4 C eramics Monthly Volume 28, Number 1 January 1980 Letters to the Editor...... 7 Itinerary ...... 13 Answers to Questions...... 17 Where to Show...... 19 Suggestions ...... 23 Comment by Charles F. Binns...... 25 England’s Alan Caiger-Smith by George and NancyT ettlaufer...... 33W The National Cone Box Show...... 36 West Coast Clay Spectrum...... 40 Production Jiggering by Larry Adlerstein...... 43 Haydenville, A Town of Clay by Deborah Edwards...... 47 Sherry Haxton ...... 52 Dartington Craft Camp by Joseph Mayshark...... 54 1979 Beaux Arts Exhibition...... 58 Martha Holt: Perceptual Ambiguities ...... 60 Gardens of the Mind by Eva Kwong, with Geoffrey and Patricia Grosshaus...... 63 A Boston Exhibition...... 65 Art of the Han...... 66 News & Retrospect...... 69 Liquid Latex as Resist by Skip Allen...... 96 Index to Advertisers...... 98

Cover Three red earthenware goblets, approximately 5, 7 and 6 inches in height, tin glazed with on-glaze brushwork, by English potter Alan Caiger-Smith. The form on the right illustrates the reduction-fired copper and silver luster deco­ ration for which Alan is most widely known. This ceramist is the subject of an article beginning on page 33.

Publisher and Acting Editor: Spencer L. D avis Managing Editor: William C. Hunt Art Director: R obert L. Creager Copy Editor: Barbara Harmer Tipton Assistant Editor: Carol Lefebvre Hagelee Circulation Manager: Mary R ushley Advertising Manager: Connie Belcher Editorial, Advertising, and Circulation Offices: 1609 Northwest Blvd., P.O. Box 12448, Columbus, Ohio 43212. (614) 488-8236 West Coast Advertising Representative: Joseph Mervish Asso­ ciates, 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. (213) 877-7556 Copyright © 1980 Professional Publications, Inc. All rights reserved. Ceramics Monthly (ISSN 009-0328) is published monthly except July and August by Professional Publications, Inc. — S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 Northwest Blvd., Columbus, Ohio 43212. Correspondence concerning subscriptions, renewals and change of address should be mailed to the Circulation Department,Ceramics Monthly, Box12448, Columbus, Ohio 43212. Second Class postage paid at Athens, u.s.a. Ohio, Subscriptions: One year $12; Two years $22; Three years $30. Add $2 per yearU.S.A. outside The articles in each issue ofCeramics Monthly are indexed in the Art Index. Microfische, 16mm and 35mm microfilm copies, and xerographic reprints are available to subscribers from University Microfilms, 300 N. Zeeb Rd., Ann Arbor, Michigan 48106. Manuscripts, photographs, color separations, color transparencies, graphic illustrations'and news releases dealing with ceramic art are welcome and will be considered for publication. A booklet is available without cost to potential authors, describing procedures for the preparation and submission of a manuscript. Send manuscripts and correspondence about them to The Editor, Ceramics Monthly,Box 12448, Columbus, Ohio 43212. January 1980 5

Letters

AFRICAN CRAFTSMEN IN AMERICA that I will “give away” my work. My Every once in a while you have toprices turn are comparable to other potters’ for help in doing something important that work. is larger than one’s own ability to accom­ As for originality, my ceramics are not plish. The idea of African Craftsmen in gimmicky or involved with elements bor­ America still persists, and an organization rowed from others. It is my hope that they has remained intact as a concerted way to can stand on their own, be technically allow all of us to work together on certainsound, functional and reflective of nature. chosen projects. We accomplished the With all these things in mind, I still Ladi Kwali, Michael Cardew, C. Kofi did poorly at the fair. I envy your Pacific Athey tour on a pay-as-you-go theoryNorthwest and location, where you don’t have with great success. A tour of textile peopleto compete with large shipments of “low- turned out to be not so much a financialquality imported trinkets” sold in nearly success although we believe the ideal aimsevery store in the city.Cher Hausing were actually accomplished. Chicago Meanwhile we have gotten together a “Nigerian Crafts” exhibition and a slide,/ MclNTOSH/FASSBINDER ARTICLES sound show. Both are available for loan,It was a pleasure to see the lengthy and on request, to institutions that can ensurepersonalized articles on studio potters in proper security and general interest. Tothe October and November issues. The date the exhibit has been viewed at West­ coverage given Harrison McIntosh and ern Kentucky University; the Oak RidgeJohn Fassbinder gave me a feeling of kin­ Community Art Center, Tennessee; Indi­ ship to the potters and their work. ana University of Pennsylvania; Berea Ron Brandiger College, Kentucky; Dalton Junior College, Lubbock, Texas Georgia; and the Hunter Museum of Art, Chattanooga. SUBSCRIBERS' COMMENTS We want to continue our dream ofAssuming there are 50% functional pot­ establishing ways to encourage Africanters and 50% funk artists—I’d like to see craftsmen to visit the United States, and 50/50 coverage in each area. If you check would also like to maintain a communi­photos of this past year’s magazines, you cation network whereby American crafts­ will note a tendency toward funk. Func­ men can visit, study, work and learn in tional is a rarity. Let’s face it—-the steady Africa. income is through functional, rarely Certainly I would like to hear any ques­through funk. Jo Helms tions, ideas and proposals for the future Sumner, Wash. of this rather small but vital organization. Charles Counts, President As an Australian receiving your maga­ African Craftsmen in America, Inc. zine for one year I have found it most Rising Fawn, Ga. 30738 interesting. The trend away from tradi­ tional potting shapes in the U.S.A. is a bit CRITIQUE disturbing, but does reflect other ap­ As a potter I feel obligated to giveproaches possible even if one doesn’t wish constructive help and recommendation:to pursue them. don’t put major life-long potters, such as Laurelle Gordon Michael Cardew, in the back of feature Gunnedah, New South Wales articles, hidden as though part of the advertisements. Take out the banal adver­ Along with hundreds of other readers I tisers who use childish, distracting, insin­ like beauty—not the far-out junk that cere methods of focusing attention. Manytries to get passed off as art. Some of that of them use junky, gaudy, splashy stuff and is a terrible waste of clay, time—and cheap tricks instead of being simple and most importantly these days—energy. factual. G. Johnson Pat Lambert Cincinnati Los Alamos, N.M. ERRATA FAIR SALES RESPONSE In my article “Once May Not Be I would like to thank Doug HivelyEnough” for (November), I reversed the taking the time to write (November “Let­ quantities of raw and calcined Albany slip ters”) regarding my experience with a fair. in Metamorphosis Glaze IV. It should However, to clear some things up, I wasread: referred to this particular show by a craft- METAMORPHOSIS GLAZE IV workers’ publication and by a fair sponsor/ (Cone 9, reduction) coordinator. It was not juried. It was held Refire in oxidation between Cones 04 and 5 on a college campus, in the northeastern Whiting ...... 10% part of Chicago, complete with food ven­ Nepheline Syenite...... 30 dors, entertainment and beautiful forested Albany Slip, raw...... 10 grounds. Albany Slip, calcined...... 50 I have been working in clay for ten 100% years and do not consider myself a begin­ Add: Red Iron Oxide...... 5% ner; if my work was technically poor, I Tin Oxide ...... 1% would not be exhibiting. Just because I am A switch in the two would make little dif- a new exhibitor in a show does not mean Continued January 1980 7 8 Ceramics Monthly LETTERS ference in the fired quality of the glaze, but calcining the larger quantity of Albany slip aids in the prevention of crawling. And I neglected to mention that in refiring glossy glazes at a lower cone to induce matt surfaces, it is of great impor­ tance that those glossy surfaces be free of any oily residue left by fingers. If I am moving a piece directly into another kiln for immediate refiring, it is handled with a soft cloth, and if it has been handled for a while, a thorough washing may be necessary. Fingerprints may appear as objectionable smudges on a refired surface. Charles Lakofsky Bowling Green, Ohio Herman Mueller would have been amused by the description of the technique used in forming the Rogge Hotel fireplace, which occurred in the News & Retrospect article “Herman Mueller: Encaustic Tile,” October CM, see page 71. The fireplace design (below, left) is a mosaic composed of small pieces of differently shaped tile, and is not an example of Mueller’s en­ caustic mosaic process as stated in the article. The encaustic technique was used

on 6-inch tile which contained a grid pat­ tern. This process was supposed to resem­ ble true mosaic and from a distance, or in photographs, the two appear similar. There are few existing examples of archi­ tectural encaustic tile and some, such as the Moerlein Brewery mural, Cincinnati (detail, above right), exist under layers of paint. One purpose of my dissertation study of Herman Mueller was to create an aware­ ness of these disappearing examples of architectural ceramics. One of the devel­ opments of this research was the exhibit of Herman Mueller’s life work and a catalog, Herman Carl Mueller: Architectural Ce­ ramics and The Arts and Crafts Move­ ment, from the New Jersey State Museum, Trenton. This catalog describes and illus­ trates other significant developments in Mueller’s career. Lisa Taft Columbus, Ohio

Share your thoughts with other readers. All letters must be signed , but names will be withheld on request. Address: The Editor, Ceramics Monthly, Box 12448 Columbus, Ohio 43212. 3 January 1980 9

12 Ceramics Monthly Itinerary Send announcements of events, exhibitions, sawdust-fired ceramics by Patrick S. Colorado, Fort CollinsJanuary 27-Febru- workshops, or juried fairs, festivals and Crabb; at the Muckenthaler Cultural Arts ary 10 A multimedia exhibition by Alan Center, 1201 West Malvern Avenue. McNeil, includes ceramics; at Lincoln sales at least seven weeks before the month Community Center, Intimate Gallery. of opening to The Editor, Ceramics California, San FranciscoJanuary 8-Feb- Monthly, Box 12448, Columbus, Ohio ruary 2 An exhibition of ceramics byD.C., Washington January 20-26 An ex­ 43212; or phone (614) 488-8236. Sandra Shannonhouse; at the Quay Gal­hibition of porcelain and fiber dolls by lery, 254 Sutter Street. Sharon Roslund Avery; at Jackie Chalkley Gallery, 3301 New Mexico Avenue North­ EVENTS California, Santa MonicaJanuary 1-31 west. Georgia, AtlantaMarch 28-April 2 The Thixotropic ceramic sculpture by Carol National Art Education Association’s an­Jeanne Abraham; at the 26th Street Gal­ Florida, OrlandoJanuary 4-February 1 nual convention entitled “Atlanta: An lery, Brentwood Country Mart, 225 Twen­“Cups,” an exhibition which includes clay Agenda for the ’80s” will be held at the ty-sixth Street. Continued Hyatt Regency Hotel. For further informa­ tion contact: National Art Education As­ sociation, 1916 Association Drive, Reston, Virginia 22091. Louisiana, New OrleansJanuary 30-Feb- ruary 2 The annual meeting of the Col­ lege Art Association includes sessions on art history and studio art. A placement service is provided for those interested in college teaching, art administration and related fields; at the Hyatt Regency Hotel. For further information, write: The Col­ lege Art Association of America, 16 East 52 Street, New York City 10022, or call: (212) 755-3532. Michigan, Ann Arbor March 5-8 The annual conference of the National Council on Education for the Ceramic Arts (NCECA) ; at the University of Michigan (registration on the 5th, conference begins on the 6th). For further information write: Jack Mcllroy, University of Michigan, Extension Service, Conference Department, 412 Maynard Street, Ann Arbor 48109, or call (313) 764-5304. North Carolina, AshevilleApril 17-19 Annual meeting of the Southern Highland Handicraft Guild; at Folk Art Center. Pennsylvania, University ParkFebruary 28-March 3 “SuperMud,” a conference with demonstrations; at Penn State Uni­ versity. Contact: Ron Avillion, 410 Keller Boulevard, University Park 16802. Rhode Island, ProvidenceMarch 20-23 “Technical Innovations in Metal and Clay Conference” will focus on synthesizing the use of renewable resources and more effi­ cient production methods within the clay and metal traditions. The event includes workshops with Tim McCreight and Gerry Williams, demonstrations with Curtis La- Follette and Harriet Brisson, plus panel discussions featuring craftspeople in clay and metal. Fee: $75 in advance; $85 at time of conference; $10 for panel and demonstration only. In conjunction with the conference, an exhibition focusing on technical innovation will be held in Ban­ nister Gallery February 28-March 23. Write: Art Department, Rhode Island College, 600 Mount Pleasant Ave., Provi­ dence 02908, or call: (401) 456-8054.

SOLO EXHIBITIONS Arizona, ScottsdaleJanuary 10-February 10 An exhibition of ceramics by James Lovera; at the Hand and the Spirit, 4200 North Marshall Way, Studio 5. California, FullertonJanuary 11-February 10 “Clay: Homage to Origins,” raku and January 1980 13 14 C eramics Monthly ITINERARY ary 7 “Winter Wonderland,” fourth an­ Museum of Art in Syracuse, this exhibition nual holiday exhibition; at Elizabeth Fort­traces the growth of American ceramics as by Robin Van Arsdol; at Valencia Com­ ner Gallery, 1114 State Street, Studio 9, an art form; at the Renwick Gallery, munity College, West Campus. La Arcada Court. Pennsylvania Avenue at 17th Street. through January 27 An exhibition of Illinois, ChicagoJanuary 11-February 16 Colorado, DenverJanuary 1-31 A multi- European terra cotta from the 15th to the An exhibition of ceramic murals by Georgemedia exhibition which includes pottery;20th centuries; at the National Gallery of Mason; at Exhibit A, 233 East Ontario at the Artisans’ Center, 2445 East Third Art, East Building, Sixth Street at Consti­ Street. Avenue. tution Avenue Northwest. Indiana, Indianapolis January 22-March Connecticut, Greenwich through January Florida, Jacksonville through January 8 2 An exhibition of ceramics by Tim5 “Eat, Drink and Be Merry,” a Christmas “Joy of Giving,” an exhibition by members Mather; at Indianapolis Museum of Art, show which includes clay; at the Elements, of Crown Craftsmen, includes ceramics; at 1200 West 38th Street. 14 Liberty Way. Contemporary Village, 2736 University Boulevard West. New York, New York January 5-February D.C., Washington through January 27 “A January 11-February 15 “Contemporary 2 “Pattern Sculpture: The Value of aCentury of Ceramics in the United States, Crafts,” an exhibition which includes ce- Variable,” an exhibition of ceramics by 1878-1978.” Organized by the Everson Please Turn to Page 72 Robert Milnes; at Theo Portnoy Gallery, 56 West 57th Street. January 7-31 An exhibition of ceramic interpretations of African masks by June Estes of Clay, Ltd.; at Chemical Bank, Greenwich Village Branch, 204 West 4th Street. January 8-26 A ceramics exhibition by Robert Segall. January 29-February 16 An exhibition of ceramics by Cynthia Bringle; both at Greenwich House Pottery, 16 Jones St. North Carolina, Winston-Salem January 4-February 24 An exhibition of ceramics by Elaine Reed; at Southeastern Center for Contemporary Art, 750 Marguerite Drive. Oregon, Portland through January 5 Mixed-media murals by ceramist Frank Boyden; at Fountain Gallery, 117 North­ west 21st Avenue. January 10-February 9 “Ceramic Sculp­ ture, Drawings, Photographs,” by Thom Wolfe; at Contemporary Crafts Gallery, 3934 Southwest Corbett Avenue. Washington, Spokane January 1-31 Works by featured artist Jan Parzy; at the Pottery Place, Old Flour Mill.

