ravens crept into my and start to work. You next sponsible for directly de­ guage of seeing is very re­ pots two to three years evaluate it and it grows. veloping and interpreting strictive sometimes. As ago. I was in northern Ne­ You sit down and draw their own visions. Their di­ soon as we think we know vada doing a workshop and again. It is uncomplicated. rect observations, as well what something is sup­ the ravens were every­ It is not ponderous in any as their family’s observa­ posed to look like, then where. They seemed very way. It requires time and it tions, altered those pat­ we are in trouble. tame. You could walk requires clarity. terns within certain de­ You have to be willing close to them, these big, Once I had a lesson in fined boundaries. It was to go wherever the work flapping, croaking things. I the uncomplicated and the necessary for these potters takes you. If you are really did a series of portraits of direct. I was in Peru and to reflect the intensely per­ serious about your art, you people as ravens. Then Ecuador for some months, sonal relationships of their have to do that work and about one and a half years looking at contemporary surroundings, their family not a lot of other things ago I went to the river ceramic efforts along some demands, their dreams, for quite some time be­ here and saw a raven eat­ of the headwaters of the their belief systems and cause you never know ing a dead salmon. Amazon. It was a world so their genealogy. The ideas when you are going to be A raven has a highly different that it was like behind the work were ex­ taken down a whole new charged image. I like that. being pushed gently or tremely complex, but the path. Everything is a long At first I was interested in perhaps being slammed potters’ responses and ac­ process. it only as a bird—very in­ through some sort of bar­ tions were very direct. Over the years I have tense and energetic. Then rier. It was so hot I could They had a system whereby found myself spending it became a character with hardly think and walk. It stylization and limits al­ progressively more time on narrative potential. I had was dangerous, mysterious lowed clear interpretation. fewer pieces. Each pot has not dealt with narrative for and charged with emotion. The rules allowed freedom become increasingly com­ many years and started It was perhaps the farthest and that freedom allowed plex and elaborate. I began working this way about thing I could find from my direct action. using an airbrush when my two years ago. It was the American environment. It Although far removed decoration became more ravens’ doing. was devoid of ego-laden, from that system, I have specific and required lots I produced a suite of ten competition-oriented made an effort to apply of finely tuned, evenly ap­ lithographs which involved craftspeople. It was also some of the same ways of plied slips. I wanted the a set of interactions be­ devoid of art lingo and the observing and the same di­ surfaces to have a wet tween a salmon and a ra­ standard references which rectness. Most importantly, look-—you know how ven. In the suite the char­ tell us when we are on the I think that those observa­ beautiful clay looks when acters reflected each other right track as we sit dis­ tions have given me per­ it’s wet. narcissistically. They cussing the intricacies of mission to work more di­ I know what I’m doing a changed into each other, our serious work and the rectly. A Ceramics Monthly Portfolio Above"Salmon and Raven Plate," 25 inches in diameter, incised stoneware, with porcelain slips, stains, iron, manganese and a thin Cone 05 glaze.

Left In 1975, Frank took a year off, canceling shows and commissions, to construct living quarters in the west end of the barn. “I wouldn't build a house again, but it's a wonderful process. Doing it and putting it together is just like building a big pot, except it goes on and on." A Ceramics Monthly Portfolio Recipes Boyden Stoneware (Cone 5-10) IMCO 400 Clay*...... 60 parts Newman Red Earthenware Clay . ... 10 Silica Sand (70 mesh)...... 5 A. P. Green Grog (30 mesh)...... 15 ______90 parts ‘finely ground Lincoln 60 clay produced by Industrial Minerals, Florin, California

Porcelain Slip (Cone 5-6) Feldspar ...... 1.0 part Nepheline Syenite...... 1.0 Ball Clay...... 0.5 Kaolin...... 1.0 Flint...... 1.0 4.5 parts

Base Slip (Cone 5-10) Nepheline Syenite ...... 60% Grolleg Kaolin...... 40 100% Add 1-30% glaze stains, depending on desired color.

White Earthenware (Cone 02) Talc...... 38% Nepheline Syenite ...... 12 Kentucky Ball Clay (OM 4) ...... 50 100%

Raku Clay Body Talc...... 10 parts Feldspar 10 Ball Clay ...... 20 Lincoln Fireclay...... 50 Raw Kyanite (48 mesh)...... 15______105 parts For a white terra sigillata, mix 10.5 pounds Kentucky ball clay (OM 4) and 48 grams lye with 3 gallons water. Allow to settle for 48 Frank says that a smooth surface and good form are hours. Siphon off the top layer. Use with a spe­ important. “It's like the cific gravity of 103-108/100. Follow the same difference between drawing steps to make a red terra sigillata from 12½ on a piece of newsprint and cups Newman red earthenware and 2 tea­ drawing on a beautiful piece spoons Calgon mixed with 2 gallons water. of handmade paper. It’s the same thing with the shape of the pot. I want a shape that is fluid." A Ceramics Monthly Portfolio Above“Hiding Raven and Blind Salmon," approximately 24 inches in diameter, porcelain, with drawing incised (using an etching tool and razor blades) through manganese sprayed on bisqueware. Far left A skylight floods inner studio spaces with sunshine. Left Frank studies forms “to mate the drawing" to them. “Form determines how the drawing fits. ” A Ceramics Monthly Portfolio PHOTOS: GOODWIN HARDING, JIM PIPER, ED SEABLOOM

A Ceramics Monthly Portfolio Sandy Simon: Eccentric Porcelain byS aunthy Singh

“I experimented with other clays,” Sandy said, “but always came back to this clay, even though it is expensive be­ cause the kaolin is imported from Eng­ land. It’s so responsive when thrown. You can manipulate it without it crack- ing. Sandy uses commercial stains for the “rocks,” adding (by eye) a mixture of 60% stain and 40% frit to a handful of porcelain slip. This colored clay is then rolled into balls and fired to Cone 06 before being imbedded in freshly thrown pots. In addition, commercial underglazes are brushed on the pots while they are still wet, usually at the wheel. After a Cone 06 bisque firing, the pots are sprayed with clear commercial glaze for the final Cone 6 firing. Now living in Benicia, California, an hour’s drive from San Francisco, Sandy studied ceramics at the University of Minnesota in Minneapolis, then taught at several schools, including Purdue Sandy Simon at her studio in California, where there's a market University and the Art Institute of Chi­ for pots “that are a little eccentric, on the extreme side * cago. She notes a contrast in the career- oriented directions advocated by aca­ CLAIMING INSPIRATION from the choc­ being too fragile for everyday use. Crisp demic institutions in the eastern and olate chunks in mint chip ice cream, lines and splashes of blue, green, yellow western regions. California potter Sandy Simon presses and black contrast on the white ware, “When I went to school, teaching was “colored rocks” onto the sides of her por­ accenting the ‘rocks.’ the main emphasis to gaining experience celain cups, bowls and teapots. “Every­ “I have every intention for my work in exposing your work to others. It was body who knows me thinks I’ve turned to be used,” she remarks. “I see my pots never emphasized to have shows or pur­ totally California,” relates the Minne­ with food in them. I try not to overdec- sue a career by the high-circuit method. sota native. orate because it would make the food “It’s totally different here. I’ve never “When I was living in Tennessee look bad. Decoration should heighten entered a competitive show. But my everything was so lush, green and col­ the way it looks.” work’s been in several invitationals and orful, but most of the pottery was brown Sandy has kept her hands in porcelain I’ve done many workshops. salt-glazed ware. Form was more im­ since the onset of her career over 15 years “When I first moved here, all my ex­ portant than color and decoration. ago. “I started using porcelain because periences had been in the Midwest and “One day I went into the ice cream I was always interested in coloring and East. There, there’s a much stronger re­ store and noticed the mint with choco­ decorating. I did a lot of brushwork in spect for tradition and traditional pots. late chips. Soon after I saw Phil Cor­ my early years and it just shows up bet­ But it’s passe here. In the ’60s everybody nelius’s work in Ceramics Monthly ter on a white clay.” on Telegraph Avenue in San Francisco —brown pots with chunks of nepheline The porcelain body she uses was ad­ was doing pots (good and bad), and peo­ syenite melted on the sides. I put two justed from a standard Grolleg kaolin ple just got saturated and turned off. The and two together and came up with ‘col­ recipe to lower the firing temperature to same thing is probably happening with ored rocks.’ Cone 6: gelato, cappuccino and baguettes.” “I embedded ‘rocks’ in some clay and She adds, “California is very cultur­ threw a bunch of cups. Of course, they ally developed. Everybody shares a com­ pulled up unevenly. But I really liked Grolleg Porcelain Body mon understanding of fine foods, fine the motion.” (Cone 6) restaurants, theater. So to make pots that Since then Sandy’s dinnerware has Talc...... 3 parts are a little eccentric, on the extreme side— deviated from the typical ethereal po­ Nepheline Syenite ...... 25 there’s a market for them. People ap­ sition frequently associated with por­ Bentonite...... 3 preciate them.” celain. Slightly uneven rims, varied glaze Grolleg Kaolin ...... 55 The author Free-lance writer and art application and spontaneous, unre­ Flint...... 25 reviewer Saunthy Singh resides in Chi­ strained use of color banish all fears of 111 parts co, California. November 1985 49 Clear-glazed porcelain cup and Freshly thrown ware is frequently saucer; wheel-thrown, with decorated with imbedded “rocks” (bisqued, underglaze striped additions. stained porcelain) and brushed underglazes.

Left Cone 6 porcelain teapot, 11 inches in height, with underglazes, imbedded “rocks” and clear glaze.

Below Squared soup bowls, approximately8 inches in diameter, with imbedded colored porcelain “rocks” and underglaze brushwork, clear glazed at Cone 6.

50 CERAMICS MONTHLY Photos: Gloria DeForest

Above Porcelain dinnerware made with “every intention to be used” by Sandy Simon, Benicia, California. *I try not to overdecorate because it would make the food look bad. Decoration should heighten the way food looks.” Right Thrown cup and saucer, with *colored rocks,” striped insert and underglaze brushwork added at the wheel, clear glazed, fired to Cone 6.

November 1985 51 James Stephenson Photos: courtesy of the Elements Gallery

“Leaf Columns ” 8V2 feet in height, cast white stoneware “Entrada,” 9V2 feet in height, extruded terra-cotta tile, glazed elements, fired in oxidation to Cone 3, assembled with metal and reduction fired to Cone 03, on a plywood substructure, by rods and mortar. James Stephenson.

ARCHITECTURAL clayworks by James primitive brickyard. That experience and to architectural terra cotta and recently Stephenson, State College, Pennsylva­ exposure to pre-Columbian architecture became interested in free-standing sculp­ nia, were featured among the last shows had a “profound impact” on his work. ture using clay modules.” at the Elements Gallery before its clos­ Returning to Mexico four years later The work in the exhibition was “still ing in New York City. (See News & to visit tile factories, he “became in­ influenced by images from Mexico,” Jim Retrospect, page 73, September CM.) trigued with the colonial architecture, commented, “with a concurrent interest Jim’s interest in developing architectur­ and began working with ‘sandstruck’ in using the basic architectural ele­ al terra-cotta sculpture began following terra-cotta units in plaster and wood ments—arches, columns, walls—to make a trip to Nochixtcan, Mexico, where he molds.” Since then he has worked with sculptural statements to be experienced worked for two months in 1972 at a “a variety of forming techniques related at human scale.” 52 CERAMICS MONTHLY Bartering Your Work byRoss W. Murphy

An EXCELLENT OUTLET for your work tool for cash business. You gain an in­ with the gas company man who came is to trade it for the goods and services tangible web of relationships that will out to hook up a line to my new kiln. I you need. Many artists and craftspeople bring new and additional business wasn’t even serious. Of course he couldn’t are using barter as a thrifty way to mer­ through your door. trade me for natural gas, but it turned chandise their products. Here’s a good example: I have my out that he owned a tractor, and I traded The advantages are many, for both hair cut by a woman named Terri at him pots for garden plowing and pulling parties, but the main one is this: Instead Terri’s styling salon. Terri charges SI2 out a row of old fence posts. of trading your work for money, and then for a haircut with shampoo and styling. I did very well on that deal because trading money for the things you need, Once, several years ago, I realized that he fell in love with some experimental bartering avoids the money transaction I hadn’t brought sufficient money to pay pots that I had been planning to donate altogether. In times of recession or tight for my haircut. “Terri,” I said, “I’d like to a museum that I hadn’t gotten around money, barter is more efficient than trying to work out a better way to pay you. Let to locating. to work with cash. It would be the most me trade some of my fine stoneware pot­ Although you can’t trade pots with efficient of all mercantile systems, if a tery for haircuts. I don’t happen to have everyone, you can barter with just about way could be found to locate the right any with me right now, but I do need a anyone. People really like the idea of trading partner at the right time. haircut. You cut my hair now, and be­ getting something without spending any Bartering often is employed in inter­ fore the weekend I’ll bring samples of hard cash. The year before last I went national commerce, since the trading my work for you to choose from. If you to the ophthalmologist to have my eyes partners—countries—have long been don’t find any pots that you would like examined for a new pair of glasses. The established, and the commodities traded, to have to equal the cost of the haircut, complete examination was S37 and the such as grain, wool, oil, coal, cotton and or don’t want any at all, I’ll pay you glasses were SI03. I got them by bar­ lumber, are used universally. cash as I have before. Will you give it tering and paid no money. Now my pots Countless companies have found cre­ a try?” are part of the decoration at the medical ative ways to move their merchandise. Doubtful, she agreed to go ahead. center along with a small stack of my Example: In 1984, the Boeing Com­ However, when I brought a box of pots business cards. This small “exhibit” got mercial Airplane Company wanted to for her to choose from, she was delight­ me an invitation to an art fair, and this sell ten 747s to Saudi Arabia, which didn’t ed, and selected a planter and two coffee year an engagement to speak to a senior have the cash. However, a Mideast bank mugs with a retail value of $30. My citizens art group for a small fee. At the came up with the cash after agreeing to haircut had been paid for and I then end of my talk I also got an order for a accept one billion dollars worth of oil had an SI8 credit with her. She liked half dozen coffee mugs. from Saudi Arabia. the fact that since no money had changed This is why I say that barter often On the personal level, avoiding the hands, she did not have to collect sales leads to other opportunities while at the money transaction leads to new oppor­ tax. Neither did I. She was excited by same time providing additional outlets tunities. Potters may not always have the the idea of trading. “You should send for your work. cash when they want to make a pur­ your wife and daughters over so I can Last winter I took my family to South chase. This fact alone makes it worth­ style their hair or give them perms,” she America for three months to study In­ while to make the effort to find the right said. “That way I can get some more dian pottery techniques. We brought back pots from you sooner.” “All bartering should be done to So now I have a trading partner, and “Now if you don't feel that you obtain good value. It should not I don’t pay for haircuts anymore. I can want to get into this horse- stop by anytime and let her select pots be a case of “Vll trade my for gifts or for her home to build up trading operation, there are still unsalable junk for your credits for hair care. This way I don’t several ways for barter to work unsalable junk.” have to find a trading partner at the pre­ for you ” cise time that anyone in my family needs trading partners either at the right time a haircut. 15 rolls of film to be developed. The or to have them available when the right Terri thinks it’s a great idea and has couple who own the one-hour film store time occurs. sent me several customers who com­ were fascinated by the pictures; a con­ If you have a surplus of pots, you can mented about the pots they’d seen in her versation started and finally we decided expand your clientele beyond your cash- salon. to trade pots for the film processing. I paying customers. It’s still business. The It’s unfortunate, but you are not per­ was so glad, because we had come home advantage is that some of this business sonally going to be able to establish a almost broke, and I didn’t know how we may at some point be converted into cash barter relationship with everyone. The would replace the money those pictures business. Furthermore, referrals gained phone company is a good example. I would have cost. through bartering become a marketing know, I’ve tried. But once I made a deal I met an oil-color artist at an art fair November 1985 53 and commissioned her to paint a land­ stove,” with my phone number on the change directory, which is reissued six scape of our home and trees in exchange bottom. Well, the Murphys are going to twelve times each year. Through this for pots. Similarly, I commissioned a canoeing next spring and we need some catalog members can contact you di­ stained glass mirror, trading a pie dish new gear. I’m not in a hurry, and when rectly for bartering pots for dental work, and an electric blue casserole. At anoth­ people call, I just love to steer the con­ plumbing, legal services or auto muffler er fair I traded miniature pots for a versation around to fine stoneware pot­ repair. beautiful rosewood box. Six coffee mugs tery. Surely someone is going to want to Suppose an interior decorator wants got me the oil painting of hollyhocks that trade, someone who went camping once pots for a decorating project, but you graces the entryway of our home. and didn’t like it and really does enjoy don’t need any painting or decorating. By the way, trading art for art should good pots. After agreeing on a price for your pots, not be an act of desperation at the end This is exactly how we got the 35mm the decorator “pays” you, through the camera we took on our last trip. barter exchange, in “trade credits,” worth (( There is no reason you should pay $1 each. You now have these trade cred­ Although much bartering is cash for the 2000 business cards you have its to spend for printing, newspaper ad­ transacted without recourse to printed. That number of quality cards vertising or restaurant meals. the IRS, bartered goods and ordinarily will cost you from $90 to $110. Or, suppose a dentist has surplus chair Why not trade pots instead? Just go to time. When not working on a patient’s services do qualify as income, the print shop owner with some of your teeth, that time is lost forever. You can and therefore are subject to pots and explain what you want to do. get your teeth filled or cleaned and pay federal income tax.” Offer fair value in the trade. More than in trade credits. The trade credits you likely the owner has lots of scrap card spend with the dentist you earn by “sell­ of an art fair when you’re wondering stock and will figure on getting your pots ing” pots to some other member of the why you brought all this stuff that you practically for free. In fact, you will exchange, say an attorney who wants now have to repack to carry home. All probably be trying to suppress a grin coffee mugs for gifts to clients. bartering should be done to obtain good because you will be getting those cards Let’s say you’ve used your surplus time value. It should not be a case of “I’ll practically for free. Who’s right? Who and kiln space to make a line of bean trade my unsalable junk for your un­ cares! pots, soup and salad bowls and bread salable junk.” And when you ask about letterhead, plates. It would be worth your while to Let me explain: I saw the hollyhock money won’t even be mentioned. list these specialty items in the exchange picture the moment we arrived at the Now if you don’t feel that you want directory. A restaurant could then con­ Atchison, Kansas, River Festival and I to get into this horse-trading operation, tact you directly and either issue you a knew I wanted to have it. I looked at all there are still several ways for barter to trade credit draft or give you meals. of the artist’s work and told her that the work for you. One way is to join a barter With your barter exchange you can hollyhocks were the best piece she had. exchange. There are over 300 in oper­ also list goods you want that may not be Several times during the day she saw me ation in this country right now. I noticed available in your own locale. Since many looking across at her canvas and each that in my town, Kansas City, there are of the exchanges are national or inter­ time I shouted over to her, “I really love four. You can find them in your yellow national, you may be surprised by an that picture!” pages under Barter. They work by get- inquiry from a distant city with an offer In the late afternoon she brought her to meet your needs, which you can buy husband over. “I really love those blue with your locally earned trade credits. mugs,” he said. The artist said, “I’ll give “I prefer to think that the best A question that arises in many peo­ you my hollyhocks if you’ll give me some method is to barter your ple’s minds is just what is the position mugs for a present for my husband.” products at cost, rather than of the Internal Revenue Service on all “Wonderful!” I said. “Yippee! How retail, and keep good records to this bartering. many do you want?” In the case of the barter exchanges, a What a great, positive experience! substantiate your cost accounting law passed in 1982 legalized these ex­ That’s the way to barter. It is so much methods.33 changes as “third-party record-keepers,” better than the situation where people somewhat like banks or savings and loans. have come to me to say, “We haven’t ting buyer and seller together and earn This means that they must keep track done very well today and we were won­ a small commission, usually from 8-10% of transactions between members in which dering if we could trade you some of our on each transaction in which they are they participate and for which they issue work (schlock) for your pottery?” Well, involved. and receive credits. The dollar value of that’s negative, and I have trouble get­ The barter exchange will keep a file these trade credits is reported annually ting interested. That’s not the way to of local members, what they have to trade to the IRS and also to each of their cus­ find trading partners. If your work is plus their specific want lists. In addition, tomers. This is reported on form 1099B, good, you can barter it anywhere, and the exchange will have a computer ter­ which you would file with your income you don’t have to be humble about it. minal connected by phone to other bar­ tax return. Here’s a good technique that I’m us­ ter exchanges for offerings and want lists Although much bartering is transact­ ing right now: I have little placards up in other cities. ed without recourse to the IRS, bartered on the bulletin boards of most of the Usually there is a membership fee, goods and services do qualify as income, grocery stores around. “WANTED,” they $350 to $400. A portion of this goes for and therefore are subject to federal in­ say, “Camping tent, dining fly, portable listing you and your wares in the ex­ come tax. IRS agents have been alerted 54 C eramics Monthly to look for unreported barter transac­ if the products and services are priced tions and they routinely tax them when fairly and competitively. Determine the they find them. The IRS simply esti­ geographic coverage of the exchange’s mates the fair market value of goods or client base to learn how near you are to service and taxes that. Individuals con­ supplies of goods and services that you ducting barter transactions must agree want. Find out if the barter company between themselves just what consti­ provides consulting services in addition tutes fair market value, and therefore to barter brokerage, exchange and other must have a good understanding of cost, management services. Inquire as to how profit margin and the true salability of many clients are currently trading and the product offered, so they can report how many are on standby or reserve sta­ this income accurately. When you report tus. Compare the barter programs, con­ tracts, costs and services of other barter companies in order to determine the best “If you think you couldn't get deal for you. Remember that barter sales into barter; here's a simple are taxable income. Check with the In­ experiment to show you how ternal Revenue Service for details. Make the usual business reference checks— easy it is and to build your Better Business Bureau, chamber of confidence. commerce—on the credit exchange. Or, you can keep it simple: Over in the value of your bartering activity, you Shawnee lives a beekeeper who used to can at the same time deduct the cost of sell me honey for $14 per gallon. Won­ goods “sold” as your business operating derful honey! He and his wife used to expense. The difference between cost and buy pots from me. Wonderful pots! To­ your retail “selling price” is therefore day we just trade and if the honey I get taxable. from him exceeds the value of the pots The usual example that the IRS gives he gets from me, I just keep a tab of the out concerns the contractor who builds difference, until the day they drive up a vacation cottage for an automobile needing a gift for someone. If that ex­ dealer in exchange for two sedans. For ceeds his credit, it just goes on the tab. the life of me I can’t imagine myself The honey really is excellent, and we playing in this league. I suppose I’ve rarely buy sugar anymore. never learned to think quite this big. I If you think you couldn’t get into barter, prefer to think that the best method is here’s a simple experiment to show you to barter your products at cost, rather how easy it is and to build your confi­ than retail, and keep good records to dence: substantiate your cost accounting meth­ Take some of your nice pots to a good ods. florist shop. Tell them you want them Now back to getting connected with to know your pots are available for any a barter group. special jobs they get where the container Says Dean Dowell, the Kansas City becomes a gift after the flowers fade. They operator for ITEX, an international get several of these jobs each week. In trading exchange: “It’s a good idea to fact, ask them, would it be possible to get to know the barter exchange before trade some of the present pots for flow­ becoming a member. See if they have a ers now. In the floral trade the business limit on how many trade units you can motto is, “Sell it or smell it.” I’ll bet you build up. It wouldn’t be good to have could take home a dozen roses to your too many if the exchange goes out of spouse. Or maybe daisies. It would de­ business. Find out if they cancel mem­ pend on your pots. berships for people who don’t perform Every time I make a particularly fair well or who sell shoddy merchandise.” exchange, I can’t help but think that I’m Some additional advice from the In­ ahead in the game. It’s because what ternational Reciprocal Trade Associa­ I’ve traded is something I’ve made from tion in Washington, a group represent­ that stuff I dig out of the ground. Do ing 100 barter exchanges, as reported you know what that stuff is? Why, it’s by Nation's Business: Prepare a list of the stuff that dreams are made of. your wants and check whether the bar­ ter exchange can obtain or provide any The author A studio potter in De Soto of them. Ask for a referral list of clients Kansas, Ross W Murphy also wrote about} and check with them to see if they are “How to Sell Your Pots Profitably” in satisfied. Check the barter prices to see the June 1984 CM. November 1985 55 56 C eramics Monthly Comment How are we to manage this? Potters weeks out of the year. Even the main­ who teach at universities are fortunate, tenance of a home—no matter how fru­ Continued from Page 23 indeed. Campuses generally supply cul­ gal and simple—takes time. To be the Very few of us who call ourselves pot­ tural amenities at reasonable cost. What kind of people we set out to be, live the ters are simply mudslingers. Most of us about the rest of us? Value systems carry lives we preach, requires a certain amount are dedicated to a life of simplicity, or­ price tags. If we want our children to of leisure. Such “spare time” is available der, beauty, in which physical and in­ appreciate Bach, we need good stereos, to the young, in whose overflowing ener­ tellectual work are harmoniously blend­ radios and, every so often, trips to the gies ten-hour workdays, six days a week, ed. We embody the good and sensible concert hall. Humming the Branden­ barely make a dent. It is not available part of the arts and crafts, William Morris burg concertos as we wedge won’t do it! to the older potter. tradition. We reunite artist (white-collar Urban potters have access to mu­ I suspect many of us persist in one- intellectual) and craftsperson (blue-col­ seums, concerts and such, but rarely can job poverty against our better judg­ lar worker) into an entity who is well- afford to live in neighborhoods that offer ment—partly because we would consid­ schooled, well-educated, equally at ease good public schools. Rural potters have er change “defeat,” more importantly throughout society. to deal with similar trade-offs. Solutions because we live in a society that uses job The welfare of potters, then, has im­ are accessible; all are costly. titles as shorthand for tedious expla­ portance far beyond us, exactly to the One can shrug off the piano lessons nations of values, schooling, background extent that, as romantics, we want our and dance classes. Some demands are and so forth, and to call oneself “potter” lives to matter, as much as our work. nonshruggable, however. They are ad­ seems more appropriate than to call one­ Now, while families of artists are rare, dressed to the inner core on which self- self “accountant.” So, many prefer to suf­ families of intellectuals are not. If we respect and self-image are built. Young fer than to fudge. But three evenings a are to have continuity, we owe it to our children require hours of daily parental week spent updating the books of a few children to give them the cultural back­ attention if they are to acquire intelli­ neighborhood businesses should not make ground we had. That means piano les­ gent vocabularies, tolerable manners, one less a potter. sons, straightened teeth, trips to ballets, acculturation to civilized life. A child with museums, concerts and so on. Those of even so mild a handicap as dyslexia re­ The author A studio potter in Con- us who live in areas where public quires many extra hours of parental care. stableville, New York, Lili Krakowski schooling is inadequate, owe our chil­ A spouse or parent with health or other earned her living in book advertising for dren private schools. problems can take hours out of the day, more than a decade.