GROUP EXHIBITIONS Arkansas, Little Rock through January 6 “Toys Designed by Artists Exhibition,” in­ cludes ceramics; at the Arkansas Arts Cen­ ter, MacArthur Park. California, Los Angelesthrough January 6 Works in ceramics by Vivika and Otto Heino; at Untitled Gallery, 8899 Beverly Boulevard. through January 11 “Glass/Fiber/Clay,” a multimedia exhibition; at the Mandell Gallery, 472 North Robertson Boulevard. through January 13 An exhibition of works by 50 contemporary artists and craftsmen of New Mexico; at the Craft and Folk Art Museum, 5814 Wilshire Boulevard. through February 24 Approximately 150 objects illustrating ceramic art from the Renaissance to the 20th century in West­ ern Europe and America. through June 29 A selection of approxi­ mately 100 mosaics from the 17 th to early 20th centuries, includes examples of Roman and Florentine mosaics; both at Los Angeles Museum of Art, 5905 Wilshire Boulevard. January 19-February 17 “Westwood Clay National Exhibition”; at Otis Art Institute of the Parsons School of Design, 2401 Wilshire Boulevard. California, Santa Barbara through Janu­ January 1980 15

Answers to Questions Conducted by the CM Technical Staff

Q The porcelain I’ve been using in oxidation has a slightly yellow color, but because I’ve stockpiled so many of the ingredients, I’m wondering if something can be added to the recipe to make the color a bit whiter?—J.A. Extremely small quantities of cobalt havebeen used as a way of “bleaching” yellowish whiteware bodies (blue-white is per­ ceived as whiter), but because cobalt is such a strong colorant, we emphasize “extremely small” because as low as 0.025 equiva­ lents may still produce blue rather than white. It is important that the cobalt be well dispersed in the slip before drying to the plastic state, and use of cobalt carbonate is recommended. Reduction of the body is another alternative if this option is available to you. Traces of iron in the clay appear yellow in oxidation, but turn slightly blue in reduction—creating results similar to the cobalt addition.

Q In the ]une 1979 issue, you listed a series of Cone 6 frit glazes, but in mixing many of these I have found they settle out quite rapidly. Any suggestions?—J.H. Liquid glaze tends to settle at various rates depending on the amount of clay in the recipe (the greater the clay content, the more glaze tends to stay in suspension), particle sizes within the glaze batch and the electrolytic balance of the glaze suspension. Frit glazes are notorious for their ability to settle into a hard mass at the bottom of the glaze bucket. Ceramists prevent or retard glaze settling by adding a flota- tive (or suspender). These include two percent bentonite or ball clay (perhaps the best choice) ; gum arabic or tragacanth, dextrin or molasses (these tend to mold without the addition of formal­ dehyde or some other compound to retard bacterial growth) ; deflocculants, common salt, calcium chloride, or other materials to affect the electrolytic balance (but these tend to thin the glaze which can change physical results on the fired ware). Because of the inherent drawbacks of many glaze suspenders, potters often choose simply to mix vigorously before use and periodically during the glazing session.

Q Is there some way to differentiate between a surface fracture and a crack which goes clear through a section of kiln shelf? —K.K. The extent of kiln shelf fracturemay be simply determined by sprinkling dry alumina on the shelf, balancing it on a centrally located post, and tapping the former sharply. Wherever a crack goes through the kiln shelf, the two halves of the shelf act as a tuning fork, vibrating at different rates and causing alumina to part at the crack. This technique may also be applicable to use on ceramic ware if the form permits. Q I am familiar with the silicon carbide blades used for cutting bricks, but are there any saw blades available for cutting ceramic tiles with a saber saw? —N.S. Remington Arms Company produces “Grit Edge”saw blades which will even make plunge cuts in ceramic tile. Toothless, the blade is coated with tungsten carbide granules, and is also avail­ able in a rod-shaped blade which fits a typical hacksaw. Consult your local hardware store for additional information.

Q Do you have a yearly index of articles available? I am always searching through old issues looking for something seen pre­ viously that I need to know now.—P.B. Since 1962, Ceramics Monthly has published a yearly index in each December issue. Previous magazines were indexed in the January 1962 issue. Additionally, a more comprehensive 20-year index (1953-1972) is available from the CM book department for $1.50, postpaid. Subscribers’ inquiries are welcome and those of general interest will be answered in this column. Send questions to: Technical Staff , Ceramics Monthly,Box 12448, Columbus, Ohio 43212. January 1980 17 18 Ceramics Monthly' Where to Show Send announcements of juried exhibitions, ics Southeast” is open to clay and glassmaroneck Artists Guild 27th Open Juried fairs, festivals and sales at least four artists residing in Alabama, Florida, Geor­ Exhibition” is open to artists and crafts­ months before the entry deadline to The gia, Kentucky, Louisiana, Mississippi,men. Juried by work; hand deliver only. Editor, Ceramics Monthly, Box 12448, North and South Carolina, Tennessee, Cash awards. Entry fee $10 for 1, $15 for Virginia and West Virginia. Juried by 2. Entry deadline: April 24-25. Write: Columbus, Ohio 43212; or phone (614) slides, maximum 3 works. Entry fee: $5. Mamaroneck Artists Guild, 150 Larch- 488-8236. Entry deadline: January 15. Cash and mont Avenue, Larchmont, N.Y. 10538. EXHIBITIONS purchase awards. Contact: Andy Nasisse, Visual Arts Building, University of Geor­Ohio, Marietta April 5-May 11 “Marietta California, Glendale July 11-August 5 gia, Athens 30602. National ’80,” is open to American sculp­ “The Western Edge: Designer and Pro­ tors. Juried by slides. Fee: $10. Commis­ duction Crafts” is open to craftsmen fromIowa, Ames January 27-February 27 sion: 25%. $3500 in cash and purchase California, Oregon and Washington. Jur­“Clay/Fiber/Glass/1980” is open to art­ awards. Entry deadline: February 9; work ied by 35mm slides. Fee: $6 unlimited ists over . 18 years of age living withindue: a March 30. Write: Arthur Howard entries for Southern California Designer500 mile radius of Ames. Entry fee: $15; Winer, Box AA, Marietta College, Mari­ Craftsmen members, $10 for up to 4 maximum 3 entries. Awards. Juried by etta 45750, or call: (614) 373-4643. entries from nonmembers. Entry deadline: work. Juror: Eudora Moore, crafts coordi­ March 21. Write: Sharon Jeniye, 2627 nator, National Endowment for the Arts. Pennsylvania, Erie March 2-16 “Fifth Medlow Avenue, Los Angeles, Calif. 90065. Entry deadline: January 13. Contact: the Annual Art Scholarship Competition” is Octagon Center for the Arts, 427 Douglas,open to high school seniors only. Each Colorado, GoldenApril 6-May 7 “North Ames 50010, or call: (515) 232-5331. must submit 3-5 works in any medium; a American Sculpture Exhibition” is open to cross section of art forms is suggested. A American, Canadian and Mexican artists. Kansas, Lawrence February 10-29 “25th statement which identifies one’s back­ Limited to hard sculpture in a permanent Annual Kansas Designer Craftsmen Exhi­ ground in the arts, goals, aspirations and medium; not to exceed 125 cubic feet orbition” is open to craftsmen who are purposes of applying for a scholarship may 500 pounds. Bas relief not to exceedcurrent or former residents of Kansas oraccompany work. Juried by works. Schol­ 24x36 inches or 100 pounds. Juried bycurrent residents of Kansas City, Missouri.arship awards totaling $1000. Entry dead­ 8x10 unmounted, glossy black-and-whiteJuried by work. Juror: Harvey K. Little­line: February 23. Write: Edward Hig­ photographs. Entry fee: $10 per sculpture.ton. Entry fee: $10 for two. Awards. Entrygins, Department of Art, Mercyhurst Col­ $5000 in cash prizes. Entry deadline: deadline: January 18-19, hand-deliver lege, 501 East 38 Street, Erie 16546. February 12. Write: North American only. Write: Kansas Designer Craftsmen Sculpture Exhibition, Foothills Art Center,Exhibition, Department of Design, Univer­South Carolina, Hilton Head IslandMarch 809 Fifteenth Street, Golden 80401, or sity of Kansas, Lawrence 66045, or call: 15-April 15 “Primary Art” is open to call: (303) 279-3922. (913) 864-4401. artists and craftsmen 18 years or older. Juried by slides. Entry fee: $10 per artist. Georgia, Athens April 5-May 1 “Ceram­ New York, White Plains May 2-18 “Ma- Continued

January 1980 19

WHERE TO SHOW dale Recreation Center, Bella Vista Village Juried by slides. Fee: $30. No commission. 72712, or call: (501) 855-3061. Awards. Entry deadline: February 1. Write: Logene Solberg, Chamber of Com­ Entry deadline: February 1. Write: Artis­ Arkansas, Eureka SpringsMay 2-4 merce, 2200 East Atlantic Boulevard, tic Sass, P.O. Box 6005, Hilton Head “Ozarks Quality Art and Crafts Show” is Pompano Beach 33062, or call: (305) Island 29928, or call: (803) 785-8442. open to all media. Juried by slides. Booth941-2940. Texas, Clear Lake CityApril 19-May 16 fee: $40. Entry deadline: March 15. “Houston Designer Craftsmen 1980 JuriedWrite: Eureka Springs Guild of Artists Florida, St. Petersburg March 29-30 Exhibition” is open to all craftsmen. Juriedand Craftspeople, Box 182, Eureka Springs “Mainsail” is open to all artists and crafts­ by slides and work. Juror: Eudorah72632. men. Juried by 3 slides. Entry fee: $25. Moore. Entry fee: $20 for Houston De­ Cash awards: $4250. Entry deadline: signer Craftsmen members; $15 for non­ Connecticut, GuilfordJuly 17-19 “Guil­ February 8. Write: St. Petersburg Side­ members. Entry deadline: February 1. ford Handcrafts Exposition.” Juried by walk 5 Art Festival, Box 21102, St. Peters­ Cash awards. Write: Houston Designer slides. Jurying fee: $10; booth fee: $125. burg 33742. Craftsmen, 6128 Village Parkway, Hous­Entry deadline: February 1. Write: Ex­ hibits Committee, Guilford Handcrafts Illinois, Winnetka April 19-20 “Midwest ton, T-x. 77005, or call: (713) 529-7126Center, Box 221, Guilford 06437, or call:Craft Festival,” is open to all artists resid­ or 522-3736. (203) 453-5947. ing in Illinois, Indiana, Iowa, Kentucky, Virginia, AlexandriaMarch 7-30 “The Michigan, Missouri and Wisconsin. Juried 14th Biennial,” sponsored by the Creative Connecticut, HartfordJune 6-10 “The by slides. $1800 in awards. Entry deadline: Crafts Council of Washington, D.C., isFestival of Greater Hartford Craft Mar­ January 19. Contact: North Shore Art open to all craftsmen residing in Washing­ ket” is open to all U.S. craftsmen. Juried League, 620 Lincoln Avenue, Winnetka ton, D.C., Maryland, Virginia and Cre­ by slides. Booth fee: $ 150-$ 175, depend­ 60093, or call: (312) 446-2870. ative Crafts Council members who resideing on location. Cash awards. Entry dead­ in adjoining states. Juried by work. Jurors:line: January 21. Contact: Evelyn R.Indiana, Fort WayneJuly 12-13 “Three Helen Drutt, Glen Kaufman and Robert Warner, The Craft Market, 250 Consti­ Rivers Festival Arts and Crafts Show.” Turner. Cash prizes. Entry deadline: tution Plaza, Hartford 06103, or call:Juried by 5 slides or photographs. Fee: February 1. For application and C.C.C. (203) 278-3378. $20. Entry deadline: May 26. Write: Betty membership information write: Mary Ann L. Newton, 1707 Kensington Boulevard, Charette, 10245 Farnham Drive, Bethesda, Florida, Boynton BeachMarch 1-2 “Sixth Fort Wayne 46805. Maryland 20014. Annual Festival of the Arts.” Juried by 3 slides. Fee: $20 professional, $15 ama­ Indiana, IndianapolisJune 7-8 “Twenty- teur. Cash and purchase awards. Entry fifth Annual Talbot Street Art Fair” is deadline: February 15. Contact: Eleanor open to all media. Juried by slides. Fee: FAIRS, FESTIVALS AND SALES Krusell, Recreation and Park Department, $15 for Indiana Artist/Craftsmen mem­ Arkansas, Bella Vista VillageOctober 17- 128 East Ocean Avenue, Boynton Beachbers, $30 nonmembers. Membership avail­ 19 “Bella Vista Arts and Crafts Festival” 33435, or call: (305) 732-2636. able to residents and former residents of is open to all media. Juried by photos. Indiana. Entry deadline: March 1. For Fee: $15. Commission: 10%. Entry dead­ Florida, Pompano BeachMarch 15-16 application write: Joan Kisner, 620 North line: May 1. Write: Pam Collins, Kings- “Art in the Sun” is open to all media. Please Turn to Page 98

January 1980 21 22 Ceramics Monthly Suggestions from our readers

TRIAXIAL BLENDS When running triaxial blends, I label paper cups with a three- digit number representing the proportions of glaze materials A, B and C to be used for each test. For example, cup 253 would have two parts (twenty grams) of material A; five parts (fifty grams) of material B; and three parts (thirty grams) of material C. Mark corresponding test tiles with the same three digits for easy reference. —Jean O’Brian, Brookline, Mass.