November 1985 57 58 C eramics Monthly News & Retrospect Swiss Biennial centrating on painting. They told me their After bisquing, then glaze firing at 1850°F, The 13th biennial juried exhibition of Swiss paintings sell five to one over ceramics. the works are sawdust smoked in a closed ceramics was on display at the Villa Mal- “There are only two galleries [Garth Clark barrel for 24 hours. Because of the variation pensata in Lugano through September 1. Or­ and Hadler-Rodriguez] representing clay left ganized by the Swiss Ceramists Association, in New York. I don’t think the situation will “Ceramica Svizzera 1985” included 310 last, but it may be ten years before craft art sculptures, vessels and wall forms by 66 art­ gets the recognition it deserves.” ists. This stoneware and porcelain vase, ap- Tile Design Trends Once again ceramic tile is gaining mo­ mentum as a fashionable interior design ele­ ment, offering a massive market for those potters interested in responding to current demand. Whether used on floors, ceilings, countertops or to accent architectural fea­ tures, tilework is considered the finishing touch especially in rooms other than the traditional tile users—the kitchen or bath. From 1980 to 1984, U.S. commercial ce­ ramic tile purchases increased from 500 mil­ lion square feet to 790 million square feet. Even a small portion of that demand met by 23-inch “Old Hands and Keyboard” the designer/craftsperson could cause a boom of temperatures in this type of firing, cracks in handmade profits. Instead, (for the most often occur, but Gail uses the cracks “to alter part) imports met the demand. Italy alone and enhance the image; to add variation to sold 220 million square feet of tile in the the existing image with line and texture. The United States last year. Color, design and plates are broken into sections and some of price sold Italian work. the sections are fired repeatedly until the smoke The current collection from Italy features patterns seem right for the image. When the textured surfaces and layered colors to take sections are glued back together again, there advantage of three-dimensional effects. Some is a possibility of more depth, richness and patterns combine matt and gloss glazes to expression in the reconstructed image. catch the light. “I use the cracks for their symbolic value Stoneware/porcelain vase by Alexa Vincze As on the trendsetting TV show Miami as well,” Gail says. “They serve as a meta­ proximately 10 inches in height, by Alexa Vice, the color dictum appears to be “no earth phor for the ways in which we as human Vincze, Corsy, was awarded a mention for tones.” The emphasis is toward pastels (pinks, beings sometimes crack and fall apart. When work by a young ceramist. Photo: Brioschi aquas, peaches and easy-to-live-with “off” we are once again whole, we often have passed Bellinzona. tones) or “lively” reds, “sunny” yellows and through the disaster, have changed signifi­ deep blues in solids or geometric and floral cantly, become stronger and a little bit closer New York Gallery Prognosis patterns. The “new neutral” is gray, with to freedom.” Text: Phyllis Bragdon; photo: At the end of September, after five years black and white (often in geometric patterns) Robin Collier. as one of the few galleries in New York City seen “as a strong design statement that blends showing ceramic art, Convergence closed, and with almost any home furnishings.” Browe/Hoyman Workshop like other former gallery directors, Don During a recent two-day workshop at the Thomas has opted for a career as a consultant Gail Caulfield Mendocino Art Center, Jan Hoyman and to private and corporate clients. “The cost of “Singing” figures and wall plates reflect­ Doug Browe provided an in-depth look at the running a gallery is enormous especially in ing an interest in music were among the new workings of their production pottery in Ukiah, New York,” he explained. “You can’t sell works shown recently by San Rafael cera­ California. There were demonstrations on enough work to support a gallery. I expect mist Gail Caulfield at Artisans, in Mill Val­ throwing, using hump molds, slip casting and fewer sales as a consultant, but imagine any ley, California. Wheel-thrown, coiled and business I would do would yield more profit. handbuilt in sections, the figures are stylized “Being a consultant is not my first choice. with the suggestion of vessel forms (bowls I think galleries play an irreplaceable role and vases) shaping head, legs and body. The in exposing artists’ work to the public, but wall plates are slabs, modeled and carved a majority are the toys of rich people. A friend, with close-up views of hands at the piano who has done some good research, estimates keyboard. 80% are subsidized. “The body of work being produced by con­ You are invited to send news and photo­ temporary craft artists is more vital, valid graphs about people, places or events of and important than ever, but my partner and interest. We will be pleased to consider I are pessimistic about people (artists or gal­ them for publication in this column. Mail lery owners) making viable livings. submissions to: News and Retrospect, Doug Browe removing a slip-cast bottle “A few years ago, Convergence had two Ceramics Monthly, P.O. Box 12448, decorating, as well as reflections on the trials promising young artists who worked with Columbus, Ohio 43212. and tribulations of being a potter and the clay; now they’re in the East Village, con­ Continued November 1985 59 News & Retrospect excitement and delight of making a living doing what they love to do. On the first morning, Jan and Doug dec­ orated a kiln load of bisqueware they had brought along. They used a red earthenware that looks and feels smooth, and contrasts with the white slip which is applied over only a portion of each form to allow clay color to show. Brushwork is with stains and oxides added to their glaze base. They only use one glaze, a transparent topaz. The ware was then fired so the results could be seen at the end of the workshop. That afternoon Jan demonstrated throw­ ing teapots, pasta plates, cereal bowls and a large batter bowl. Meanwhile, Doug threw mugs, pitchers and jugs. He also demonstrat­ ed sectional throwing, and molded baking dishes and pie plates. Both have a background in stoneware pot­ tery. In 1978, they visited England, hoping to obtain apprenticeships, looking forward to exploring the museums and personal col­ lections throughout Great Britain. They were fortunate to find work for seven months at the George Dear Studio in Wales. “After leaving England, earthenware just grabbed us,” they recalled. “Although it turned out to be technically demanding, something about it just fit. Even through the most trying disasters, with kiln loads of wasters, we seem to be pulled along by the rightness of tra­ dition and excitement about the visual world of today.” The second morning of the workshop they were trimming bowls and teapots, pulling handles, putting together a two-part jug, as­ sembling teapots, and applying slip. The tasks were divided between them, each at a job that needed to be done, each enjoying the work. Jan and Doug have always tried to keep their pottery self-sustaining, using simple tools and equipment. Tools are often handmade; always in the balance is whether the time saved using the tool will allow them to con­ tinue to produce the same dollars per hour. Premixed clay and one electric wheel are re­ cently acquired labor-saving devices. They pointed out the necessity of accurate bookkeeping. It is important to keep track of each kiln—the dollar amount each kiln pro­ duces; how many are seconds; what is wast­ ed. Over several kiln firings, it may be de­ termined that a certain item is just not coming out, and it either needs to be changed or dropped. The culmination of the workshop was the unloading of the kiln. One could see in those simple red earthenware forms the integration of work with life-style. Text: Donna Carlson; photo: Rick Droz. America House Clay Palette Color and pattern were the focus of “The Clay Palette: Six Ceramic Artists,” on view at America House in Tenafly, New Jersey, 60 C eramics Monthly through October 30. Characteristic of the works shown by studio potter Donna Pol- seno, Floyd, Virginia, was this coil-built earthenware vessel, 35 inches in height, tex-