REFRACTORY CEMENT A high-temperature cement that is effective to 2700°F (1500°C) may be made by mixing talc with liquid sodium silicate (water glass) to any consistency—a thin paste, putty or in be­ tween. It’s ideal for repairing shelves and shelf posts, or gluing pins in electric kilns to hold resistance wire in place. It also makes an excellent ceramic-to-metal adhesive. —William F. Baker, Beverly, Mass.

DRIPLESS SPOUTS A small dab of butter or margarine underneath a pitcher’s pouring spout insures against drips. —Faith Symes, Merrimack, N.H.

WAX REMOVAL Greg Moore’s suggestion for removing wax in the October issue has one drawback—a red hot kiln must be available at the time such removal is necessary. Far more expedient is a method I have been using for a long time, simply burning away the wax with a propane torch. Too rapid heating may crack a piece because of uneven expansion, but applying the heat generally and then zeroing in on the wax will prevent this. As soon as the wax blackens, it is altered to carbon, and the resisting property is lost; it is not necessary to completely burn away the carbona­ ceous residue. Charles — Lakofsky, Bowling Green, Ohio

DESIGN TRANSFER An easy way to transfer precise designs (such as Indian motifs) to pottery is to draw them on tracing or tissue paper with an indelible pencil—available at most stationery supply stores. (I’ve tested several different brands and they all work.) Press the drawing on wet clay, rubbing from the center out or from one edge to the other to prevent wrinkles. Remove and incise or color. Remember the design and lettering will be reversed, so plan accordingly. Lucille — Mathewson, Takoma Park, Md.

TWO IDEAS When the plastic pan on my electric wheel cracked severely, I patched it with PVC cement. This colorless adhesive is avail­ able at hardware stores or plumbing supply places and is used to cement plastic water lines, so it works great on the hard plastic pans. My index finger was getting worn away by gritty raku clay. Since I hate to wear gloves when throwing I now wrap a small piece of cotton cloth around my finger and don’t seem to suffer loss of control of the clay. Pamela — Messer, Santa Fe, N.M.

UNIFORM SLAB HEIGHT To obtain a uniform height for the walls of slab structures, just measure the height in a few areas around the pot and con­ nect these points with a piece of string, circling the pot and holding the string in place, if needed, with pieces of clay. Draw a line around the container where the string lies, then cut the walls at the line and it should be the same height all around. —Kim Gernsbacher, New Orleans

DOLLARS FOR YOUR IDEAS Ceramics Monthly pays $5 for each suggestion used; submis­ sions are welcome individually or in quantity. Send your ideas to CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can’t acknowledge or return unused items. January 1980 23 24 C eramics Monthly Comment The Elements of Beauty in Ceramics by Charles F. Binns

The following condensed article, all nations, to stand or fall by another first published in 1896, represents one criterion. What, then, do we require of the major aesthetic theories in ce­ as the elements of beauty, and for ramic art. Written by the “father of what do we seek in our criticism of contemporary American ceramics ” its ceramic works of art? influence is felt today. For additional In every department of artistic information about the author, see work we demand that the executant “Charles Binns, Adelaide Robineau” shall exhibit perfect control over his in the November 1975 issue.—Ed. material; this is, in fact, the essence of artistic practice. Without this faculty In view of the extent and variety ofthe poet and the painter may conceive ceramic productions of the presentgrand subjects, but they cannot con­ day, it may well be asked whether vey their ideas to the multitude; the there be any principle upon which poet must have control of words, the merit may be considered; whether painter of colors. In like manner, the any artistic canon exists for the guid­sculptor and the engraver must be ance of the critic. executants if we are to derive any There are some who hold that in pleasure from their work. And the ceramic work the clay must always bepotter? The docile clay is obedient to in evidence, that the wheel is the only his touch, so obedient that a rude suitable appliance for the shaping of hand or an unskilled finger may mar a plastic material. A second school the whole work. It cannot be then holds that not the clay as in a that we require of him a lower degree natural state is to be considered, but of skill than of the painter; he works what it becomes in the fire; that in a different sphere but his work stoneware and porcelain are worthydemands no less knowledge and dex­ of appreciation in themselves, withoutterity. regard to their plastic and earthy The first element we look for in origin. There may be said also to beceramic beauty is form; this must be a third class who believe that any regarded as of the greatest importance, means may be used for producingbecause if the form be poor, no deco­ form and decoration, provided onlyration, however elaborate or costly, that the result be beautiful. Let uscan ever beautify. The ancient Greeks examine the basis of these claims. produced most beautiful forms, and I will premise that we cannot judge they seem to have used various means; any work pretending to be a work ofthe vases were shaped from the plastic art unless we leave out of the questionclay upon the wheel, and ornamen­ the conditions under which it was tation belonging to the form was produced. We value the specimens inmolded and applied. At the same an ethnographical museum becausetime, the highest degree of finish is they reveal to us the manners andobservable; the potter was not content customs of a bygone age. We regardto leave the mark of his finger upon them as steps in education, as stages the clay, the surface of each piece was in the evolution of a people, but smoothed the and endowed with a deli­ moment a work can be judged artistic, cious texture. The potter’s control we remove it from the department ofover his material was complete, and ethnography. We place it upon a plat­he was able to create the works of art form with the art work of all ages and Continued January 1980 25 26 Ceramics Monthly COMMENT times that we are compelled, in order to attain our desire, to sacrifice cer­ which now charm our vision. Buttain a other qualities in the clay; the Greek vase was beautiful when it leftsubstance may not be plastic enough the hand of its maker, and it owes to be formed upon the wheel, or it little or nothing to the fire. If pieces may be necessary that the surface dried in the sun could have been should not be disturbed by the hand. preserved for us, we should find themRecourse must then be had to mold­ equally as beautiful as those we have.ing as a means of producing form; These fictile triumphs are, in fact, and here it is found that a much glorified clay—their beauty is the re­wider field is opened than that pro­ sult of a grand conception realized byvided by the wheel alone. The forms a skillful hand. A high civilization had producible upon the potter’s wheel caused in Greece a high ideal; the are limited, while the use of the mold works of the potter, as of the sculptor,enables us to produce a practically were judged by a lofty standard, and inexhaustible variety. But a satisfac­ for this reason the examples that re­ tory result must depend upon the main to us exhibit excellence. proper use of our facilities—the op­ Beauty of line and texture is probrium not which attaches to a badly produced merely by a fortuitous molded chain piece must likewise belong to of circumstances, it is the outcome that of which is carelessly formed by the thought and care. If we analyze thehand. beauty of a given line we find that its The fine clay having had its nature power depends upon the harmoniouschanged by the fire, it cannot be right relation of one part to another, andto treat it any longer as clay. Porce­ upon the balance of the whole. Be­lain is a precious substance, a thing yond the beauty of outline there isso an delicate and pure as to have worth­ aesthetic value in surface. Silk is moreily excited in the ancients a feeling of beautiful than cotton because of veneration. its We have no need to go texture, and in like manner, fine clay back to its earthy origin. We can deal is more beautiful than coarse, highwith it as it is to our great advantage. finish (more beautiful) than a rudeA most important element in the surface. The judgment of the sense ofbeauty of porcelain is the texture of touch is not to be despised. its surface, and as porcelain can There is a tide in the affairs of hardly be complete until it be glazed, clay, and in its flow it reaches the the quality of that glaze becomes of point where clays are influenced and the greatest value. To appreciate the changed by fire. Stoneware which is artistic value of glaze, one has only to salt-glazed assumes the delicately- handle a piece of Japanese fine porce­ mottled texture that we well know.lain. Porcelain gains its fine whiteness and In considering the elements of translucency, and emerges from thebeauty found in decoration, let me heat a new thing. The fire has a very state that beauty cannot exist in origi­ important part to play in influencingnality alone. I believe there are some the beauty of any ware. Thoughartists fire and some critics who would cannot supersede the beauty of form,pardon any fault so long as the work it can and does enormously controlmay claim to be original. I admit that the beauty of texture. But there iswhere one a beautiful piece has also claim thing the fire cannot do. It cannot to be original, its value is increased, turn bad work into good, any morebut the point under consideration is than a coat of varnish can correctnot value but beauty. drawing in a picture. In decoration there is a great deal In dealing with the clays that may to be said for the fitness of things: be called “fine,” we find that certain onlylet it be decided what constitutes combinations are necessary; we need “fitness.” To treat a piece of terra a substance which will obey the im­ cotta as a work in clay is manifestly pulse of the kiln and permit itself to correct—the senses give evidence that be purified, but which will at the the material is clay, the clay itself can same time decline to bend before the be worked and fired. To treat a piece fire or to bow itself to the tyrant heat.of porcelain as clay is equally wrong, To arrive at this result is a matter ofbecause the material cannot be discrimination, and we find some­ Continued January 1980 27 28 Ceramics Monthly COMMENT the clay and the decoration. Thus in pottery we are able to draw elements of beauty from various sources, but in worked as the clay can, while the fire dealing with porcelain we find the totally changes its nature. conditions somewhat different; the It is fit then to decorate earthen­ unburned material is much more ten­ ware and pottery in the clay—tool­der, the fire much more severe. Colors ings, embossments, and incisions are passed through the porcelain kiln, all suitable, but their fitness does notwith but few exceptions, perish. Co­ necessarily constitute beauty; balt, the nickel, manganese, and chro­ power of the work to please lies notmium are the most refractory. This in the fact that it is suitable, but in has led to the use of softer porcelains the quality of its execution. The treat­by those who were desirous of extend­ ment of white earthenware in vogueing the underglaze palette. at the present day is not to be com­ In the treatment of porcelain with mended ; it is either cheaply decorated enamel or muffle colors and gold, by means of the printing press or there is a wide field to be traversed. gaudily finished in distant imitation The Chinese long ago led the way. of porcelain. The apostle of earthen­Many are the ways in which color can ware has yet to arise who will give be us used upon porcelain to beautify beautiful and low priced dinner ser­ form. Tinted grounds have been used vices. In giving voice to this sentimentsince the day of the Chinese works, I may be regarded as a traitor in the and there are no tints that can com­ camp, but while I regard much ofpare for purity with those possible English earthenware as satisfactory soupon porcelain: the translucent paste far as it goes, I admit that in the shining through the colors affords the majority of cases it bases its claim tokeenest pleasure to the artistic eye. consideration upon price rather than The objects of nature lend themselves upon artistic merit. admirably to adaptation, and can be Let us turn now to the elements oflargely utilized to beautify and de­ beauty in the decoration of porcelainvelop form. The Japanese artist can as distinct from earthenware. We in this, also, read us a lesson, for in have somewhat cleared the ground byhis work we have perfect adaptation disposing of the question of form,allied to realistic execution. The which must always largely influenceWestern artist, in his work, is inclined decoration, and we are left free to to sacrifice one to the other. Realism inquire what materials are at ouris allowed to overshadow adaptation, disposal, and what methods are open or vice versa. The true course is to be to our use. There can be nothing morefound in utilizing the poetry of nature beautiful than the pure surface of to a express the thought of the artist. piece of fine porcelain. The translu­ When our porcelain decorators shall cent paste and the tender glaze appeal learn to read the book of nature, to our affections in a manner thatwhen the sketchbook is deemed in­ must be irresistible to the artist, and separable from the palette, then our it is not to be wondered at that porce­ decorative porcelain will enter upon a lain has received the adulation ofnew stage of existence, and we shall kings. no longer consider a china painter as The element of beauty derivedoutside of art. from color in ceramics is not to be The use of metallic decorations lightly dismissed, and here again we upon porcelain has been many times must discriminate between pottery discussed. There is no doubt that and porcelain. In the former we have metallic decorations are often applied always to consider the color of in the a gaudy or a senseless manner, but clay itself. There is great color valuethis only goes to prove my contention in Greek pottery and in German that beauty lies not so much in the stoneware, while the tones that we substance used as in the manner of consider most fitly to belong to clayuse, and it may be maintained in art are those which will withstand the if not in ethics—that the end justifies hard fire. These tones are given a the means. certain quality of subdued strength by The life and vigor imparted to a the intensity of the heat, and the scheme of decoration by a judicious result is a pleasing harmony between Please Turn to Page 90 January 1980 29 30 C eramics Monthly January 1980 31 32 C eramics Monthly Photos: The authors, Alan Caiger-Smith ce caiga oag-od he rpae te dull the replaced sheen orange-gold coating—an ocher rce bt atr nab. h pt hd led been already had pots The nearby. factory bat cricket os; re cmae t rdcd tnwr, u te final the but stoneware, reduced to compared true, pots”; by Run output. Pottery Aldermaston the of bulk —the several apprentices aidinproduction,whichtraditionally vrlz dcrto. hs eod iig a fr h lus­ the like for on was painted firing second were This oxides, decoration. copper overglaze or silver containing Pottery. Thebulkofthestudio outputiselectric-fired Alan Caiger-Smiththrowingajar athisAldermaston lz frd ne ih wie i gae te te pigments, the then glaze; tin white a a with from once scraps fired willow glaze using of idea the by charmed prior, and workers permanent two employs pottery the Alan, es ad a Aa sy jknl, W brl wr u the up warm barely “We jokingly, says Alan as and, ters, the rubbed and pumice, in kiln then the water, if in as rag almost cotton dull, old looked all pots The nothing. tin-glazed earthenware;twopermanent pottersand of London in a picturesque small brick village. of Londoninapicturesquesmallbrick ant vn en ie. ln uld u a ie dpe an dipped tile, a out pulled Alan fired. been even hadn’t gray brushstrokes. west miles fifty about located is and apprentices, several as manor country their consider and yard their in van includes wood firinglustersfourtimesayear. h do o te in Or is gipe nie en almost meant inside glimpse first Our kiln. the of door the breakfast the of part become had family Wettlaufer os i lse frns or ie a er te et f his of rest the year; a times four firings luster his does England’s AlanCaiger-Smith i-lzd atewr pouto i frd n lcrc kilns electric in fired is production earthenware tin-glazed The house. the left finally he before times several off” A TinandLusterPotter rmtc in pnn ta a odnr wo frn. Alan firing. wood more ordinary opening—a an kiln than luster opening the kiln in dramatic part take to especially home baseduringourstayinEngland. A f ue fe te hd eeosy nie u t pr our park to us invited month generously the had of they most after for June family of Caiger-Smith the of routine by lan e a wthd at o te od iig w days two firing wood the of parts watched had We hn e rie ta mrig te wr unbricking were they morning, that arrived we When e a rtre t Adratn n lns invitation Alan’s on Aldermaston to returned had We George

was and

apprehensive N ancy W ettlaufer , utrn, I ely ut be must really “I muttering,

bv (right) Above yellow ocherarebrushedonglaze-fired ware. bv (left) Above f aeil, ahr hn asn te iig temperature firing the combinations raising different than trying rather by materials, temperature of firing the working withtheVictoriaandAlbertMuseumtobring completion lines theshelvesofAldermastonPottery. dctd coa, ln eerhd o yas eoe pub­ before years for researched Alan scholar, educated the during periodically up showed family Caiger-Smith ihn his lishing for association wrong the probably was This day.” all ihr n hge a te dd n uoe A Cambridge- A Europe. in did they as higher and higher vn oe f h lcl ilgr suk hi has n for in heads their stuck villagers local the of some even ceramic Islamic an as century 9th the in originated what a t rb fw os n iset h lts rsls And results. latest the inspect the verdict.Yes,ithadbeenagoodfiring. and pots few a rub to day suspense—“like the enjoyed really who children, our Alan even which to potters Italian Hispano-Moresque, lamic, pnn Crsms rsns ecp Crsms os’ take doesn’t Christmas except presents, Christmas opening Is­ the of process difficult more the replace to century 17, ae ad ae, odn. rsnl, e is he Presently, London). Faber, and Faber (1973, World the of Most too. metaphor mixed the felt we but tradition, pd y h Fec crmss f icne i te 18th the in Vincennes of ceramists French the by oped eprtr i qie rtclto o ad h luster the and low critical—too quite is temperature ait frd n xdto. hs s ls rsy rcs devel­ process risky less a is This oxidation. in fired variety ln xet ol bten wny n egt pret of percent eighty experience, and of twenty years between after only Even expects critical. Alan also is smoking traces hisroots. rvosy en ih h lqi sle ad od commercial gold and silver liquid the with been previously n n cnt e ubd f. h aon o rdcin or reduction of amount The off. rubbed be can’t and in the potstocomeoutwell. os’ hv te ih sen to ih n te ce melts ocher the and high too sheen, right the have doesn’t ln oe ta te sai pol wre o lowering on worked people Islamic the that noted Alan s mrcn, u mi ascain ih utr had lusters with association main our Americans, As enhl, ak n lemso, e l st o rubbing, to set all we Aldermaston, in back Meanwhile, i-lz Ptey n uoe n te Islamic the and Europe in Pottery Tin-Glaze utr o sle ad opr xds with oxides copper and silver of Lusters rdcin ae n aiu sae of stages various in ware Production January 1980 33

Alan Caiger-Smith’s wood kiln being stacked in preparation for a luster firing; previously fired, glazed surfaces can touch during the low- temperature process, maxi­ mizing the kiln's capacity. The high, rolling arch may best be seen in the background—although it is not a catenary, the arch exerts little thrust on the walls.

On unstacking, reduction luster ware must be rubbed with a cloth dipped in water and pumice; this removes the dull ocher coating to reveal the charasteristic mirror-like sheen. Earthenware bowl, approximately 7 inches in diameter 3 wood-fired reduction luster on tin glaze, by Alan Caiger-Smith. out a new edition of the famous Piccolpasso Manuscript,of quality earthenware at reasonable prices for them. But the first potter’s manual ever written. he is also committed to the apprenticeship method of We asked if he knew of present-day potters doing passing on skills to new generations, and operating a pro­ wood-fired lusters, knowing that it was a college trip toduction pottery enables him to do this as well. Spain that had first persuaded Alan to become a potter. “If I had to do luster all the time,” he claims, “I He knew of one or two potters copying traditional designscouldn’t maintain the level of excellence and caring—or but that was all. The technique has pretty much died outthe excitement.” The two types of ware are very much now in the Mediterranean. related to each other historically, and that way he man­ Knowing that museums and galleries were waiting in ages to maintain a balance. line for these pieces, we asked why he didn’t just do American potters seem to be increasingly interested in lusters. “It’s too demanding emotionally and time-con-firing at lower temperatures—either for the special effects suming for general production, not to mention the possible, risk or for the energy savings, or both. The work of involved.” He respects the general public as well as the Alan Caiger-Smith provides an example of one direction galleries, and feels that it’s important to produce a line worth emulating. January 1980 35 The National Cone Box Show

Miniature ceramics by 127 American artists were ex­ a closed Orton standard pyrometric cone box (3x3x6 hibited earlier last year in the Third National Cone Box inches). As a departure from previous years, only one Show at the University of Kansas, Lawrence. Jurorsentry was allowed per artist. William Bracker and James J. Nabors, University of The majority of the show—103 works—will travel for Kansas, Lawrence; John Ground, Millersville State Col­the next two years; additional information concerning the lege, Pennsylvania; and Glenn Rand, Colorado Mountaintraveling portion of the show is available from: James J. College, Leadville, selected the works from approximatelyNabors, Continuing Education Building, University of 400 entries. Entry rules required that submissions fit intoKansas, Lawrence, Kansas 66045. Photos: Glenn Rand

36 Ceramics Monthly Far left “Iris Box'3 3 inches in diameter, by Beth Mueller, Detroit. Left Incised blue porcelain bottle, 4 inches in height, by Dorothy Bassett, Waxhaw, North Carolina. Below, left“Solar Timepiece for a South Window—Sundial for Latitude 29°, Longitude 90° ” approximately 5/ inches in length, by Carol Price, Galveston,2 Texas. Right Fluted stoneware jar, 5 inches in height, with African padauk wood lid, by Ellen and Tom Currans, Dundee, Oregon. Below “Conehenge,” approximately 6 inches in length, by Alan Fomorin, Columbus, Ohio. Below, right Blue glazed bottle, 4 inches in height, by Karl Martz, Bloomington, Indiana.

January 1980 37 Left “Cone Uncommon ” approxi­ mately 6 inches in height, low-fire, handbuilt clay with luster, by William Rog and Barbara Scully, Newark, Delaware. According to the exhibition organizers, this work was stolen prior to the show. Below “American Beauty Whistles” handbuilt earthenware, 6 inches in height, by Joanne Davis, Jamestown, Rhode Island. Right Liquor cups,1 /\5 and 6 inches in height, corduroy-ribbed porcelain, handbuilt, by juror William Bracker, Lawrence, Kansas. Below, right Raku box with toucan, approximately 6 inches in length, by Wendy Harris, Brandywine, Maryland .

Photos: Susan Felter, Erik Lauritzen, Elaine Levin, Jeffrey Levin 40 nain n supua cnen. eiig ht qualifies what Defining concerns. sculptural and entation eie otmoay ok hwvr osl— vse ori­ vessel loosely—a however work, contemporary define areas stylistic several in are ceramists Many business. s otie o supue a n lne b dtrie by determined be longer no can sculpture past history.” or container as eea ctgre o crmc rdto ta cniu to continue that tradition ceramic of categories general utpiiy f om, nitnt onay ie between lines boundary indistinct forms, of multiplicity tessm fmla, tes h hv hd limited had have who others familiar, others—some iutnosy sm sit ra a te bgn nw body new a begin they as areas elusive shift slippery, some simultaneously; a categorization make to combined work is n y rms bcm aprn; rae dvriy a diversity, greater apparent; became premise my in cies of work. eais n h ls tet-ie er. coe ceramists Coast chose West I at­ to years. Levin twenty-five happened last had Elaine the what curator in “define ceramics Guest to 2. tempted September through hs wr I et ol caiy aeois o msl and myself for categories clarify would felt I work whose Angeles, Los Bank, Pacific Security at lobby/gallery story C exposure. Clay Spectrum West Coast lay C I sie f h hzrs f aeig tee r two are there labeling, of hazards the of spite “In A I ea slcig prpit wr, h discrepan­ the work, appropriate selecting began I “As eramics

objects Monthly

y hrysx rit wr dslyd n two a in displayed were artists thirty-six by

Fernald; “Refolding(forMichael Clockwise fromright “One-Circle Torso”stoneware,22inchesin Lukman Glasgow;“AgainsttheGrain,” 32 inchesinheight,byJoanneHayakawa; 23 inchesinheight,byStephanieDeLange; “Presents ”15inchesinheight,byEllie handbuilt earthenwarewithceramicdecals, clay andwood,50inchesinheight,by height, byStephenDeStaebler;“Oyster,” 18 inchesinheight,byHowardKottler. “Large RustCylinder” 3 s Wall),”

Left “Robot Tea Pot ” 12 inches in height, by Clayton Bailey. Below “Ceramic Wall Drawing Number 3” 23 inches in width, by David Furman. Bottom, leftDetail, untitled sculpture, 54 inches in height, by Dora DeLarios. BottomCovered jar, 20 inches in height, by Adrian Saxe. Photos: Harry Spring ,

Production Jiggering and courtesy of the author A Quality Technique or Corruptive Influence? byL arry Adlerstein

Jiggering at Potpourri Pottery, Newport, Rhode Island.

“I got tired of being poor and throwing fourteen hoursdon’t care if a pot is jiggered or not. I wholesale a lot of a day,” said Harry Spring, another over-worked potter—my jiggered pots—they like the price and consistency.” until he discovered jiggering. Actually, he didn’t discoverHow about other potters? How do they feel about your jiggering. It had been invented centuries earlier, but he jiggering? “I explain and let them draw their own con­ did, in a personal sense, rediscover this forgotten art. clusions. Some mutter, but a couple of guys up the road Hand-jiggering is almost nonexistent in the United States; have really taken off with it.” Harry had to start from scratch. Those guys are Stephen Beauchemin and Jack Var­ Like wheel-throwing, hand-jiggering is an antiquated tanian of Potpourri Pottery. Their sole jiggering machine method of forming ware. A spinning plaster mold receivesproduces an average of 150 high-quality pots per day, clay that is pressed against it by a wooden template. It is feeding a new 200-cubic-foot car kiln which supplies a not unlike hand-throwing pottery except that a plasterhost of East Coast shops. mold and wooden template replace the potter’s hands. What is a high-quality jiggered pot? According to I first came across hand-jiggering in England. A pile Steve, it is possible to hand jigger up to 1000 pots per day, of thrown plates lay in a dusty corner of a shop. “Howbut they will lack a sense of craftsmanship. “You can look much are these?” I asked. The price seemed too low to at one of those pots and see that no one really cared. We justify the labor involved. Then I was told that the platespull our handles and hand trim the bottoms of bowls. were jiggered and not hand thrown. I, a potter for fifteen Every pot is inspected, cleaned up and embellished by years, had been fooled. hand. People should realize that it’s a full-time job super­ It is not uncommon in Britain for a master potter tovising an operation like ours. A jigger can turn out a lot relegate simple forms to his jiggering machine. An ap­ of ware that has to be trimmed, glazed, fired and sold.” prentice can produce hundreds of plates, bowls and mugs Any problems with jiggering? Said Jack, “Well, around while the potter concentrates on casseroles, teapots, largehere craft shows won’t let you in. They want wheel- bowls, platters and other more challenging forms. In that thrown pottery. And there is always the possibility that way the public appetite for affordable flatware is satisfied someone will use jiggering merely to make a fast buck. and the potter earns a living wage doing interesting labor. You can make a lot of pots with a jigger and if you just “What a neat idea,” thought I. want to make money, you can flood the market with My quest for an American jiggerer brought me cheap to pots. That’s not fair to the public or to potters.” Newport, Rhode Island, and the Spring Pottery. Harry As I drove home, north from Rhode Island, I became Spring jiggers about twenty-five percent of his ware andexcited by the prospect of more potters being able to make throws the rest. Some of his pots are partly jiggered,a decent living with jiggering. And at the same time I partly thrown: Jiggering “helps keep popular items in was aware of the cheapening of all turned ware made stock without killing me. It adds variety to my shop. possible It’s by the abuse of this machine. “But then again,” another way of producing pots—sort of like using aI slab thought, “this situation is not unique. Potters of the roller, an extruder, or hiring another thrower to supple­early Industrial Revolution must have had similar con­ ment what I can do. No, it has not deterred anyone fromversations. People get tired of being poor and throwing buying anything. As long as the quality is high, peoplefourteen hours a day.” January 1980 43 The Jiggering Process machinery within the budget of small industry should soon be available. Be sure your prospective machine has adequate power 1 for the task. A 2 hp motor can turn small forms, but ¾ to 2 hp would/ be required for continuous turning of larger pots. Variable speed is a luxury—the traditional machine has one or two speeds. And be sure that the jolly arm (the arm that holds your template) is extremely rigid and built to withstand strong lateral pressure. Better ma­ chinery includes a key device so that the various templates can fit into the jolly arm without adjustment. It is best to enter the world of jiggering with simple forms. Large forms require more skill and heavy equip­ ment and therefore should be avoided by the novice. Plates necessitate a slow-turning jigger and a slab roller, and for that reason should not be the first form at­ tempted. Bowls, planters and mugs are ideal. Pottery selected as prototypes should be as symmetrical Jiggering^ like throwing, looks easy but isn’t. Months canas possible. Avoid undercut forms because molds can only be spent preparing for the first finished pot and additional be made from pots that widen from bottom to top. months may be invested before the pots are well finished. Throwing marks can be evident, but not too extreme. Any clay can be jiggered; however, some bodies are If you have more time than money, consider casting more suitable than others. Fine, plastic clays jigger best, your own molds; the public library can assist with infor­ but coarse stoneware clays lend a studio-produced lookmation. to Most jiggerers feel that the services of a profes­ the finished ware. The clay should be slightly wet, sional moldmaker are worthwhile. Contact your neighbor­ although excessive moistness may cause warpage hood and hobby ceramic shop and inquire where they obtain distortion. One suitable clay body is: molds. A master mold should cost about $40. Each nega­ tive mold should set you back about $5. The forming process is simple, although experience will improve the quality of the finished form. A moist, de­ aired pug of clay is inserted into the plaster mold, then pounded with a fist so that clay fills the foot snugly. The mold turns and the clay is brought up the mold with a sponge until it covers all the plaster face. Water lubricates the clay/sponge surface, but care should be taken not to A jiggering machine is simply a vertical turning spindle wet the mold. (similar to a potter’s wheel) with an arm (called a jolly Next, the jolly arm with template attached is lowered, arm) that lowers a template to the spinning clay. At the forcing the clay into the desired shape. Excess clay is top of the turning spindle is an aluminum bucket whichtrimmed away, a sponge imparts throwing lines to the measures approximately 9 inches across and 4 inches deep. turning ware and then the mold is lifted from the bucket The bucket receives plaster molds—the inside of the head and left to dry. plaster mold conforms to the outside profile of the proto­The following day the mold is inverted and the clay type pot. object removed. The foot is handtrimmed, handles are The template is sheet steel against oak wood laminate attached and other embellishments added. The pot is that has been ground to conform to the inside profile ofdried and fired in the usual fashion. a prototype pot. The template should be slightly bevelled so that the soft clay is compressed by the wood beforeAbout it the authorLarry Adler stein owns and operates is shaped by the trailing steel edge. By lowering the arm Portland Pottery and Supply in Portland, Maine. holding the template, clay is squeezed and made to repro­ duce the original pot. Used equipment can be scrounged from factories which 1 .The jigger, with bucket head and jolly arm. have automated and have discarded their old hand 2. A pug of clay is forced into a revolving mold, and the jiggers. If your library has the magazineCeramic Indus­ jolly arm template partially opens the form. try, look in its classified ads. A. J. Wahl, Inc., 8961 Cen­ tral Avenue, Brocton, New York 14716, deals in jiggering3. The clay is opened without water. equipment. An average used machine costs $1500; a new one costs approximately $4000. Spencer Pottery and Sup­4. After water is added to the pot, the jolly arm is plies, Inc., 5021 South 144th, Seattle 98168 offers jiggerpushed completely down. machines from the United Kingdom beginning at approx­ imately $1800. 5. Excess water is sponged from the form. Several other American manufacturers have expressed an interest in producing studio jiggering equipment, so 6. A needle tool trims excess clay from the mold.