35-inch vessel sculpture by Donna Polseno tured with thick slip, glazed and sprayed with Mason stains. Also featured in the exhibition were large earthenware plates by John Donoghue, Ed- wardsville, Illinois; low-fire, slip-cast tile wall forms by Amanda Jaffe, Las Cruces, New Mexico; torn stoneware tile wall forms by Elizabeth MacDonald, Bridgewater, Con­ necticut; wood-fired porcelain and stoneware by Jeff Oestreich, Taylors Falls, Minnesota; and slab-built sculptural vessels by Roy Strassberg, Mankato, Minnesota. Paul Rozman Pottery provides Paul Rozman, faculty artist at the University of Manitoba in Winnipeg, “with a common ground in which to share my aesthetics with other people by address- 7-inch thrown teapot, with majolica glaze

Continued November 1985 61 west Craft Center, 300 Augusta St., San Antonio Ostermann, Helena Schmaus-Shooner and Ian Itinerary 78205; or call: (512) 224-1848. Symons with a selection of historical works from Continued from Page 19 the European Department, Royal Ontario Mu­ 7 “Clay Mural Workshop” with Tom Lollar. Fee: seum, “Painted Pottery: Continuing the Tradition $75; nonmembers $85. For further information International Events of Tin-glazed Earthenware”; at Glendon Gallery, contact: Janet Katz, Craft Students League of Canada, Ontario, Burlington through Novem­ 2275 Bayview Ave. YWCA, 610 Lexington Ave., New York 10022; or ber 24 Burlington Potters Guild “Celebrations through November 24 Thom Bohnert, Alison call: (212) 755-4500, ext. 59. in Clay VII”; at Perry Gallery, Burlington Cul­ Britton, Akiko Fujita, Steve Heinemann, Michael November 15-16 Cliff Garten, lecture and tural Center, 425 Brock Ave. Lucero, Vincent McGrath, Diane Nasr, Jacqui workshop on architectural ceramics. Contact: Canada, Ontario, Dundas November 9 “The Poncelet, Frank Steyaert and Piet Stockmans; at Greenwich House Pottery, 16 Jones St., New York Potters’ Guild of Hamilton and Region Fall Sale”; the Art Gallery at Harbourfront, 235 Queen’s Quay, 10014; or call: (212) 242-4106. at the Dundas Town Hall. West. North Carolina, Brasstown November 17-23 Canada, Ontario, Toronto through November through November 24 “Work by Studio Artists”; Nels Arnold, pottery. Contact: John C. Campbell 6 Georges Jeanclos; at Mira Godard Gallery, 22 at Shop 235, 235 Queen’s Quay, W. Folk School, Rte. 1, Brasstown 28902; or call: (704) Hazelton Ave. through November 24 Bonita Collins, “Contem­ 837-2775. through November 8 Mansaram, “Color and porary Icons”; at Uncommon Objects, 235 Queen’s Texas, San Antonio November 4-8 Warren Form”; at Atelier Ceramique, 559 Queen St., W. Quay, W. MacKenzie, “Utilitarian Pottery.” Contact: South­ through November 10 Andrea Gill, Matthias through January 10, 1986 Deichmann Pottery, Wayland Gregory, Bernard Leach, Janet Leach, Pablo Picasso, Pilkington Potters, Lucie Rie, Rus­ sel Wright, “From the Collections”; at the Royal Ontario Museum, 100 Queen’s Park. through January 15, 1986 Hans Coper; at the George R. Gardiner Museum of Ceramic Art, 111 Queen’s Park. November 8-30 Christopher Thompson, raku- fired, free-standing sculpture, vessels and wall works; at Neo-Faber Gallery, 361 Queen St., E. Canada, Ontario, Willowdale through Novem­ ber 14 Satoshi Saito and Louise Doucet-Sai- to,“Concepts in Clay,” vessels and sculpture; and Ann Cummings, Rita Greer Allen, Steve Heine­ mann, Attila Keszei, Sarah Link, Jeanne Mc- Wright, Ann Mortimer, Agnes Olive and Chris Thompson, “Raku-Fired Clay”; at the Koffler Gallery, 4588 Bathurst St. Canada, Ontario, Windsor November 30-De- cember 1 “Christmas Celebration”; at Canadian Room West Cleary Auditorium, Riverside Dr. Canada, Quebec, Montreal through November 10 Leopold Foulem, “Negatives.” November 17-December 8 Jeannot Blakburn; at Interac­ tion Gallery, 3575 Avenue du Parc, Espace 5508, Promenade de la Place du Parc. through November 24 “Ontario Crafts ’85”; at Macdonald Gallery, Queen’s Park. November 28-January 3, 1986 “Christmas Sale”; at Centre des Arts Visuels, 350 Avenue Victoria. Denmark, Odense November 30-January 5, 1986 An exhibition by the Danish group Multi Mud; at Fyns Kunstmuseum, Jerbanegade 13. England, London through November 10 “Ceramics ’85”; at Dulwich Picture Gallery, Col­ lege Rd. through November 10 Carol McNicoll, cast and assembled forms; at the Crafts Council Gallery, 12 Waterloo Place, Lower Regent St. through November 23 Martin Smith exhibition; at the British Crafts Centre, 43 Earlham St., Cov- ent Garden. November 2, 9, 16, 23 and 30 David White, por­ celain bowls and pots; at ‘Ceramics on Sundays’ gallery, 221 Camden High St. November 25-December 6 Christine Constant, Caroline Emery, Michael Hunt, Agalis Manessi, Keiko Nakamura and Louise Gilbert Scott, “Turning Up the Heat: Ceramics in Context”; at the Vortex Gallery, Stoke Newington Church* St. France, Bethoncourt through November 13 Jean-Yves Chevilly, sculpture; at Galerie Present, 5, rue Leon-Contejean. France, Nan$ay November 17-December 23 A dual exhibition with ceramics by Deblander; at Galerie Capazza, Grenier de Villatre. France, Paris through November 23 “De l’ac- cident heureux a la quintessence,” (From the hap­ py accident to the quintessence) works by 25 ce­ ramists; at Le Sorbier des Oiseleurs, 70 rue Vieille- du-Temple. Germany, Mannheim, through January 6, 1986 Gerd Knapper, pottery; at the Stadische Kunsthalle, Moltkestr. 9. Sweden, Varmlands November 17-January 6, 1986 Ulla Viotti, “Sculptural Expressions”; at the Varmlands Museum, Utstallningshallen i Gamla badhuset. 62 C eramics Monthly News & Retrospect ing their needs.” It also furnishes “a sense of my connection with the past as it speaks about the nature of being human.” A recent show of his majolica ware at Anna Leonowens Gallery in Halifax, Nova Scotia, explored “the dual function of pottery within

Paul Rozman the domestic context: first the ‘active’ use (when pots are used at the table) and second the ‘passive’ use (pots potential for decorative merit).” Thrown from a smooth Cone 2-4 clay body, the ware is coated with a majolica base glaze, then decorated with washes: Plastic Throwing Body (Cone 2-4) Nepheline Syenite ...... 15% Wollastonite...... 3 Calvert Clay...... 50 Kentucky Ball Clay (OM 4) ...... 25 Flint...... 7 100% Wet-to-dry shrinkage is 5%; fired shrinkage is 10%. Absorbency at Cone 2 is 1.5%; at Cone 4, it is 0.2%. Majolica Base Glaze (Cone 2-4) Barium Carbonate...... 3.4% Whiting ...... 9.4 Frit 3124 (Ferro)...... 30.4 Frit 3300 (Ferro)...... 11.8 Edgar Plastic Kaolin ...... 23.0 Flint...... 22.0 100.0% Add: Superpax ...... 16.0% Or add 4% tin oxide and 8% Superpax. Mix with a 2% CMC gum solution in the pro­ portion 1 part gum solution to 5 parts water. Paul noted that “Ferro frit 3300 is lead- bearing, but in this glaze is safe and well below the acceptable lead solubility standard. Tests by the Institute of Research of Nova Scotia show lead solubility of less than 0.2 ppm. The industrial standard for lead sol­ ubility in foodware (North American Health and Food Association) is set at 7 ppm. I tested this glaze individually and systematically first Continued November 1985 63 News & Retrospect with stains, second with metal sulfates and finally with copper carbonate (notorious for increasing lead solubility). The results were consistent, without effect on lead solubility.” The colored washes are made by mixing equal parts (by volume) stain/oxide with nepheline syenite. “To create depth and char­ acter,” Paul alters all stains with metallic co­ lorants. For example, copper or cobalt (in either sulfate or carbonate form) are added to blue and green stains; rutile or iron oxide to yellow; cobalt sulfate or manganese car­ bonate to reds and purples. “My work promotes common images,” Paul commented. “The forms themselves are com­ mon images of familiar traditional pots. The

Cone 3 majolica coffeepot, 10 inches high visual images are of familiar animals which provide the basis for a symbolic understand­ ing of our surroundings.” Barbara Schaff “Reflections/Abstractions,” a solo exhibi­ tion of porcelain vessels and wall forms by Barbara Schaff, Stockton, New Jersey, was featured recently at the New Jersey State Museum in Trenton. Among the works shown was “Haiku,” slab built, with added thrown

9-inch-square “Haiku” foot, brushed with copper red, celadon, crac­ kle white and cobalt glazes, and fired in re­ duction to Cone 9. Presently “exploring the concept of glaze as paint,” Barbara finds there is “a unique, almost kinetic energy that is liberated when glaze interacts with brush as it is flung or 64 CERAMICS MONTHLY splashed. I wish the glazes to speak; there­ fore, the form must be as simple as possible. “When I was a fledgling potter, a wise friend counseled that the work of an artist was indeed simple. It involved ‘nothing more than painting yourself out of one corner into another.’ For me, this process is the ultimate fascination. It is an intuitive search for so­ lutions of how to carry ideas from one piece to the next, of how to pair old ideas in new combinations and gain insights along the way.” Photo: Northlight Visual Communications Group. Robert Brady “The Human Figures of Robert Brady,” a solo exhibition of clay figures, masks and plates, was presented recently at California State University, Chico. An art professor at California State University, Sacramento, Robert primarily utilizes low-fire clay in or­ der to obtain intense colors from both over- and underglazes. His work is aligned to the folk tradition in its use of symbolic forms and images. Life- size totemic figures are not intended to be

“Lucky Strike,” 57 inches in height realistic portrayals. Sometimes freestanding, these figures are further exaggerated by the addition of found objects as features. The Continued November 1985 65 66 C eramics Monthly From the exhibition at the Antonio Prieto News & Retrospect Gallery, this thrown-and-altered vase by San Jose potter Rick Sherman was glazed with the following black semimatt recipe: Black Semimatt Glaze (Cone 11, reduction) Whiting ...... 20% G-200 Feldspar...... 40 Cornwall Stone...... 20 Edgar Plastic Kaolin ...... 20 100% Add: Zinc Oxide ...... 7% Cobalt Carbonate...... 3% Manganese Carbonate...... 1% Red Iron Oxide...... 15% Bentonite...... 2%