44 C eramics Monthly 1,2

3,4

5,6 7. The completed pot and its mold are removed from the bucket head. 8. After a period of drying, the leather-hard pot is easily separated from the mold. 9. The rim is trimmed on a potter’s wheel that has been modified to accept a plaster trimming chuck. 10. The jiggered pot and a wheel-thrown stem are joined to complete a goblet. ! 7,8

19,10

46 Ceramics Monthly Main street houses were constructed of salt-glazed clay block made in Haydenville; decorative chimney pots were also made there. The last house on the row reflects a growing trend to eliminate similarity by covering the block with aluminum siding. Haydenville, A Town of Clay byD eborah Edwards

When Christopher Wolfe, an early Ohio settler, died shipped as far away as Chicago, Atlanta and Boston, in 1845, his tombstone was inscribed: where many of the “fireproofed” buildings stand today. Aided in shipping by the nearby Hocking Canal and Farewell my children and friends so dear. the Columbus Hocking Valley and Toledo Railway, the I am not dead but sleeping here. industry prospered. Soon, forty-three beehive downdraft Waiting in hopes of the blissful day kilns were located in Haydenville and nearby Logan, When I shall rise and leave my bed of clay. Ohio. Firing took seven days, reaching white heat on the He is buried in the Hocking Valley of southern Ohio inlast. a The company advertised that its kilns were fired with town now known as Haydenville. Upon Wolfe’s death,“Great Vein Hocking Valley Bituminous Coal,” and Peter Hayden, a Columbus businessman, bought 3000claimed their special attention to firing made a superior acres of clay-rich land from Wolfe’s three sons, markingproduct. the first step in the creation of a remarkable town. But amidst this routine of daily manufacturing, the Hayden knew his land was rich in iron and coal; an workers were also building a community—a town of clay. extra bonus was the clay which lay beside the veins Haydenville of was a self-contained company town with its coal. An astute businessman, Hayden began to experimentown store, church, school, railroad station, community with the clay, which proved to be of high quality, buildings and and homes. At one time the community even eventually built a plant in 1882 at Haydenville for had the plans to farm and raise its own livestock. Each of the manufacture of utilitarian clay products. Mingo fireclay,buildings in Haydenville reflected this lively spirit. Under as it was named, became one of the chief mineral resources the paternal direction of Peter Hayden, craftsmen built of Haydenville. their town of the company’s products—bricks, sewer pipes, At first the only product made by Haydenville Miningfoundation and paving blocks, roofing tiles and chimney and Manufacturing Company was sewer pipe, which was tops. turned out in great quantities. But after gaining accep­ The town, which eventually housed 450 people, was tance, the company expanded its line and was especially laid out with rows of identical houses lining the streets. known for hollow fireproofing blocks made to cover Only and the school, church and community buildings broke protect steel frame buildings. Haydenville’s products werethe rhythmic visual pattern. The first houses built were January 1980 47 AboveClay block was decoratively placed among facing The town's only round house was constructed of bricks on this early Haydenville home. salt-glazed, curved silo tile. two-story structures of sun-dried, fired surface clay. Higher quality clay products were used to build larger homes between 1883 and 1900, the period of greatest growth in Haydenville, The pervasive nature and importance of clay in Hay­ denville are reflected in the remaining homes, public buildings, and even clay grave markers. Combining func­ tional objects—pipes, bricks and tiles—the residents ele­ vated their everyday products to a local art form creating decorative motifs and patterns in doorways, porches and walls. An ordinary curved tile used in the construction of grain storage silos formed Haydenville’s only round house. The two-story structure, with peaked roof, windows and added porch, is completely circular—both inside and out. In the graveyard an extruded chimney top serves as an elegant, incised salt-glazed gravestone, while others were altered as flower stands. Hayden used the town as an opportunity to advertise his products. The most extraordinary example is the church. Built in 1870, the Gothic Revival structure is a patchwork of design and texture. Perhaps a half dozen brick styles are used in the walls of this diverse and well- preserved building. More advertising could be found beside a short narrow-gauge railroad which was con­Detail of the church wall showing decorative block and structed to carry coal from the mines to the kilns. Here,brick, some with the facing chipped in the leather-hard flowers carefully spelled out the name of the factory. state to simulate stone, some with a raised line, non-skid Peter Hayden died in 1888, and thereafter the firm was pattern. Both glazed and non-glazed clay forms were sold to the National Fireproofing Company. Without the used in building the church.

48 Ceramics Monthly Above and belowHaydenville 3s church is a sampler of Clay chimney top was altered to serve as a grave ceramic paving and facing materials. marker in the town cemetery. AboveAmong the earliest houses in Haydenville is this Right, topExtruded tile forms this porch addition. unglazed clay structure with salt-glazed sewer pipe decoratively embedded in the brickwork. The chimney Right, center The top of a chimney pot was altered pots were also products of Haydenville Mining and and used as a cemetery flower container; a similar pot is Manufacturing Company. on the chimney of the house shown above.

AboveProducts of Haydenville Mining and Manufacturing Company, chimney tops were incised before the turn of the century for use as monuments. Left Two views of a handbuilt, salt-glazed grave marker with angel, in the town’s cemetery. 50 Ceramics Monthly founder’s personal interest in the workers, Haydenville’s community spirit waned; later homes declined in quality and eventually were made of wood. Today, all that remains of the gaily landscaped railroad is a crumbling tunnel—damp and covered with moss—and a wall of hundreds of stacked fireproofing tiles. Although hidden by years of neglect, a sense of strength and dignity is unmistakable in the remaining clay build­ ings of Haydenville. Their sturdy construction, the di­ versity and personalization of the buildings and their decoration speak of the craftsmen’s respect for the me­ dium and their pride in craft. The bits and pieces which are left, the clay grave markers sprinkled in the hillside cemetery, a memory of a narrow-gauge railroad—a glimpse of this bustling micro-industry—are sleeping be­ side U.S. Route 33. About the AuthorDeborah Ed­ wards is the former assistant edi­ tor of Ceramics Monthly and currently resides in Yorba Linda, California.

The train station, constructed of salt-glazed brick with a tile roof, stands abandoned in this town where all the original structures were company buildings made of clay. Sherry Haxton

33 Translucent porcelain sculpture was presented in a Below, left “One Wish, Eight Bones translucent solo exhibition by California artist Sherry Haxton atporcelain the tubes, 10 inches in height, constructed by Palo Alto Cultural Center through December 30, 1979.rolling thin sheets of clay, embellished with stains, The artist rolled thin sheets of clay into tubes and assem­ fired to Cone 9 oxidation. bled them as units; other works were partially formed by stacking flat slabs. All were fired to Cone 9 in an oxi­ Below“Metamorphosis, ”16 inches in diameter, dizing atmosphere. Sherry Haxton is the head of theporcelain slab construction, fired to Cone 9 in oxidation, ceramics department at Merritt College, Oakland. by Sherry Haxton. Photos: Paul Lawrence, and courtesy of Judy Cornell

52 Ceramics Monthly Above“Culindrus” 10 inches in height, translucent Below “Bent Harmony” rolled slab construction, 26 porcelain construction of rolled slabs. inches in length, Cone 9 oxidation porcelain.

January 1980 53 Dartington Craft Camp byJ oseph Mayshark

South D evon is a particularly beautiful part of England. After bisquing, the pots are glazed with a transparent It is an area of innumerable small hills, dales and valleys; iron-bearing, lead sesquisilicate base, then fired to 2000°F streams are crossed and recrossed by one-lane stone (1100°C) in an electric kiln. bridges, and cows graze in their neat pastures, creating a Jane Hamlyn, who produces functional and decorative Constable landscape at every turn of the road. salt-glazed ware in South Yorkshire, made lidded boxes The 1979 Dartington Craft Camp convened May 25by throwing enclosed forms, then cut each into a lid on the grounds of the Dartington Hall Trust, three milesand base with inset flange. north of Totnes. Modeled closely on the 1977 event at theIn demonstrating decorative brushwork, David Eeles, same location, the biennial three-and-a-half day gathering of Mosterton, Dorset, talked about the importance of featured demonstrations in a variety of media includingbecoming familiar with the particular mark that any ironwork and violin making; but the emphasis was ongiven brush will make and then using this to advantage. pottery. Demonstrators, their families and guests broughtHe said that practice, as well as an understanding of basic attendance to about 700; most camped in the large field design principles, is the key to success. He also provided adjoining the circus-style tents which contained the his recipes for Cone 9 on-glaze decorating pigments: demonstration, workshop and dining facilities. Pottery demonstrations were scheduled throughout most of the days and into the evenings. From 9 P.M. to midnight on two nights master classes in throwing were available with David Leach, Mick Casson and others, helping students on a one-to-one basis while inviting ques­ tions and comments from the audience. John Pollex, who produces slip-decorated domestic earthenware in the tradition of 17th century Staffordshire 100.00% potters, threw and decorated several large platters, and In all recipes, the ingredients are dry mixed and ground provided information about his work processes. Amongfor four hours in a ball mill, then mixed with water to a the recipes employed in his studio near Plymouth, Devon,suitable consistency for brushing. are the following:

The green pigment gives a jade/olive green if applied thinly or a stable black if applied thickly. Fluorspar helps flux the chrome. If any of the colors appear too harsh, they may be tempered by diluting evenly with glaze. David uses a basalt iron glaze for this purpose, but says nearly any glaze would suffice.

All John’s slips are mixed dry, added to water, then TopEnglish potters camp out and pitch circus-style passed twice through a 120-mesh sieve. A coating of onetents in order to get together for a few days of of the above is applied to a leather-hard pot by dipping demonstrations and camaraderie at the Dartington or pouring, then slip trailers are used to create a designCraft Camp in South Devon. in one or more colors on this wet and receptive surface. John sometimes combines feathering and sgraffito tech­ Right Studio potter David Leach, of Lowerdown niques with the slip trailing. Pottery, begins to foot porcelain forms under the bigtop. Photos: Jane Hamlyn, Paul Follett and courtesy of the author

54 C eramics Monthly January 1980 55 Throughout the multiple demonstrations, Mick Cas- son’s officiating drew the audience’s attention to each potter with comments and questions. It was a role he obviously enjoyed a great deal. His stamina and enthu­ siasm were infectious, providing a good bit of banter and laughter among the demonstrators and the audience, who really were participants in the proceedings rather than observers. Mick did some demonstrating as well, making a number of large pitchers with “excessive” pinched-out lips. This designation, it became clear, was a joke of long standing between Mick and his colleagues. In response to some questions asked during one of her demonstrations, American potter Karen Karnes made some observations comparing British and American situ­ ations in contemporary studio pottery. She noted that it seems easier to make a living producing pots in the United States than in England, as the cost of living in England is generally higher and the prices for pots somewhat lower. She also spoke about what she felt to be the positive and negative aspects of the strong sense of tradition in British pottery, including the tremendous influence of Bernard Leach. Among principal features of this year’s camp was rain —nearly the entire time, turning the field into a sea of mud and necessitating the removal of many vehicles by tractor. During the only extended sunny period of the weekend, about twenty-five pots were auctioned off; included were pieces by Harry Davis, David Leach and Geoffrey Whiting. So much was happening most of the time that it was nearly impossible to take it all in. One tent was a shop with pots for sale by many of the camp demonstrators, and another was an activity center for the children who attended with their parents. A trade show with exhibits by many of the pottery suppliers in the United Kingdom sold tools and supplies in yet another tent. A salt kiln was built and fired and two three-hour workshops were con­ ducted jointly by Alan Caiger-Smith, Peter Starkey and David Eeles. Despite the sometimes hectic pace of demonstrations and activities, overall the event was relaxed and con­ genial. Information and knowledge were freely exchanged and many old stories were retold with relish in a general air of camaraderie. The strong emphasis on production methods for functional pottery made the camp one of real value for the student or journeyman potter. The next Dartington Craft Camp is tentatively sched­ uled for the spring of 1981, and probably will take place on the grounds of the Dartington Hall Trust again. About the authorJoseph Mayshark is a studio potter in Penn Yan, New York. During the summer of 1979 he worked at the Angel’s Farm Pottery in southern England and attended the Dartington Craft Camp during his sojourn.

Above, rightHarry Horlock Stringer auctions pots. Right Earthenware platter, 16 inches in diameter, executed by John Pollex who demonstrated the 17th century slipware tradition in which he works.

56 Ceramics Monthly A Dartington Technique

Jane Hamlyn (shown above in her studio) demonstrated the production of lidded boxes (right) from a single form. An enclosed shape is thrown and the top ribbed smooth. By pushing a wooden tool into a rotating pot, a “gallery” is formed, then the pot is removed to dry. When leather hard it is reattached to the wheel, undercut with a metal tool (A), and the lid is “pinned off.” The gallery then serves as a chuck for the inverted lid, which is trimmed with a loop tool. A wooden or plastic ruler aids in reshaping the gallery to fit the lid. A final trimming with lid in place exactly aligns top and bottom. January 1980 57 1979 Beaux Arts Exhibition

Contemporary crafts created in the past two years by “More fundamental entries were expected rather than artists residing in eleven midwestern and adjacent states the object-oriented item. For example, in ceramics, the were presented in “Beaux Arts Designer/Craftsman ’79” ‘metaphorical or symbolic’ vessel was much in evidence. at the Columbus Museum of Art (Ohio) through Novem­Within this exhibition format, that is the mainstream. ber 4. Jurors Val Cushing, ceramist, Alfred, New York; “By and large, the show did not reflect extremism. Lenore Davis, fiber artist, Newport, Kentucky; and Albert Authority is not being attacked today; people want se­ Paley, metals artist, Rochester, New York, selected 581 curity and stability. This is the cause of the apparent objects for review' from 1300 slide entries. Final juryingtraditionalism the entries expressed—reasserting funda­ resulted in 338 objects; of these 146 were ceramics. mental values, materials and processes. Today is a time According to the jurors: “Presently, exhibitions haveto re-establish stability in an otherwise unstable and been the primary vehicle for exposure in the crafts. Dur­insecure time. ing the past ten years, however, the open competition has “Many good functional potters never send to shows. In been replaced by various invitational exhibitions. Thethis eleven-state area, there is a whole other river of value of this particular competition is that of documentingpottery never seen, never submitted to shows. The estab­ and of allowing visibility that could not be gleaned lished by craftsmen do not compete. Is this romantic re- other means. treatism?”