17-inch-high mask by Robert Brady masks included in the show are carved, in­ cised, colored or assembled forms, suggesting various levels of symbolic transformation. San Francisco Potters Group Shows Concurrent exhibitions of works by mem­ bers of the San Francisco Potters Association were presented recently at Mills College An­ tonio Prieto Gallery and Holy Names Col­ lege Kennedy Gallery in Oakland, and at Diablo Valley College Art Gallery in Pleas­ ant Hill, California. Jurors Daniel Rhodes, Toma MacNiel and Will Johnson selected objects for each show in accordance with a theme established by the gallery. 17-inch vase by Rick Sherman Among the forms on view at the Kennedy Good results are achieved by taking two hours Gallery was this slab-constructed stoneware to fire in light reduction from Cone 9 to Cone vase, 11 inches in height, with synthetic ash 11, then holding at Cone 11 for one hour. glaze, by Garry Shoyama, San Mateo, Cal­ Photos: Garry Shoyama; Sharon DeVeaux. ifornia. 11-inch vase by Garry Shoyama Slip Casting Workshop A two-day workshop on mold making and slip casting was conducted recently at East­ ern Illinois University in Charleston by Jim Chaney, faculty artist at Kutztown Univer­ sity in Pennsylvania. On the first day, he discussed the studio application of different plasters, plus their respective water-to-plas- ter ratios, mixing times, setting rates and coefficients of expansion. A simple cylindri­ cal cup form was then taken through the sequential steps of original turned master, block mold, case mold and finally a slip-cast- ing mold which could be reproduced in mul­ tiples as required for production. Jim began the second day by pouring a white vitreous casting slip into some of his molds from home. The castings were pulled from the molds by noon, and seams were smoothed with a fettling knife. The surfaces on forms such as “White on Continued November 1985 67 68 CERAMICS MONTHLY News & Retrospect

“White on White* by Jim Chaney White,” 12 inches in diameter, are achieved by spraying and brushing the leather-hard casting with frit-altered slip. According to Jim, small additions of low-fire frit push the vitreous casting slip, already composed of 47% nepheline syenite, into the realm of a stiff glaze at Cone 6. Other forms are patterned by brushing casting slip colored with Mason stain into the mold just prior to filling it with white casting slip. After bisque firing to Cone 010, the “veneered” form is sanded as needed with wet 400-grit silicon carbide sandpaper. After oxidation firing to Cone 6, further sanding with 600-grit paper produces an extremely smooth matt surface. As the workshop participants began mak­ ing their own molds from clay prototypes or found objects, Jim encouraged them to con­ sider casting technology as a starting point for artistic invention. Just “keep the plaster out of the clay barrel and away from the sink,” he cautioned. London Figurative Show “People and Other Animals,” an exhibi­ tion of figurative works by British ceramists, was featured recently at the Craftsmen Pot­ ters Shop in London. Among the forms shown The Certain Catch” by Audrey Blackman

Continued November 1985 69 70 Ceramics Monthly News & Retrospect

Alan Heaps's "Clay Bird on Swing” were the bisqued porcelain sculpture, 7½ inches in height (on page 69), by Audrey Blackman; and this slab-built bird, approx­ imately 9 inches in length, carved, with brushed slips, tin/barium glaze, fired in ox­ idation, by Alan Heaps. Tom Suomalainen Beaked, winged and claw-footed sculpture by ceramic artist Tom Suomalainen, Walnut Cove, North Carolina, was presented in a solo exhibition at Somerhill Gallery in Dur­ ham, North Carolina, through October 31. When friends pointed out historical refer­ ences, Tom named two of the figures after the harpies Okypede and Podarge. “In myth-

“Podarge” and “Okypede,” 37 inches in height ology, they were two of the four monstrous birdlike women who were held responsible for whatever could not be found,” Tom ex­ plained. “In the Homerica version, they were like storm winds. Homer characterized Okypede as ‘swift flying’ and Podarge as ‘swift footed.’” Masayuki Imai In conjunction with an exhibition of his work at the Montalvo Center for the Arts, Japanese potter Masayuki Imai recently gave Continued November 1985 71 72 Ceramics Monthly News & Retrospect a workshop at West Valley College in Sar­ atoga, California. Born in 1930, Imai decid­ ed at age 17 to work with clay, moving to Okayama to study traditional techniques.

Masayuki Imai Settling in Kyoto in 1952, he started to de­ velop his own variation of broad-faced inlaid decoration, called zogan. Designs of orchids and other exotic plants, birds and sea forms are carried out with fine-line precision. On the first day of the workshop, Imai threw basic forms from a fine-grained, choc- olate-firing stoneware and a smooth, porce- lainous stoneware, which he complimented as throwing like “the eye of the fish.” He then showed slides of his work and the wood- burning anagama kiln in which the zogan

14-inch dish with fish inlay ware is fired. The unglazed inlaid ware relies on a fine mist of ash to produce a surface sheen. Saggars are used to protect glazed ware from ash deposits. The next day, Imai demonstrated inlay techniques on the previously thrown vessels. The clay must be not quite leather hard— not so wet as to preclude cutting fine lines and excising broad areas in a precise manner, and not so dry that the inlaid clay would pull away at the interface. Outlines of floral designs were sketched with a brush and ink that would burn off in the bisque firing. Next, using an X-acto knife, he cut the outside shapes on a bevel toward the inside. The inner lines were also cut in this manner, beveled in both directions away from the “high spot” of the line. The re­ maining design area was excised to a depth of approximately ½ inch, leaving a rough­ ened surface for the inlay clay to bond to. Then the base clay was moistened with water Continued November 1985 73 74 CERAMICS MONTHLY News & Retrospect from a soft brush and allowed to become “tacky.” Using stiff, plastic clays colored with ox­ ides and stains, Imai began the inlay work at the center of the design, adding one small ball at a time. The inlaid clay rose above the surface of the base form by aboutVi6 inch. As the inlay work was completed, the ves­ sels were set outside in the shade to stiffen until leather hard. At that point, Imai used a tool he had fashioned from a metal shipping strap to shave the inlaid clay, following the contour of the form to reveal the precise de­ sign. Only patience preserves the delicate lines underneath. The more that is shaved off, the wider the line becomes. With the inlaying complete, the ware was dried, then bisqued slowly to minimize stress at the body/inlay interface. Text: David Ogle; photos: courtesy of Montalvo Center for the Arts and the Pea­ body Museum of Salem, Massachusetts. Northwest Ceramic Sculptors An exhibition featuring works by nine ce­ ramic sculptors from the Pacific Northwest was presented at the Visual Arts Center in

44-inch “Red Sign,” by Gerry Newcomb Everett, Washington, recently. Among the forms shown by Gerry Newcomb, Arlington, Washington, was “Red Sign,” 44 inches in height. Photo: Roger Schreiber. Joe Mariscal With images “influenced by the spirit of pre-Columbian ceramics” but derived from his own experiences, social commentary sculpture by foe Mariscal, Stockton, Cali­ fornia, was exhibited recently at Jennifer Pauls Gallery in Sacramento. Subject matter Continued November 1985 75 76 Ceramics Monthly News & Retrospect varies from childhood memories and people on the street to Vietnam reflections and the body language he observed while teaching at a prison. Shown from the exhibition is “Sleeping Shriner,” 25 inches in height, low-fire clay with terra sigillata and mixed media. Joe

25-inch “Sleeping Shriner” notes that the techniques employed “are con­ sistent with methods used by many primitive cultures, including coil building, burnishing, pit firing and postfire surface enhancement.” Photo: Jim Woodson. British Raku Raku vessels and sculpture from Great Britain were on view at the Ceramics 7 Gal­ lery in London through October 2. Shown from the exhibition is a platter, 16 inches in

16-inch platter by Ken Eastman diameter, by Ken Eastman , who is currently at the Royal College of Art. Atlanta’s High Museum Accessions Recent additions to the Emory and Frances Cocke Collection of English Ceramics at the High Museum of Art in Atlanta included a decorated ironstone punch bowl, “Turner’s Continued November 1985 77 78 Ceramics Monthly News & Retrospect Patent 1801”; a pair of Worcester poly­ chrome vases, circa 1765; a Derby porcelain butter dish, circa 1765-70; and two 17th- century, tin-glazed earthenware plates. Possibly made by an immigrant potter working in London, this 19V4-inch platter,

High-relief, polychrome platter circa 1640, was based on a design, “La Fe- condite,” depicting a reclining woman with five children, by the French potter Bernard Palissy. The other newly acquired plate, a 1690 delftware charger, 13½ inches in diameter,

Rare delftware charger is unusual because of its blue and turquoise decoration—a rare color combination for this period. Connecticut Invitational An invitational exhibition featuring “art in craft media” by artists living within a 60- mile radius of Hartford, Connecticut, was presented at M.S. Gallery earlier this year. Among the functional and nonfunctional ce- Porcelain bowl by Susan Reeder

Please Turn to Page 87 November 1985 79 New Books photographs, and map of Kyoto kiln sites. works, buildings decorated with luster tiles, Carlo Zauli $24.95. Kodansha International/USA, 10 East and dated Persian luster ware; bibliography by Renato Barilli 53 Street, New York City 10022. and index. 18 color plates, 148 black-and-white Italian ceramist Carlo Zauli was born and photographs and a map of major sites as­ educated in the city of Faenza. In 1950, to­ sociated with luster production. $80. Faber gether with three friends from his student Medieval Pottery London-Type and Faber, 39 Thompson Street, Winchester, days, he opened the studio (where he con­ Ware tinues to work) in the historical center of the Special Paper Number 6 Massachusetts 01890. city. Since then his monumental abstract by J. E. Pearce, A. G. Vince and M. A. sculpture has been exhibited throughout Eu­ Jenner with K. H. Armitage and R. A. Chinese Ceramics rope and Japan. Written in both Italian and Rattray The Koger Collection English, this large-format portfolio/biogra- An exhaustive study of ware produced in by John Ayers phy illustrates works made during the past London from the mid 12th century to the Now housed at the Jackson Art Museum in 15 years. 171 pages including brief critiques 14th century, this book is intended as a guide Florida, the Koger collection of Chinese ce­ by 23 American, Italian and Japanese art­ to classification of excavated objects but would ramics contains representative objects from ists. 66 color plates; 126 black-and-white be of interest to potters curious about me­ the neolithic period (7000-1000 B.C.) to the photographs. $32.50 (postpaid). Grafts Ed- dieval folk ware. Not only do sample chem­ Qing dynasty (A.D. 1644-1911). This full- izioni, Via 2 Giugno, 4, 40033 Casalecchio ical analyses indicate composition or whether color catalog of 154 pots and figures from di Reno, Bologna, Italy. the pot was used for fermented brew, milk, the collection is divided chronologically. Brief stew or meat drippings, but line drawings introductions to each section place the ware The Ceramic Art of Ogata (usually extrapolated from shards) illustrate in historical perspective, while descriptive the wide range of shapes and decorations notes accompanying the photo of each work Kenzan produced. Though some forms were copies indicate socioeconomic influences. 180 pages. by Masahiko Kawahara of those made in northern France and the 155 color plates; 1 black-and-white photo­ translated and adapted by Richard L. Rouen area, others have no apparent ante­ graph. $35. Harper <£rRow, Publishers, Inc., Wilson cedents. “Forms and decorative techniques 10 East 53 Street, New York City 10022.' Born in 1663, the youngest of three sons of occur in London-type ware about half a cen­ an affluent Kyoto merchant, Ogata Kenzan tury before they occur elsewhere. Neverthe­ was called Gombei, but changed his personal The City of Hills & Kilns less, early to mid 13th-century London-type Life and Work in East Liverpool, Ohio name to Shinsei (meaning “deep reflection”) ware seems to have had little specific influ­ following his father’s death in 1687. He ence on the development of late 13th-century by William C. Gates, Jr. adopted pseudonyms throughout his life; the pottery other than in the London area itself.” Though located on the banks of the Ohio name Kenzan (meaning “northwest moun­ 151 pages including appendices and bibli­ River, East Liverpool “in a very real sense, tain”) was first used after the opening of his ography. 463 drawings, 44 black-and-white became an English pottery town and re­ first kiln at Narutaki in 1699. Another name photographs, 8 color plates, 8 charts and 6 mained one for decades,” notes the author of he devised shortly thereafter was Toin, maps. $9 (softcover), plus $1 postage and this socioeconomic history of the “Crockery meaning “escape into ceramics” or “pottery handling. London and Middlesex Archaeo­ City.” “During the late 19th and early 20th hermit.” logical Society, Museum of London, 150 Lon­ centuries, East Liverpool became the only Bringing to ceramics “the literary talents don Wall, London EC2Y 5HN. American city wholly devoted to the pro­ of a cultivated amateur,” Kenzan was limited duction of pottery and porcelain. The pottery by his lack of pottery training but aided by industry pervaded the economic, social and “an unfettered approach to concept and de­ Persian Lustre Ware political life of the city and dominated the sign.” As translator and adapter Richard L. by Oliver Watson landscape. Supported and directed by the Wilson notes: “Kenzan opened new territory Late in the 12th century, Persian potters per­ large-scale immigration of skilled English in Japanese ceramics by creating the role of fected “the precise formulation of pigment potters, the town prospered and matured un­ artist-potter. While a specialist in the sense and unique firing procedure” to make re­ til it became the largest single producer of that he concentrated on decoration, he freely duced luster wares. A high level of produc­ ceramic products in the United States.” drew inspiration from a wide variety of tion was maintained until the Mongol in­ James Bennett, a trained potter from Der­ sources, both ceramic (the wares of other kilns, vasion in 1219 disrupted domestic and byshire, England, was the first to set up a other periods, other countries) and nonce- commercial life, and only four dated vessels pottery in East Liverpool. More and more ramic (lacquer, textile, painting, literature). and a few tiles from the next 40 years sur­ immigrant potters arrived as word of con­ Kenzan also manipulated other parts of the vive. With the establishment of the Il-Khan- ditions and opportunities reached England. ceramic process to achieve his ends as a dec­ id state, production was resumed, but once “It is not here like it is in England; they do orator, creating ‘nonvessel’ forms such as plates again came to a virtual halt with the frag­ not respect a man for his dress, or external in the shape of long, rectangular poem cards mentation of the state in 1340. Revivals in appearance. They look at his actions; and if (tanzaku), or using the soft and impractical the 17th and 19th centuries indicate the se­ he is an honest man, he is respected!” By the underglaze enamel technique to create a cret was passed from master to apprentice end of the 1840s, East Liverpool had six pot­ painterly effect.” in spite of political upheaval, but quality nev­ teries with 153 men producing Rockingham So strong was his influence on ceramics er again reached that of the “golden age” and yellow wares. that the Kenzan name was passed down between 1170 and 1340. With the processes and techniques of the through the generations (Kenkichi Tomi- Though primarily a scholarly study clas­ industrial revolution, the potteries became moto and Bernard Leach were called Ken­ sifying the various styles, this text includes factories employing men, women and chil­ zan). Even today the name is sometimes used a chapter describing technical aspects of pro­ dren. Slip-cast whiteware from East Liver­ to describe a particularly innovative potter. duction, and an appendix documenting sev­ pool was marketed throughout the United 151 pages including glossary, reading list and eral families of potters and their works. 209 States, but only those businesses that adopt­ index. 32 color plates, 125 black-and-white pages including lists of luster potters and their ed new technology remained able to compete 80 CERAMICS MONTHLY in the marketplace. The bottle kiln stacks Syria and Persia on into 15th-century Spain tories and Canada, yet at the age of 58 my that had dominated the skyline started to dis­ and 16th-century Italy to its current revival energy was undiminished. I still turned out appear by the 1920s, and the multilevel pot­ by studio potters. In the final chapters, the more work than any other single workman teries of the 19th century gave way to sprawl­ text offers recipes and working methods, plus I ever have met. Then one day my employer ing single-level factories equipped with tunnel questions on the chemistry and physics in­ told me I had passed the age of efficiency kilns. volved, these answered by ceramic scientist and must take a cut of 50% in wages. He The Depression crippled the industry; only Frank Hamer—“the kind of knowledge which hoped to retain me but to pay me according three of the eleven commercial potteries op­ would have been useful when those trials to the age scale. In despair I turned away to erating today were established before the were made in 1961.” 246 pages including a wander once more and seek work. Then came 1930s. 500 pages including a list of East Liv­ table of analyses of luster shards, bibliog­ a terrible period, effort seemed useless, hope erpool pottery manufacturers, distributors and raphy and index. 42 color plates, 112 black- was gone, but gradually out of the despair decorators; a photo essay of the occupations and-white photographs, 86 drawings and two there surged, day by day, a new determi­ and processes associated with the pottery in­ maps. $75. Faber and Faber , 39 Thompson nation. I would make one more effort, but dustry during the late 19th and early 20th Street, Winchester, Massachusetts 01890. this time I would be no man’s slave.” centuries; bibliography and index. 149 black- By 1914, O. L. Bachelder and a partner and-white illustrations, 11 maps and 13 ta­ had purchased on credit 4 acres with clay bles. $27.95 ($26.50 for out-of-state ship­ Make Your Own Ceramic Decals deposits in Luther, North Carolina. They cut ments). East Liverpool Museum of Ceramics, by Kay Healy lumber for a building and made bricks for 400 East Fifth Street, East Liverpool, Ohio “A studio owner who has the ability to make a kiln. “With the building completed, an old- 43920. decals can realize a tidy profit from business fashioned kiln established and a single wheel that would normally have been turned away with our own horse to mix the clay, we began Artistry in Clay for the lack of time that would be involved to work, making utility goods for the farmers Contemporary Pottery of the Southwest in handpainting items,” notes the author of in the neighborhood.” by Don Dedera this handbook on silk screening ceramic de­ After a time the partnership was dissolved, “What sets southwestern pottery apart from cals. Though prior screening experience is but Bach (pronounced “batch”) continued any other in the New World is that prehis­ probably helpful, the text provides straight­ producing functional ware “and soon money toric techniques, forms and designs outlasted forward information on the materials and began to flow back to me. incursions of Spaniards, Mexicans and process, plus suggestions for building your “While I was happy in my wonderful new Americans. Pueblo Indians and other tribes own equipment. Line drawings illustrate the independence, there was one thought before [of the area] had full access to cheap and step-by-step instructions for printing either me always—art goods. I longed to shape vas­ efficient containers for home use [that] made single or multicolor decals. Alternative meth­ es in all the lovely forms that flitted through obsolete the practical technology of clay pot­ ods are explained with regard to suitability, my brain. Then came the day when I made tery,” observes the author of this text on con­ economy and ease. A question and answer the first ones. A demand for them sprang up temporary works. He goes on to credit Nam- section provides solutions to difficulties that almost at once. Tourists told of my work peyo, at Hano in the Hopi First Mesa area, may be encountered. In conclusion, the text abroad, until now, after but ten years, I am and Maria Martinez, at San Ildefonso Pueb­ discusses what factors to consider when de­ almost free from debt, have improved build­ lo, with rediscovering long-forgotten shapes termining what to charge for custom decal ings, more land and better equipment and and decorative styles, and nurturing their work to ensure a profit. 56 pages including am concentrating on art goods with a de­ people’s birthright. Region by region, the text patterns, glossary, bibliography and list of mand for everything I can make. The battle examines processes, materials, shapes and suppliers. $6.95 (softcover). American Art has been won.” decorations, then lists the “potters of earned Clay Company, Inc., 4717 West 16 Street, Originally produced as the catalog for an acclaim” currently working within the styles Indianapolis, Indiana 46222; or from local exhibition of O. L. Bachelder’s work at the of their ancestors. 86 pages including index. ceramics suppliers. Mint Museum, this well-documented biog­ 42 color plates, 32 black-and-white photo­ raphy draws together recollections quoted in graphs and a map of the primary pottery O. L. Bachelder and His Omar local newspapers, first-person accounts by friends and students, plus references in books regions. $9.95 (softcover). Northland Press, Khayyam Pottery and periodicals to tell the story of the leader Box N, Flagstaff, Arizona 86002. by Pat H. Johnston and Daisy W Bridges of North Carolina potters’ “movement to­ A third-generation potter, Oscar Louis ward art.” 44 pages; 23 black-and-white Lustre Pottery Bachelder “learned the feel of clay in my photographs. $8 (softcover), plus $1 postage Technique, Tradition and Innovation in hands at my father’s pottery in Menasha, and handling. Mint Museum of History, 3500 Islam and the Western World Wisconsin. My duties were varied: mixing Shamrock Drive, Charlotte, North Carolina by Alan Caiger-Smith of clay, molding, modeling and turning of 28215. In 1961, British potter Alan Caiger-Smith ware, glazing and burning, keeping the shop began a series of reduced luster tests based clean, selling the ware and taking care of the on information in three books. “Only after books, not to mention other work that I was Clay Statements 26 firings was any luster achieved at all. Oth­ called upon to do. He was a stern master, Australian Contemporary Ceramics er writings existed, of course, but they were despising all slip-shod work.” by Bruce Anderson and John Hoare unknown to me at the time. Therefore when­ At age 17, O.L. left home to work as an Representing a cross section of current trends ever in the following years any information itinerant potter. For more than 40 years he in Australian ceramics, this catalog/book about firing luster came^my way, it was traveled throughout the area east of the documents the works featured in the “Dar­ grasped with the eagerness of one piecing Rockies. “The potteries where I stopped usu­ ling Downs First National Ceramics Award.” together a detective mystery.” ally had two or more turners, some of them Opposite full-page color photos of each work In this text he has compiled all he has as many as five. My energy was greedily are biographical and philosophical state­ gleaned on “how the methods began, changed used by one boss after another, each urging ments by the artists. Several include process and were sometimes lost again, and on the me to greater effort until my heart would details and recipes. 117 pages including cur­ contributions of some remarkable individu­ grow sick and I would suddenly leave the riculum vitae. 50 color plates. $19.95 post­ als.” Beginning with 9th-century Iraq, he place, only to seek another soon. Years crept paid. The Australian Book Source, 1309 traces the use of luster decoration in Egypt, along. I had worked in 28 states and terri­ Redwood Lane, Davis, California 95616. November 1985 81 82 Ceramics Monthly Think Before You Compute byJ oe Weingarten