Below“Each in Our Beds Conceived of Islands ” slab and handbuilt sculpture of soft-paste porcelain, 10 inches square, by David Vargo, Cleveland. Right Black jar, salt-glazed stoneware, 17 inches in height, thrown, with incising, handbuilt additions, by John Ground, Holtwood, Pennsylvania. Far right Stoneware tea set, teapot 11 inches in height, reduction fired with rust-colored ash glaze, by John Glick, Farmington, Michigan.

58 Ceramics Monthly Photos: Lindsay and Stephen Gerard

“I Might ” thrown, altered cylinder, Bowl, 18 inches in diameter, covered jar, plate, all 17 inches in height, by ]an Richardson, porcelain with incising, ash glaze, by Marie Woo, Grand Rapids, Michigan. Birmingham, Michigan.

January 1980 59 colored black-and-white photographs; floor sculptures utilized casting plus press molding, and measured to 4 Martha Holt: feet in length. The artist refers to the objects she makes as “found Perceptual Ambiguities images” since they are taken from her surroundings (studio floor, clay bags, packing material). “A ceramist who makes a mold of an object is selecting images the same way a photographer does with a camera,” she said. “Consequently I have combined photographic techniques Ceramic sculpture incorporating photographic images with clay objects in a variety of formats to explore how was exhibited by Martha Holt in “Perceptual Ambigui­the two techniques can work together.” ties” earlier last year at Theo Portnoy Gallery, New YorkMartha Holt currently maintains a 5000-square-foot City. Wall pieces combined slip-cast forms with hand- studio in Cambridge Springs, Pennsylvania.

Above“My Studio Floor on Thursday ,” 6 feet in width, Right, above“My Studio Floor on Saturday,” 4 feet in press-molded and slip-cast clay, by Martha Holt. width, press-molded and slip-cast clay with wood. Below“My Studio Floor on Friday ” 5 feet in width, Right, below“My Studio Floor on Monday,” 4 feet press-molded and slip-cast clay, photo emulsion. square, press-molded and slip-cast clay. Photos: courtesy of Theo Portnoy Gallery

Above, left“Fragmentary Trick ” hand- colored photo and clay, 38 inches in width, by Martha Holt. Left “Magician’s Trick Tea Set ” 20 inches in width, hand-colored photo plus broken and reassembled ceramic cups. Below“Soft Brick—Hard Brick ” hand-colored photo and cast clay, 38 inches in height. Gardens of the Mind Illustrations on Porcelain byE va Kwong withG eoffrey and Patricia Grosshaus

For some time I have attempted in my work to achievethe earlier, sculptural “Gardens of the Mind” to present a harmony between the markedly physical character of this imagery by means of molded forms and the real space ceramic form and the intangible suggestiveness of aenveloping them, my present “Gardens” rely upon the mental image transmitted to the viewer. The colored, illusion of space and/or depth on a flat surface and forms two-dimensional porcelain slabs of my present work are born of color to heighten the suggestive force of the an outgrowth of earlier three-dimensional, monochro­images presented. matic, sculptural objects. Both groups have been collec­From the outset of the first series porcelain was em­ tively entitled “Gardens of the Mind”—reflecting my ployed exclusively; its translucent whiteness permits col­ longtime attraction to the Japanese garden as a physical ored glazes to assume their full intensity and tone. Fur­ environment designed to evoke a state of mind. ther, the porcelain surface, as opposed to some other clay In creating each group I have selected images suggestedsurfaces, conveys an equal sense of both fragility and by my private feelings and understandings, and attempted strength. to present them in such a manner as to establish a moment The Cone 9-11 porcelain body I use is half Grolleg of experience accessible to the viewer. Whereas I chose inkaolin with equal parts of flint and Custer feldspar. To

Above“Noon Moon” 16 inches in width. The white spiral is glazed with Half-Half Glaze base; the same glaze with copper produces the pale blue accents. The surface was achieved by control of the timing and spray gun angle, then slightly underfiring the kiln. 1 Left “Mist ” 17/2 inches in height. The cone shape is a medium thick application of Shaner Green Glaze; its shadow is Shaner Green over an iron yellow glaze. The blue in the upper area is Half-Half Glaze with copper over two different white base glazes.

January 1980 63 this volume I add another 20-40 percent of a sand-perlite- Another glaze containing copper and affording a vari­ sawdust mixture (1:2:2) in order to open the body andety of effects from a glossy, semi-transparent, light blue to obtain the desired texture. an intense red in heavier reduction, is the following: Recently I have concentrated on the flat, rectangular slab because it functions much as a window does, allowing a glimpse of something greater than its frame. To suggest this “something greater” I employ a number of universal dualities including male and female, land and air, mass and atmosphere. Glazes are dictated by a conviction that color, too, expands the viewer’s horizon, capturing and passing on much of the intuitive or subjective implicationA glaze I call “dry-dry” yields an extremely matt sur­ of what is portrayed. Thus, I arrange a composition on face. the With thin application, a whitish surface tending surface and select colors with the intention of makingtoward a powder-blue color is achieved. When licked by each piece compelling, not only visually but emotionally.flame, the surface will turn pink; with thicker application, For a wider and more evocative palette, I take advan­a deep, intense blue may be obtained. tage of the entire spectrum of possible effects to be gained from each glaze, purposely selecting those which could be termed sensitive rather than predictable in effect. These are glazes which offer a number of colors and surfaces depending upon the exploitation of the variables such as thickness of glaze, manner of application, firing tempera­ ture and atmosphere. We as ceramists frequently attempt to control and standardize the effects of the fired surface in accordance The following glaze gives a soft, buttery, semi-matt with preconceived notions of how specific glazes shouldsurface when fired at Cone 9. If applied thinly it will appear. This standardization offers consistency but limits produce a pale blue color; and when thick, a bright blue. the variety of attainable results. Effects which are quiteThis glaze will also turn pink in those areas hit by flame. startling and beautiful are often considered mistakes. But by deliberately courting them, we can explore the full potential of the material with which we are working. Variations from the norm should be considered for their possibilities rather than as a source of limitation or dis­ appointment. For instance, a pitted surface may often be as desirable and beautiful as a smooth flawless one. And soft, diffused areas of color can equal in impact those of a sharper, more pronounced character. Glazes containing copper are especially attractive for the diversity and elusive quality of colors produced.The A recipes and suggestions for manipulation provided good example is Shaner Green: here are merely a few arrived at in a search for those color and textural effects which are right for my present work. Others may adapt them to their own needs. Whereas these glazes have been selected for the colors produced by copper, the substitution of other colorants in the same glaze base would broaden the possibilities accordingly. A pink other than copper pink could be achieved with the substitution of 2% manganese, a blue other than copper blue with 0.5% cobalt. As always, one must retain an open and honest respect Under customary conditions this particular recipe willfor the fertile nature of the medium in which we create. yield a medium shade of green with a soft matt finish. The experimentation and playfulness which go into my But it will also yield, depending upon manipulation,pieces are an expression of that respect, as well as of my shades of pale green, deep green, pink or lavender; and a delight in the very process of transformation—of becom­ surface finish varying from dry matt through soft, butterying—which is fundamental to ceramics—an art of meta­ matt to glossy. morphosis.

64 Ceramics Monthly A Boston Exhibition

The fourteen members of Clay Dragon Studios, a Cam­ bridge, Massachusetts, cooperative, exhibited work at Sans Regret Gallery, Boston, through October 6. The co-op organization was formed three years ago by potters who renovated part of an historic furniture factory. Members produce both functional ware and sculpture in a variety of techniques.

Right Thrown, incised porcelain vase, 16 inches in height, salt glazed, by Dick Studley. BelowHandbuilt box with jour covers, 11 inches in height, unglazed earthenware with incising and inlaid slip, by Ritvaliisa Morris.

January 1980 65 Art of the Han

Ceramics and other examples of visual art from 400 years of Chinese history were recently displayed in New York City at China House Gallery’s show, “Art of the Han.” According to F. Richard Hsu, director of the gallery and president of the China Institute in America, the exhibit is of particular significance for the China Institute since the Chinese refer to themselves as the people of the Han (the dynasty stretched from 206 B.C. to A.D. 220 and “was China’s first great empire.”) In an introductory statement, Ezekiel Schloss, who de­ veloped the exhibition and authored its catalog, com­ mented that since a major exhibition of Han dynasty art in 1961 “our knowledge of Chinese art in general and of Han art in particular, deepened and expanded. . . . due to the archaeological excavations which have been taking place since the establishment of the People’s Republic of China. Innumerous Han tombs and pits have been opened since the early fifties. ... in most of the provinces of China. Aside from celebrated finds such as the pottery figures of 2500 warriors which were excavated in 1965 from Yachiawan, Shensi province; the funeral jade suit of Princess Tou Wan which was found in a Western Han tomb in 1968; there were also open tombs containing not onlyming-ch’i in all media, but articles of daily usage which shed a new light not only on the artistic legacy of this great epoch, but also on the mainly economic, cul­ tural and technical achievements of this imperial period.” Ceramists might be interested in the prices Han dynasty ware has commanded on the recent market. According to Rebecca Jones, assistant to the director of the Chinese Works of Art Department at Sotheby Park Bernet, New York City, in a sale on November 4, 1978, a green glazed jar brought $1800, a 6-inch pottery scoop sold for $800 and two unglazed gray pottery figures sold for $4200 each. Left “Lady Walking ” eastern Han dynasty sculpture, 12 inches in height, unglazed clay with slip, paint; thick earth encrustations partially cover the form.

66 Ceramics Monthly Above, leftGlazed hill jar, 10 inches in height. Above, rightFemale dancer, 11 inches in height, gray clay, white slip, red and black pigments. Figurines with AboveFunerary candlesticks, 11 inches in height, cut-off arms were frequently found in Han tombs. press-molded red clay with green glaze. BelowHandbuilt jars, 13 inches in height, from a Above, near rightGymnasts, 4 and 5 inches in height, traditional bronze shape rarely found in clay. Freely gray clay with white slip and traces of orange pigment. swirling brushwork was begun in the Han dynasty. Photos: Asian Art Museum of San Francisco; Eskenazi, Ltd., London; Otto E. Nelson; Royal Ontario Museum, Toronto; Mr. and Mrs. Ezekiel Schloss; David Spelman