Recently a very successful potter told So let’s look at the real reasons behind your needs, then buy the hardware to me a sad, but all too often true story. the need or lack of need for a computer. run that software. First get the horse, About a year ago he purchased a com­ If you have enough time to get all your then the right cart. When looking at puter and has since simply been looking work done (both craft and paperwork), software, ask to see it run on a computer at it on his desk, hoping it would do do all the shows you want and are very to help determine if it will do what you something. He asked if I could do any­ happy, then “GOTO” the end of this want. Also think about the future. What thing with it and I was sorry to tell him article. If on the other hand you need to if you double your output? Can this soft­ no. “But why? You are completely com­ save time, list what you are now doing ware handle the work? Some of the sim­ puterized,” he said. The answer is very that someone else can do for you. These pler, less expensive programs are better simple—it was a different machine. What tasks cannot be manual in nature, such suited to my needs than the best sellers difference does that make? A lot! as sweeping the floor or going to the post that cost hundreds of dollars and in many My friend fell for the oldest selling office. Think in terms of paper, design cases were designed for the Fortune 500 trick in the book and bought the newest, or even production processes. Here are companies. slickest machine that could “do any­ a few hints: Paperwork includes book­ Before you buy, also talk to other thing.” After all, it had 128K memory, keeping, invoicing, inventory, letter writ­ craftspeople about the software and a built-in drive, could do this and that, ing, even typesetting a whole catalog. hardware they are using. I can’t rec­ and maybe even leap tall buildings in a You may want this gadget to send out ommend which to buy because each per­ single bound. Besides, someone else he the same letter to different galleries and son’s needs are different, but I suggest knew said it was the greatest thing since shops, just changing the name and ad­ you look at software for either Apple or sliced bread. So, happily he brought it dress as if you typed each one. You may IBM (software for one will not work on to his studio to “do something.” At first also have to ask yourself, is it worth doing the other) as these two companies will he played with the computer, using the any one task on the machine? For ex­ likely be around for a while. I would learning programs and reading books ample, do you have a formula to deter­ not buy a computer from a small com­ about how to work with this great beast, mine pricing or do you look at an item pany; they might go under next year. yet nothing was being done to save him and intuitively come up with a price? If Aside from the fact that repair support time. In fact it was costing him time. you do the first, a spread sheet program would be gone, the software writers would After reading the paragraphs above, may be in order; if you do it by sight, also stop developing programs for that you may have come to the conclusion no machine will be of value. In the area machine. I am not saying that Apple and that I am going to recommend that of design, do you make sketches of an IBM are the only “safe” ones (even IBM craftspeople stay away from computers. item and want to look at it from many recently dropped the PCjr, which would Actually, I believe firmly that every angles? Then a computer with design have been a good machine for crafts­ craftsperson should have a computer; but capability would allow you to draw and people). before you buy, there is a lot of work to even rotate plans. But if you design in Another point to consider is the cost be done and it has nothing to do with your head or go straight to making the of operating the equipment. I know of disks, K, bits or bytes. In fact, if a sales­ item, you do not need this capability. one inexpensive printer that requires a person starts talking to you in “com­ Another design plus may be looking at new $10 ribbon every 80 pages. In just puterese,” go away and find some store an item in color; there are printers on 11 ribbons it would cost you more than where they speak English. the market that can print whatever is on a printer that is initially $100 more and Why a computer? Artists and crafts­ the screen in color. In the area of pro­ takes a $5 ribbon every 1000 pages. Also people are a unique group in that we duction processes, you may want a com­ you do not have to buy the printer with first create with our minds, then trans­ puter to do glaze calculation, or keep a the same name as the computer. There late those images to handmade items, file of recipes locked on a disk, or even are many good printers on the market and even act as our own sales, book­ automatically control a kiln firing. that are compatible with several com­ keeping, public relations and shipping You may have noticed that I have not puters. personnel. Doing all this takes time. My talked about particular computers, but Add up the cost of the entire system. computer is my time machine; it frees rather about what you want the machine A $149.95 computer can in fact cost more up my time spent on things that are not to do. The act of making a computer do than a $1500 machine by the time you too creative, such as bookkeeping and what you want it to is called program­ add on the necessary peripheral equip­ taxes. Using my computer, I was able ming. Again, do not believe the sales­ ment. Once you have decided on soft­ to complete my business books and taxes people who tell you this baby is easy to ware and the computer to run it, shop in two hours on January 2. This article program to do anything you want. Horse around for the best price. Competition was written on a computer, and I even feathers! It is not that easy, and it takes is stiff in the computer industry and just used the machine to correct my spelling. a lot of time to write a program. It took telling a dealer you are going to shop Before you walk into a computer store, me close to two years to write a simple around can result in a price drop. your most important job will be to define bookkeeping program, and that’s not Finally, when you bring your com­ your requirements, just as you would for unusual. puter home, don’t be surprised if at first a new pug mill. Do you want a com­ In the computer industry a program it complicates your life by taking up a puter just to keep your books and do is called software and the machines are lot of time to learn how to use. The end word processing, or do you want to take called hardware. In my opinion, you result will be more time to do more of it many steps further? should find the software that will meet the kind of work you like. November 1985 83 The Irony of Soft Paste byM ichael Forrest