January 1980 67 68 Ceramics Monthly News 8c Retrospect

NCECA CONFERENCE ware. (See “Single Fire Glazes” in the SECCA ANNUAL CRAFT SHOW The 1980 annual meeting of the Na­ October and November 1976 issues.) The Southeastern Center for Contem­ tional Council on Education for the Ce­Macrocrystals grow snowflake or sun­porary Art (SECCA), Winston-Salem, ramic Arts (NCECA) will be held March burst-like shapes which often differ in North Carolina, presented its 12th “An­ 6-8 at the University of Michigan campus,color from the background; microcrystalsnual Craft Show” through November. This Ann Arbor. While the group mainly con­produce numerous needle-like forms whichregional exhibition included the work of sists of college ceramic art teachers and reflect the light in all directions, sometimes 37 craftsmen (12 clay artists) from 10 students, interested ceramists and those in resulting in a very tactile satin matt sur­Southeastern states plus Iowa and Arkan­ associated fields are welcome to attend. face. Shown from the exhibition is a carvedsas. Shown below, from the exhibition, are Early registration begins on March 5. porcelain jar, approximately 11 inches in Tentatively scheduled are: lectures onheight, glazed in a microcrystalline alkaline African, Canadian and South American matt and oxidation fired to Cone 10. ceramics; a studio potters’ panel; three In discussing her works, Phyllis empha­ sessions on yoga for the potter; and sized, a “I want them to compel people to presentation by former students ofMaija touch, not only with their eyes, but with Grotell. The keynote speaker is to be glass their hands.” artist Harvey Littleton; English potter While glaze composition and firing Michael Cardew is scheduled to present schedules are varied to control the size, the closing lecture. shape and color of the crystals, controlled Plans for conference exhibitions includeapplication is essential to allow depth for works by artists in residence at the Kohler the crystals to grow. “It has to be applied Company factory, Kohler, Wisconsin;thick enough,” Phyllis explained. “Often wheel-thrown pottery; glass; an invita­there is glaze flow beyond the foot of the tional exhibition of student work frompot. Therefore a clay pedestal is made for selected universities and schools; and a each to sit on. Then that is placed in a show of ceramics from collections withinclay saucer to catch excess glaze during the University of Michigan. Also plannedfiring. are related exhibitions at galleries in the “My firing schedules are about 28 hours university area. long. A peak temperature of 2360°F allows Registration and accommodation infor­all the glaze components to dissolve. ForNorm Schulman mation may be obtained by writing: Jack the macrocrystals, the temperature is two views of “Opposites,” 14 inches in Mcllroy, Project Director, University dropped of several hundred degrees and held height, a salt-glazed porcelain bottle by Michigan Extension Service, Conferencesteady for two to three hours, allowingNorm the Schulman, Penland, North Carolina. Department, 412 Maynard Street, Ann crystals to form. The temperature range in Arbor, Michigan 48109, or by calling: which they grow is only a few degrees. If (313) 764-5304. the proper temperature is not maintained MICHAEL SHERRILL for just the correct amount of time, theSalt-glazed functional pottery byMi­ glaze can flow off the pot or the crystalschael Sherrill was recently displayed in a PHYLLIS IHRMAN may not form. When firing microcrystals,solo exhibition at the Mint Museum of Art, Single-fired, crystalline-glazed porcelain the schedule requires a slow, evenly con­Charlotte, North Carolina. The artist by Phyllis Ihrman was featured in a recent trolled drop in temperature from the peak maintains a studio in the mountains of solo exhibition at Synopsis Gallery, Win-to about 1500°F. The kiln is then allowed North Carolina (Hendersonville) ; his com­ to cool naturally.” ments follow: “I produce all salt-fired ware, mostly stoneware, with perhaps twenty percent of ROBERT FORMAN my work in porcelain. I generally use six Burnished earthenware vessels byRobert different slips—Albany for all interior Forman were displayed in a one-man show glazing. Most of my work is wheel thrown. at Exhibit A, Chicago, through DecemberI acquired a slab roller about two years 21. The artist has evolved a series of worksago and now do quite a bit of slab work, which use the vehicle of the archetypal potincluding a variety of boxes, trays, serving to deal with line, edge, volume, repetition, dishes and tiles. Some of these pieces are made using a template for sides, others using slump molds. I often combine tech­ niques, creating diversions from traditional thrown forms; the sides of many pots are carved to make faceted bottles, teapots and vases. One production item is a four-sided Burnished earthenware vessel wine decanter made from slabs, with a geometry, color and activated surfaces.thrown neck and stopper. Some lids are Shown is a burnished, handbuilt vessel, 21 thrown, the rim measured off with calipers inches in width, by the artist, currently onand cut with a wire into a hexagon. I the faculty of the Rhode Island School make of a lot of hand-carved wooden stamps Design, Providence. for surface decoration, and have a set of old printer’s type for lettering kitchen Send news and photos about people, ware. Sgraffito, slip-trailing, painting, places or events of interest. We will be combing and spackling are all techniques Crystalline-glazed porcelain pleased to consider them for publication used in my decoration. To employ surface netka, Illinois. Most of this potter’s wheel- treatments, I prefer a wide variety of tools, in this column. Send items to: News & some standard and many improvised to thrown forms were accented with either Retrospect, Ceramics Monthly, P.O. macrocrystalline or microcrystalline glazesBox 12448, Columbus, Ohio 43212. meet the immediate need. I have made developed for application to single-fired Continued January 1980 69 NEWS & RETROSPECT zation: the damper is closed, secondary air cut off, and the kiln allowed to heavily steel, wooden, plastic and rubber ribs, and reduce. Sometimes I add wood or inner- have also made a number of brushes.tubes to the firebox to add to this heavy Sometimes I cut a plastic template for a reduction. After five or ten minutes, the special lip or base when throwing. fuel is cut off, allowing a one-hour soak. “My kiln is a 60-cubic-foot sprung archI believe this carbonization process adds to type, fired by two oil furnace burners. the I luster and intensity of the pots as in used an all-steel frame; the exterior wall some wood-fired ware. The soaking period construction consists of 4½ inches of K-26 insulating brick. A 4 ½-inch-thick sidewall interior liner was cast from Babcock and Wilcox LI-28 castable, and casting keys tie into the outside frame. The cast arch is 8 inches thick, and the hinged door has 4½ inches of insulating brick and 3 inches of castable. I have used LI-28 in two other kilns; to date, the kiln shows very little wear and has been dependable. I do not suggest, however, use of a steel frame on a salt kiln because of problems with cor­ rosion. I built my kiln to last at least five years, and engineered it for portability, knowing that a move to a new studio was in the near future. “When firing, I keep a clean atmosphere until Cone 06, at which time I close the damper and all secondary air, and heavily reduce three to five minutes. The damper and secondary ports are then reopened and the temperature held about one hour at 1650°F, with a neutral atmosphere to avoid bloating. The kiln is then allowed to climb until Cone 10 is down on top and in the middle, and almost down on the

Salt-glazed porcelain bottle allows trapped gases to escape from the glaze while it is still molten; some titanium crystals are also formed at this time. Then the damper is opened three-fourths of the way, peeps removed, and the door cracked. The kiln supercools to approximately 1300°F, then the damper is pushed in to allow slow cooling during quartz inversion. It is important during this time not to push the damper in so fast as to cause the kiln to reheat and make the pots take on a dull, frosty appearance.” Shown, left, is a salt-glazed teapot, 11 inches in height, with slip decoration and cane handle. Above is a salt-glazed porce­ lain bottle, 10 inches in height, of slab constructed and thrown elements, with brushed slip decoration, by Michael Sher­ rill.

BRITISH EXHIBITION “Contemporary Pots,” an exhibition at Leicestershire Museums and Art Galleries, England, was held last year to display recent purchases from British ceramic art­ Michael Sherrill ists. The acquisitions had been commis­ bottom. At this time salting is begun. I cutsioned and purchased within the last two back on the fuel, close the damper all but years in an effort to update the permanent one inch and salt at approximately ten- collection, composed largely of work from minute intervals for one and a half hours.several decades past. Pam Inder, Keeper I use a total of 40 pounds of salt, althoughof Decorative Arts at Leicestershire Mu­ it will take more to season a new kiln for seums, commented about the acquisition the first few firings. I also mix five poundsprocedure: of borax with the salt and sprinkle it with “During the 1930s, ’40s and ’50s, Lei­ water to make it stick together. The atmo­ cestershire Museums acquired various ex­ sphere during salting is a heavy reduction.amples of studio pottery, including pieces After salting I do something I call carboni­ by Bernard Leach, his sonDavid, Michael

70 Ceramics Monthly Cardew, William Staite Murray, Hans Coper, Lucy Rie and Michael Cassort. “Few items were bought in the 1960s and some useful but rather haphazard purchases were made in the early 1970s. “Consequently, by 1977 the collection consisted mainly of stoneware in the St. Ives tradition. Over the last few years many potters have broken away from this tradition, and our studio pottery collec­ tions were beginning to look rather old- fashioned. “We decided to try to update the collec­ tion and approached the Crafts Advisory Committee to see whether they would grant aid to such a project. They agreed, on condition that they help us to select the list of potters from whom we were to buy. In April 1978 a grant of [about $2100] was approved. “We had agreed that certain categories of studio wares were almost entirely miss­ ing from our collections—fine porcelains (with some notable exceptions by Lucy Rie), sculptural wares and wares with painted decoration. We also felt that we should buy from local potters and that we should buy pieces from some important potters already represented in our collec­ tions to enable us to show a wider selection of their work. “With these criteria in mind, we met Victor Margrie from the Crafts Advisory Committee, and Tar quin Cole, an adviser appointed by the C.A.C., and agreed on a list of people to approach. We planned to buy several pieces from many of the potters, as a single piece can often give a misleading impression and can also be dif­ ficult to display. Consequently, our list was fairly short. “For fine porcelains we approached Jac­ queline Poncelet, Geoffrey Swindell and Mary Rogers. “Jacqueline Poncelet is no longer work­ ing in porcelain, but we were fortunate in being able to buy three pieces of her 1976-77 work in white unglazed bone china—a pair of finely balanced cups and a small footed vessel. We also bought a single example of her current work—a slab-built earthenware pot with geometric decoration. “From Geoffrey Swindell we bought a range of small porcelains illustrating his work from 1973 to 1978. He helped to select these and they are meant to be shown as two groups. The first consists of four pieces of press-molded porcelain, made between 1973 and 1975. The potter was at this stage particularly interested in work­ ing on a very small scale, making tiny mysterious landscapes on pinnacles and minute organic forms applied to larger ones, all very delicate and precariously balanced to encourage people to handle them carefully and examine them closely. “The next group dates from 1977-78. They are equally fragile but of turned and thrown porcelain, one with press- molded additions. The shapes are there­ fore simpler and it is the surface decora­ tion which is important. “Unusual techniques are used to give Continued January 1980 71 approximately 90 ceramic works; at the“The First 4000 Years: The Ratner Col­ ITINERARY Baltimore Museum of Art, Art Museumlection of Judaean Antiquities”; at Joslyn Continued from Page 15 Drive. Art Museum, 2200 Dodge Street. February 2-27 “Sculptural Clay” includes ramies; at the University of North Florida,Massachusetts, Bostonthrough January 10 work by 14 artists; at Old Market Crafts­ Library Commons. “Impressions in Clay,” an exhibition ofmen Guild, 511 South 11th. January 18-March 2 “Daum: 100 Years ceramics by David Davison, Jane Ford, of Glass and Crystal”; at Cummer GalleryWalter Hall, Mags Harries, Richard New Jersey, WayneJanuary 27-February of Art, 829 Riverside Avenue. Hirsch and William Wyman; at Impres­ 14 “Clay: New Jersey”; at William Pat­ sions Gallery, 275 Dartmouth St. terson College, Ben Shahn Hall Art Gal­ Illinois, Chicagothrough January 31 lery. “Image and Life: 50,000 Years of Japa­ Massachusetts, Worcesterthrough January nese Prehistory,” includes pottery; at Field4 “Mac Open ’79,” a multimedia exhibi­ New Mexico, Taosthrough January 12 Museum of Natural History, Roosevelttion by members of the MassachusettsPorcelains by Jenny Lind; at Clay and Road at Lake Shore Drive. Association for the Crafts; at the Worces­Fiber Gallery, North Pueblo Rd. through February 24 “Greek Vase Paint­ ter Craft Center, 25 Sagamore Road. ing in Midwestern Collections,” an exhibi­ New York, Flushing through January 6 tion of approximately 100 vases from Michigan, the Detroit through January 5 “Clay Attitudes,” an exhibition of works 8th-4th centuries B.C.; at the Art Institute “Christmas and New Year’s Show”; at by 18 ceramic artists; at the Queens Mu­ of Chicago, Michigan Avenue at AdamsPewabic Pottery, 10125 East Jefferson seum, New York City Building, Flushing Street. Avenue. Meadow, Corona Park. January 6-23 “Woman’s Work in Clay” Illinois, OlneyJanuary 1-28 “Awiky,” an features 11 Michigan artists; at the Gal­ New York, Great NeckJanuary 5-Febru- exhibition of contemporary functional lery, pot­ Marygrove College. ary 15 A multimedia exhibition, inchides tery by Reed Bakken, Robert Blue, Donald ceramics and glass ; at the Artisans Gallery, Johns and Sam Rosby; at Olney Central Minnesota, Rochesterthrough January 27 Ltd., 6 Bond Street. College, Learning Resources Center. An exhibition of works by Midwest crafts­ men, includes ceramics; at Rochester Art New York, Hastings-on-Hudsonthrough Center, 320 East Center St. January 27 “Design for Use,” a multi- Indiana, IndianapolisJanuary 15-Febru­ media exhibition; at the Gallery at Hast- ary 17 “Recent Acquisitions,” includes Missouri, St. Louisthrough January 2 ings-on-Hudson, Municipal Building, Ma­ ceramics; at the Indianapolis Museum of“15th Anniversary Holiday Exhibition,”ple Avenue. Art, 1200 West 38th Street. includes ceramics; at Craft Alliance Gal­ lery, 6640 Delmar Boulevard. New York, New Yorkthrough January 6 Iowa, Ames January 27-February 27 through January 31 “Oriental Export Por­ A multimedia exhibition by 15 artists, in­ “Clay/Fiber/Glass/1980 Exhibit”; at the celain,” a selection of Japanese and cludes glass and clay; at 14 Sculptors Octagon Center for the Arts, 427 Douglas. Chinese export ware; at the St. Louis ArtGallery, 75 Thompson Street. Museum, Forest Park. through February 29 “The Adult Toy Maryland, Baltimorethrough January 13 Show,” includes ceramics; at BFM Gallery “North German Folk Pottery,” includesNebraska, Omahathrough January 20 Continued