Never was the ceramic industry beset with was made using sand from Fontainebleau and workers, the brothers Robert and Gilles Du­ more problems, more intrigues, more gov­ gypsum from regions near Paris together with bois, had stolen his coveted secret and were ernment meddling, nor has it experienced soda, alum and saltpeter. These ingredients now looking for financial backing to start more glory than during a brief 40 years in were ground, blended, heated and hence fused their own factory. The Dubois brothers fi­ 18th-century France. In many respects the into a vitreous white mass. This was ground nally managed to connect with the Orry history of soft paste porcelain mirrors the age into a fine powder to which whiting and marl brothers, both wealthy financiers and im­ in which it grew—an age of enlightenment from Argenteuil were added. Then, after more portant servants of the state (one was con­ grinding and heating, enough water was added troller general of finances), who in turn ap­ to form a moldable paste. Sometimes even proached Louis. The king was, of course, At the height of operations in soft soap had to be added to enable the paste interested. Around 1738 he gave the Dubois the 1770s, over 400 throwers, to be shaped by the potter. If too much clay brothers 10,000 livres (some $50,000 today) modelers painters and was used, the object held its form during and allowed them to set up business in the , firing, but vitrification was poor and trans- old royal chateau of Vincennes on the out­ gilders...were employed at lucency negligible or nonexistent. However, skirts of Paris. But, after a few years, it be­ Sevres. if too little clay was used, formation was dif­ came obvious that not only were the Dubois ficult. Also a good proportion of the ware brothers “leading irregular lives,” but they in the arts and sciences, an age of waste, either collapsed or became cracked and dis­ were failing miserably at their attempts to stupidity, confusion and frivolity, an age of torted in the kiln. All in all wastage was high. make porcelain. Kiln waste alone was five- wisdom, and an age of upheaval and ultimate Augustus the Strong, King of Poland, sixths of production. The Dubois brothers revolution and chaos. Elector of Saxony, was an art collector whose were henceforth discharged as incompetent We can pinpoint the creation of the soft royal passion was Oriental porcelain. When and their place finally taken in 1745 by paste industry in France to July 24, 1745, his chemist Tschirhausen suggested that in­ Francois Gravant, a potter who had also for it was on this date that King Louis XV stead of laboring to metamorphose iron into worked at Chantilly. (Eventually Gravant granted the privilege to a company composed gold the laboratories and apparatus might be perfected soft paste production.) of seven shareholders headed by one Charles better occupied by examining clay and earth So it was that in 1745 Louis established Adams “to produce in France porcelains of to solve the riddle of hard paste, Augustus the new company with Charles Adams as the same quality as those found in Saxony was quick to see the economic possibilities. president. Why this Adams, who was prob­ in order to spread out these Royal wares to He well knew the prices being paid for Ori­ ably English and only a mere valet to one of consumers in foreign countries.” This event ental ware. More gold was to be had by pro­ the Orry brothers, was given this prestigious is noteworthy in two respects: It implies that moting such manufacturing in Saxony than position may be safely conjectured from the porcelain made in France prior to this time by pursuing what was already becoming the fact that just prior to his installation he had had been unsatisfactory or, at least, it didn’t impossible dream. As a result, in 1709 communicated with the king and told him match that of the Meissen porcelain man­ Tschirhausen and his assistant Bottger were that he intimately knew of a factory in En­ ufactured outside Dresden in the German able to show their king a few specimens of gland which was producing porcelain “more electorate of Saxony. Also the decree shows what was undoubtably true porcelain. It beautiful than that of Saxony owing to the that Louis intended to establish an industry wasn’t until 1772 that the French were able nature of its composition.” In other words, that would compete in the world market. to show their king a similar hard paste. Adams knew the secret! The factory of which Prior to 1745 there were in France several Why Saxony succeeded and France failed he spoke, however, was most likely Chelsea, small companies struggling to duplicate the in this endeavor was basically due to the fact which was started about this time by a mi­ highly prized and very expensive porcelain that the main ingredient of hard paste, ka­ gratory worker from Saint Cloud in France, then being imported from China. Chinese olin, was not discovered there until 1769. But and the porcelain being produced was strictly porcelain was hard, white, translucent and the French discovery was a hollow victory; inferior French-style soft paste. resonant. This is the hard paste or “true” it took too long in coming. Soft paste was The next several years were crucial to the porcelain. In contrast the French produced entrenched and, remarkably enough, during industry: Lavish sums were expended and an “artificial” or soft paste porcelain which this time it had grown to be an art form all was neither hard nor white and because of in itself. Despite its problems and expense, its nature difficult to mold, glaze and fire. which had become greater through the years He encountered acre upon acre Ware made of soft paste not only did not as more and more demands were placed for of carnations poppies, peonies, exhibit the precision of hard paste, but be­ wares more fantastic and wonderful than ever , cause the manufacturing process was so slow, before, soft paste continued to be made until all in full bloom and scenting laborious and expensive, it was felt it could the 19th century. the air. He reached down to never be done on a large, profitable scale. Nevertheless Louis XV wanted the secret The French tried to determine the secret of hard paste by hook or by crook. By hook, pick one and to his surprise . . . of hard paste, but the state of chemical that is by scientific investigation, Louis, in found the flower was made of knowledge in the 18th century was not ca­ contrast to Augustus, held little faith. By crook, porcelain and scented. pable of making a synthesis from analysis of however, was more in keeping with the spirit the Chinese ware. Most industrial processes of the times and Louis was all in favor of it. of this time were empirical and developed Louis-Henri de Bourbon-Conde, first cous­ lost on the new enterprise. Kiln wastage con­ only by trial and error. Since hard paste ap­ in to the king, had made an immense fortune tinued to be high. Sales were unbelievably peared to be a sort of glass, it was natural on questionable speculation and was promptly poor, and the secret remained a secret. But that the first imitation attempts made use of expelled from the court in Versailles in 1726 soft paste production was being perfected and common glass. Whereas hard paste porcelain to his great estates at Chantilly. Also a col­ becoming less an inferior second. Louis con­ is composed essentially of kaolin (China clay) lector of Oriental porcelain, he tried his hand solidated operations in Vincennes, reforming and a fusible stone (the petuntse of the East at duplicating this ware and there were ru­ the company, and restricted porcelain man­ or the feldspar of the West), the fabric of mors that he had somehow succeeded. Ru­ ufacture in other areas of France. The cap­ French soft paste is basically a frit. The frit mor went on to relate that two of Conde’s ital of this new company was fixed at 800,000 84 CERAMICS MONTHLY livres ($4,000,000) of which 200,000 came ported its best workers to Berlin. It wasn’t handles, cosmetic pots, scent bottles, spit­ directly from the king. until late in the century that Meissen wares toons, watchcases, thimbles, buttons, false In 1749, a Benedictine monk, frere Hip- were again in production, but of a far poorer teeth, chamber pots, bidets, etc., were also polyte, was awarded 24,000 livres for his se­ quality. marketed. Each New Year’s Day the king cret of applying gold to porcelain. Thence­ With the Meissen competition eliminated, himself, who maintained a showroom in Ver­ forth the only factory allowed to use gold was soft paste was able to hold its own. The quest sailles, sold the choicest items to the nobility the royal pottery at Vincennes. In this same for the elusive secret cooled, but never died. or presented them as ambassadorial gifts. The year a milestone was set when the dauphine By 1759, Louis had bought out the company, nobles were not commanded to buy, only Marie-Josephe sent her father Augustus III, beset with financial difficulties since its move strongly urged to do so, and the prices were Elector of Saxony, King of Poland, a set of to Sevres, and it remained completely owned invariably high. A pair of elephant cande- white-glazed porcelain which included vases and operated by the king until confiscated labrums were sold, for example, in 1762 for filled with those delicate porcelain flowers during the revolution. 1100 livres; in November 1984 a single el­ that were to become the hallmark of the Vin­ Blessed with the king’s support (and trea­ ephant candelabrum, 15% inches in height, cennes production. Augustus III was the son sury), Sevres set itself the task of making the modeled by Jean-Claude Duplessis, dated of Augustus the Strong, who had learned the finest porcelain in the world. The company 17£7, was sold at a Sotheby’s auction in New secret of hard paste in 1709. Undoubtedly expanded in personnel, as well as quantity York for $115,000. the French were so proud of their soft paste, and diversity of wares produced. At the height Whereas the king and many others ad­ they were challenging a comparison with the of operations in the 1770s, over 400 throwers, mired soft paste, there were still many who then very established hard paste of Saxony. modelers, painters and gilders, half of which deeply regretted France’s “failing” to discov­ It was also at this time, on a cold, blustery were women and girls, were employed at er and perfect hard paste. It is not without winter day, that Louis XV’s mistress, the Sevres. At the top were some of the most significance that Sevres porcelain as a ma­ Marquise de Pompadour, invited the king famous artists of the day: the painters Bouch- terial is not even mentioned in the famous for a walk in her gardens at Bellevue, a lovely encyclopedia by Diderot and d’Alembert new chateau near Vincennes. Louis, always (1751-1765). It was finally described in the bored and looking for activity, probably 1777 supplement, but this was after the dis­ thought this an idiotic idea since the gardens covery of kaolin and the development of hard at that time of year would be bleak and de­ paste at Sevres. pressing. Much to his surprise, however, he Soft paste continued to be used well after encountered acre upon acre of carnations, hard paste was in production, most notably poppies, peonies, azaleas, tulips and roses, for a dinner service ordered in 1783 by Louis all in full bloom and scenting the air. He XVI for his dining room in Versailles (this reached down to pick one and to his surprise service was completed in 1804), and for a (and Pompadour’s delight) found the flower service commissioned by Catherine the Great was made of porcelain and scented, as she of Russia in 1779. The Catherine service admitted later, by the marquise’s own hand. was composed of 616 pieces and cost 202,522 She had ordered these flowers from the Vin­ livres. The reason this very important order cennes factory to the tune of a reported 800,000 was not produced in hard paste was because livres. The expensive garden created a scan­ the turquoise blue ground required could not dal, but, of course, Pompadour’s purse was be duplicated on hard paste. As a matter of the king’s purse and it was his factory; it was fact, it was found that several other colors, all in the family. It certainly showed the world, particularly the distinctive dark “king” blue too, that French porcelain wasn’t ordinary— and emerald greens, were in the same cate­ just the impression that the king and his mis­ gory and destined to appear only on soft paste. tress wanted to make. Miniature paintings were the greatest to suf­ The marquise did much to advance the fer with the new medium. On soft paste the arts in France. The king hardly ever ques­ pigments fused with the glaze, thus giving tioned her judgment and usually went along an almost impressionistic quality to the with whatever she had in mind. In 1754, for painting, far different than the cold, detailed example, she suggested the porcelain factory brush strokes found on hard paste. Even un­ be moved from Vincennes to Sevres, land $115,000 Duplessis candelabrum of soft- painted surfaces on soft paste have an ivo­ which she herself owned. This move, she felt, paste (fritted) porcelain. rylike warmth, in contrast to the inorganic would give the industry more room to expand er and Oudry; designer, gold- and silversmith perfect whiteness of hard paste. And gold and put it closer to Versailles and Paris, as Duplessis; and sculptor Falconet. luster decoration, on which Sevres enjoyed a well as her own Bellevue. Sevres became her With the forever-fragile and unpredicta­ monopoly during its formative years, imparts pet project. Up to the time of her death in ble soft paste, kiln wastage remained the ma­ a richer quality to Sevres soft rather than 1764 at the age of 42, she was actively in­ jor problem. Production was slow and, be­ hard paste, where it appears artificial and volved in almost every phase of the operation. cause of the repeated firings, hazardous. The crude. This is partially due to the fact that In her honor a pink overglaze was named only glaze used at that time was a recipe the soft paste glaze tended to absorb the gold after the marquise in 1757; it is ironic that containing lead monoxide, sand, soda, potash and the thicker amounts needed to compen­ in England the same color is referred to as and black flint. It was inferior to the feld- sate are well suited to the intricate chasing, DuBarry Pink (Madame du Barry was spathic glaze used on hard paste in that it matting and burnishing that give it its charm. Pompadour’s successor). In addition, several was gummy and difficult to spread evenly on Soft paste porcelain stands today as a re­ items were created in the marquise’s name: the bisqueware. For sculptural objects this markable achievement which may not be du­ a potpourri Pompadour, urns Pompadour and was decidedly undesirable and, because of plicated, for it is inconceivable that a gov­ a broc (pitcher) Pompadour all appear in the this difficulty, unglazed or biscuit porcelain ernment would ever exert so much power and sales registers. was developed, which in time became quite influence, nor would so many talented artists The year 1756 marked another milestone fashionable. Each successive firing (for over­ combine such efforts, nor would such for­ for the French porcelain industry, for this glaze, then luster decoration) required a spe­ tunes be spent on a venture that was both was when the kilns at Meissen were de­ cific lower temperature, and failure to ac­ questionable and risky. An ironic sequence stroyed before advancing Prussian armies at curately control this resulted in disaster. of events enabled its creation and apprecia­ the beginning of the Seven Years War. Fred­ The wares produced were diverse. In ad­ tion. But it is not ironic that today the value erick the Great methodically looted the best dition to tableware a great many decorative of 18th-century soft paste is recognized and molds and models of that factory and trans­ vases, inkstands, snuff boxes, sword and cane prices soar for fine examples. November 1985 85 86 C eramics Monthly News & Retrospect Continued from Page 79 ramie objects shown was the abstract, or­ ganic bowl (page 79), 9 inches long, by Susan Reeder, Hartford. Photo: Mary Kinne. Puerto Rico Expressions “Expresiones en Barro y Bejuco,” an ex­ hibition of clay {barro) and vine (bejuco) ves­ sels and sculptures, was presented recently at Galeria 2 in Dorado, Puerto Rico. The 7-inch earthenware sculpture the bottom of the bowl and stem were mod­ eled to form a leaf canopy supported by a weathered tree trunk. Larger vessels and sculpture also were carved with a forest mo­ tif. After moving from Hawaii eight years ago, Xander set up a small studio next to the casita he and Joy built on top of one of the taller mountain ridges in the Cordillera Cen­ tral. Describing himself as something of a sub­ sistence potter, Xander says, “I feel quite contented with the environment, especially because my space is as I’ve created it. I like what I’m doing. When other people like what I’m doing enough to buy my work, it’s a real bonus.” Elizabeth Gordon Airbrushed porcelain by area artist Eliz­ abeth Gordon was presented in a dual ex­ hibition at the Pyramid Arts Center in Roch­ ester, New York, earlier this year. Patterns, 7-inch teapot with vine handle such as on this 12-inch bowl, were composed one-couple show featured approximately 100 earthenware and vine works by potter Xan- der Cintr'on-Chai and basketmaker foy Ko- bayashi de Cintron. Among the utilitarian objects in the ex­ hibition were pairs of goblets; sets of cups, glasses and cordials; cups and saucers; cov­ ered vessels; bowls and vases. Goblets, such as those shown, 9 inches in height, were thrown as a single piece; slip was added, then Carved earthenware goblets

Wheel-thrown bowl, with airbrushed pattern of linear and abstract calligraphic elements to suggest “a visual lyricism relating to a musical theme.” Photo: famey Stillings. NEA Fellowships September 29 marked the 20-year anni­ versary of the National Endowment for the Arts. That was the day President Lyndon fohnson signed legislation to launch the NEA with a budget of $5.2 million. Since then the budget has been increased more than thir­ tyfold. Continued November 1985 87 News & Retrospect the Arts, Nancy Hanks Center, 1100 Penn­ sylvania Avenue, Northwest, Washington, Even when President Reagan called for a D.C. 20506; or call: (202) 682-5400. 50% reduction in 1982, public support per­ suaded Congress to appropriate $143.5 mil­ lion for the NEA—just about $15 million Rosemary Ishii MacConnell less than the $158.8 million budget in the A solo exhibition of raku-fired porcelain last year of the Carter administration. sculpture by Rosemary Ishii MacConnell, Mill That counteraction seems to have estab­ Valley, California, was presented recently at lished a precedent; each year President Rea­ Gallery Fair in Mendocino. “Waterbuck with gan’s proposed budget has called for a de­ Cave Drawing,” 35 inches in height, incor­ crease in NEA funding, while Congress has porates a handbuilt porcelain antelope head, steadily voted increases. For fiscal year 1986, with underglazes, and a slab-built base, with the administration recommended a $144.5 million appropriation (down almost 12% from $163.7 million in 1985), but the current House bill calls for $166 million. With the expansion of the NEA has come greater support for individual artists. Profes­ sional ceramists can apply for fellowships in sculpture or crafts. The usual grant amount is $5000 or $15,000; a few $25,000 grants are awarded at the review panel’s discretion. Also available, through the NEA’s Inter­ national Office, are exchange fellowships with France and Japan. Such grants provide for transportation, plus a monthly stipend. Applications for visual arts fellowships for sculpture are due February 15,1986; for crafts, March 15,1986. If you are interested in either the Japan or France exchange program, be sure to note so at the top of your visual arts application. Recommendations for the ex­ change programs must be made to the In­ ternational Office by the fellowship review 35-inch “Waterbuck with Cave Drawing” panel. porcelain slip, pencil and stain drawings, raku For the updated guide on all funding cat­ fired individually. The reverse side has draw­ egories, as well as visual arts fellowships ap­ ings of a giraffe and a portion of a cave paint­ plications, write to: National Endowment for ing. Photo: Mel Shockner.

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