72 Ceramics Monthly NEWS & RETROSPECT one painted with fish, the other two with birds, and Elizabeth Fritsch made a pair of this decoration—sandblasting, the use of pots about music, harmonious and com­ gold to form a purple crackle and the useplementary in shape and decoration. of washing-up liquid in lustre to create an “We also bought two pieces Colin by oil spot effect. Pearson, to complement our single winged “The third potter in this group, Marypot and a bright yellow bowl by Lucy Rie Rogers, works at Nanpantan near Lough­to add to our more austerely colored borough and so was on our list both examples as a of her work.” worker in porcelain and as a local potter. Her work consists of delicate forms in­ spired by various aspects of nature. WeBAY AREA EXHIBITION commissioned four pieces from her-—a The Elizabeth Fortner Gallery, Santa bowl with a cut-out border design of treesBarbara, presented “Company’s Coming,” and landscapes, a wrapped form and one a show of clay works by 14 women artists made of overlapping layers, like unfurlingfrom the Bay Area, through September 23. leaves or Kids, and a sliced stone bowl. Among works displayed byBeth Fein was a “Our rext category of wares was sculp­duck cup (below), 11 inches in width, tural forms. We contactedGraham Burr, low-fire whiteware. The Oakland artist’s Jill Crowley and Glenys Barton. “From Graham Burr we bought two sculptural pieces, produced between 1975 and 1978, and a large bowl, one of a series. The pieces are all large and con­ cerned with the effects of space and light around and within. One is a multi-part sculpture exploring the sense of depth and reducing size. “From Jill Crowley we bought a bust of a man [shown], typical of her recent work, Beth Fein in a very heavily grogged stoneware,construction a methods include a combina­ strange balance between realism in the tion of handbuilding, wheel-throwing and slip-casting. To decorate, Beth utilizes un­ derglazes, pencil and low-fire glazes with china paints and lusters. “My work passes from the real to the imaginary,” said Beth. “I blend the images of my daily life with fantasies. Movement plays an impor­ tant part in both forms and the transition from two to three dimensional.” Berkeley artist Mary Law exhibited pots, including the covered stoneware jar, below, 2 feet in height, wheel-thrown in two Jill Crowley faithful depiction of clothing and unreality in the texture and misshapen form. We also bought a raku goldfish bowl, one of a series, inspired by a painting of the pot­ ter—who wears large spectacles—looking into a goldfish bowl, and embellished with three-dimensional goldfish taken from casts of two fish she had owned which died. “We commissioned a sculpture from Glenys Barton, which turned out to be a large white porcelain head with small figures emerging from one eye, and im­ printed on the side of the face and neck, a development of her current preoccupa­ tion with the stylized human form and face. “On the fringe of this group of sculp­ tural pieces were a series of figures made by Hilary Brock, another local potter, who works at Husbands Bosworth, and bought from an exhibition of his work at the Peter Dingley Gallery at Stratford. He makes humorous figures in ash-glazed stoneware of Edwardian ladies and gentlemen in Mary Law faintly risque poses. sections, then joined and decorated with “For painted wares, our third missing slip. The artist commented about her work, category, we approachedAlison Britton “The large pots are important to me as and Elizabeth Fritsch, and commissioned vehicles for painting, but they are also works from them. definitely containers, vessels, and that is “Alison Britton produced three of hersignificant. I continue to enjoy being a typically quirky, irregularly-shaped jugs, Continued January 1980 73 Tennessee, Cookevillethrough January 15 tional Culinary Festival ’80,” includes ce­ ITINERARY “Appalachian Crafts/Thirteen States,” an ramics; at Scottsdale Center for the Arts, at Philip Daniel, 150 East 58th Street. exhibition of crafts produced in the Appa­ Civic Center Plaza. January 15-February 16 “Works in Minia­ lachian region; at Appalachian Center for ture: Clay and Fiber”; at the Elements Crafts, Tennessee Technological Univer­ Florida, Ft. Pierce January 26-27 “On Gallery, 766 Madison Avenue. sity. the Green” is sponsored by the Ft. Pierce Art Club, includes ceramics; at Lawnwood Virginia, AlexandriaJanuary 3-27 “Ex­ Center. New York, Schenectadythrough January pressions in Clay: Ceramic Guild Annual 6 “Seventh Regional Craft Show,” spon­Show”; at Scope Gallery, Torpedo FactoryFlorida, Miami Beach February 9-10 sored by Designer Crafts Council; at Sche­Art Center, King and Union Streets. “Miami Beach Festival of the Arts”; at nectady Museum, Nott Terrace Heights. Jackie Gleason and Convention Center Washington, Seattlethrough January 13 Drives. Ohio, PainesvilleJanuary 4-February 2 “5000 Years of Korean Art,” comprised of “Womensart ’79,” includes ceramics; at 345 Korean works of art, includes KoryoMaryland, BaltimoreFebruary 16-17 The Lake Erie College, B. K. Smith Gallery. celadon porcelains, stoneware and Bud­ fourth annual “Winter Market of Ameri­ dhist sculptures; at Seattle Art Museum,can Crafts”; at the Baltimore Convention Ohio, ToledoJanuary 27-March 2 “Trea­ 14th and East Prospect. Center, Pratt Street. sures from Chatsworth: The Devonshire Inheritance,” 200 works of art from the Wisconsin, Madisonthrough January 6 WORKSHOPS home of the Duke of Devonshire, includes“Chinese Export Porcelain,” an exhibition Meissen and Derby porcelain; at the To­ of 200 pieces of 18th century porcelainArizona, ParkerMarch 30-April 5 Primi­ ledo Museum of Art, Monroe Street which at was manufactured in China for the tive pottery workshop with Hal Riegger. Scottwood Avenue. Western market; at Elvehjem Museum ofFee: $65. Reservation deadline: January Art, 800 University Ave. 15. Contact: Barbara Lippert, 8785 Long Ohio, YoungstownJanuary 6-February 24 Lane, Cincinnati, Ohio 45231, or call: “32nd Annual Ohio Ceramic Sculpture Wisconsin, RacineJanuary 6-F ebruary 10 (513) 522-6567. and Craft Show”; at Butler Institute of“The Studio Potter: An Invitational Exhi­ American Art, 524 Wick Avenue. bition of Six Midwestern Potters,” includesCalifornia, San JoseApril 11-12 A session work by Sandra and Win Byers, Patrick with ceramist Don Reitz of the University Oregon, PortlandJanuary 16-F ebruary 24 Dressier, Yosuke Haruta, Rosalyn Tygeof Wisconsin at Madison, includes slides “The Campbell Collection,” includes 18th and Mary Weisgram; and photographs of and demonstrations. Sponsored by San and 19th century porcelain from over the 23 artists in their studios; at Charles A. Jose State University Potters’ Guild. Fee: countries; at Portland Art Museum, 1219 $8. Write: Dave Landau, 871 Rose Ave­ Wustum Museum of Fine Arts, 2519nue, Pleasanton, Calif. 94566,or call Southwest Park Avenue. Northwestern Avenue. (408) 277-2574. Pennsylvania, PhiladelphiaJanuary 20- March 2 “Light Work” includes ceramics; California, VictorvilleFebruary 7-8 A at the Sign of the Swan, 8433 German­ FAIRS, FESTIVALS AND SALES workshop with Rudy Autio of the Univer- town Avenue. Arizona, ScottsdaleJanuary 26-27 “Na­ Continued

74 Ceramics Monthly NEWS & RETROSPECT Director, Alaska State Council on the Arts, 619 Warehouse Avenue, Number vessel maker, whether the pot will ever 220, Anchorage, Alaska 99501. Or call: actually be used or simply retain the poten­(907) 279-1558.Photo: Chris Arend. tial for use.” Coille Hooven, Berkeley, displayed Cone ROBERT ENGLE PHOTO-CERAMIC WORKSHOP 10 porcelain. Shown from the exhibition is Photographic silk-screen techniques were one of her works, 6 inches in width, wheel- demonstrated by ceramist Robert Engle in thrown and altered, with clear underglaze a recent two-day workshop at the Cultural Arts Center, Columbus, Ohio. A pioneer in the development of silk-screen tech­ niques for the studio artist, Bob empha­ sized using temporary darkroom space, non-darkroom techniques, working without an enlarger, and a minimum of profes­ sional equipment to convey the accessibility of photo-ceramic methods. As introductory background, the artist recalled studying in Japan during the early 1960s, then returning to California and discovering clay artists were producing the same sort of abstract expressionist pots he had traveled so far to make in the East. Coille Hooven Disillusioned, he determined to make and cobalt accents. Coille works with por­ “bad” pots and break rules. His first at­ celain because she “can capture motion,tempts involved gluing badges, postcards movement and gesture.”Photos: Gary and other objects onto ceramic works, but Sinick, Lee Fatherree. the process and its impermanence proved unsatisfactory. ART IN ALASKA Remembering commercial china, and Bill Kimura and Ric Swenson, Anchor­ decals on commemorative cups, he gath­ age, were awarded a $500 prize for their ered information on photographic silk- joint effort in the “Collaborative Worksscreen production from commercial seri- of Art Competition” sponsored by thegraphers, photographers and printers, then Alaska State Council on the Arts. Jurorproceeded to adapt the process to a studio Katherine Kuh, former art editor of “The situation. Saturday Review,” looked for ideas that Bob began his demonstration by describ­ “carried through and represented real ing the construction of silk-screen frames, collaboration.” which he always makes from one 8-foot Ric made the piece and wrote the haiku length of 2x2-inch lumber and inorganic poem that goes with it; Bill applied cal­ fabric (nylon or polyester) to resist dis­ ligraphy. Shown from the exhibition integration is from cleanout in undiluted their “Zen Banquet: A Feast for the chlorine bleach. Mind,” slab-built tables of unglazed local Images for photographic silk-screen pro­ clay, 8 inches in height; wheel-thrown por- duction should be high contrast, with no

Collaborative work by Bill Kimura and Ric Swenson celain plates with underglaze decoration, gray tones. Suitable results may be ac­ 10 inches in width; stoneware tea bowls quired by projecting or contact printing a and cast hands, fired to Cone 10 in reduc­ continuous-tone (standard black-and-white tion. The entry was one of ten worksphotograph) negative on lith film, such as selected for inclusion in a program of slidesKodalith, Ilford lith or GAF. Ink drawings and tapes that will be available for loan or press type on acetate, even found to art groups in Alaska. Contact: Visual Continued January 1980 75 Fee: $30. For both workshops write: with Fritz Dreisbach; March 10-21, “Lo­ ITINERARY Craftsmen’s Guild, 511 South 11th, Oma­ cal Clays—Simple Glazes” with Hal Rieg- ha 68102, or call: (402) 346-8887. ger; April 3-5, “The Glass Studio—Busi­ sity of Montana at Missoula. Fee: $10. ness and Lifestyle” with George Thiewes; Contact: Gene Kleinsmith, Ceramics, Vic­ April 12-13, “Hot and Cold Glass Pro­ tor Valley College, Drawer 00, VictorvilleNew Hampshire, PlymouthJanuary 20-26 cesses” with John Meyer; April 14-25, 92392, or call: (714) 245-4271, ext. 292. “Seminar Eighty” offers workshops for the“Photo Screening, Multi-firing and Sur­ advanced studio craftsman, includes “Formface Enrichment in Clay” with Jerry Georgia, AtlantaFebruary 16-17 A two- Design and Surface Treatment for Potters” Chappelle; At ay 5-9, “Porcelain Tech­ day workshop with Penland, North Caro­with Robert Turner. Write: Evelyn Zim­niques” with Gerry Williams. Write: lina ceramist Cynthia Bringle. Contact: merman, League of New Hampshire Appalachian Center for Crafts, Box Rick Berman, Callanwolde Art Center, 980 Craftsmen, 205 North Main Street, Con­ 5106, Tennessee Technological University, Briarcliff Road Northeast, Atlanta 30306, cord, N.H. 03301, or call: (603) 224- Cookeville 38501, or call: (615) 597- or call: (404) 872-5338. 3375. 6801. Georgia, Mount BerryFebruary 7-8 A New York, AlbanyFebruary 9 A session pottery workshop with Ken Ferguson. Con­in handbuilding with Bruno LaVerdiere, Texas, El PasoJanuary 19 A workshop tact: W. Rufus Massey, Jr., Krannert Cen­includes slide lecture and discussion. Con­with Stephen Kilborn on “Once Fired Oxi­ ter, Berry College, Mount Berry 30149, tact: or Jayne Shatz, State University of Newdized Medium Temperature Slipware”; at call: (404) 232-5374. York, College of Continuing Education,the University of Texas. Contact: Clay Draper 107, Ceramics Department, 135 Club, c/o University of Texas, El Paso Kentucky, AnchorageApril 10-11 A Western Avenue, Albany 12222. 79968. workshop in clay processes with Mike Cin- dric of the University of North Carolina.North Dakota, Grand ForksFebruary 22- Vermont, Middlebury February 21-23 Write: David Keator, Louisville School24 of “Painter, Potter Workshop,” a collabo­“Throwing on the Wheel for Advanced Art, 100 Park Road, Anchorage 40223, or rative effort of painters decorating potters’Studio Potters,” a workshop with Karen call: (502) 245-8836. work, with artist/potter Carol Levitov Karnes. of Fee: $50. Rockville, Maryland. Open to potters andMarch 21-22 Coil building and wheel- Minnesota, MinneapolisJanuary 5-6 A painters. Fee: $10. Accommodations avail­ throwing demonstration for professional or session on handbuilding and pressmolding able. Write: Nancy Monsebroten, Univer­advanced students with ceramist Bruno using majolica and other low-fire glazes,sity of North Dakota, University CraftLaVerdiere. For both workshops contact: with Andrea Gill. Write: M. C. Ander­ Center, Box 8136, Grand Forks 58202, orVermont State Craft Center at Frog Hol­ son, Jewish Community Center, 4330 call: (701) 777-4195. low, Middlebury 05753, or call: (802) South Cedar Lake Road, Minneapolis 388-4871. 55416, or call: (612) 377-8330. Tennessee, CookevilleFebruary 18-May 9 The Appalachian Center for Crafts is of­ Nebraska, OmahaFebruary 23-24 Sculp­ fering the following workshops:February INTERNATIONAL tural clay workshop with Tony Hepburn.18-22, 25-29, “Production Techniques inEngland, Londonthrough January 12 Ce­ Fee: $30. Clay” with Lewis Snyder;March 10-14, ramics by Alison Britton; at Crafts Council April 19-20 Session with Betty Woodman. “Production Techniques in Blown Glass” Gallery, 12 Waterloo Place.

76 Ceramics Monthly NEWS & RETROSPECT objects such as lace, leaves and other natural materials, offer non-photographic substitutions for contact-printed images on lith film. Bob placed photo negatives emulsion-to-emulsion on Kodalith film and laid plate glass on top to ensure optimum contact. Exposure usually ranges from 2-9 seconds at 24 inches from a 5-watt refrig­ erator bulb. Exact time for each image may be determined by exposing a test strip of film in time increments. Lith film is developed in its own developer, which normally comes in two parts and must be mixed just prior to use. (Compounded developer emits a gas and should never be stored.) Developing time is approximately two minutes, after which the film positive is rinsed in water, then placed in fix or rapid fix solution until the unexposed areas are completely clear—indicating the emulsion has washed away. Again the film is rinsed, and when it is dry, the image is ready for transfer to a sensitized silk-screen. Although Bob has tried commercial photo-sensitive silk-screen films such as Ulano Poly Blue or Hi-Fi Green, he prefers a liquid emulsion which is applied directly onto the fabric. One quart costs about $11, lasts about six months stored in the refrig-

Photo-ceramic image erator, and covers 250 square feet. Bob uses Azocol R (Azocol T also may be used, but he said it is harder to remove from the screen), which is available from many silk-screen suppliers or printers. Sensitive to ultraviolet light, the emul­ sion should be applied under low-light conditions. Bob squeegeed the liquid on the screen with a 4x6-inch section of matt board illuminated by a small yellow bug light. Excess liquid was repeatedly scraped from both sides of the screen with the cleaned squeegee, since thin coatings re­ sult in better images. Before exposure, the screen was stored in a dark place to dry. According to Bob, a sensitized screen may be kept successfully up to six months. Secured by a piece of glass, the positive film transparency was placed emulsion side down on the back side of the dry, sensi­ tized screen, which was supported by foam rubber from an ironing board pad sprayed Continued January 1980 77 78 Ceramics Monthly NEWS & RETROSPECT black. Bob exposed the screen for 20 min­ utes with a 650-watt movie lamp at 36 inches (a 500-watt photo flood is also effective). He advised establishing con­ stants of distance and developing time and keeping exposure time as a variable. Following exposure, the screen was washed with a gentle spray of warm water. In his studio, Bob uses a bathtub shower hose, gradually increasing water pressure to clear unexposed areas from the screen. As a last resort, stubborn images may be cleared at a car wash, where water is under extreme pressure. (Overexposure of the emulsion usually results in an image which is hard to clear, while an under­ exposed emulsion may wash completely away.) When water will pass through the screen where ink is to penetrate, it is flooded with cold water before allowing it to dry. When the exposed screen is completely dry (a fan may assist this process), it may be used to print directly on clay, to print decals, or to print photo transfer images. Though he discussed the first two meth­ ods, Bob demonstrated the direct transfer process he has employed in recent work. (For information on the production of ceramic decals, see “Making Ceramic De­ cals,” by Jonathan Kaplan, April and May 1975.) With a palette knife, the artist mixed ceramic stain and Karo syrup on plate glass to a consistency slightly thicker than sour cream before placing it in a small jar. Hand lotion was added to retard dry­ ing; small additions of water adjusted the mixture to the consistency of serigrapher’s ink. On newsprint, Bob printed an edition of about six (the normal amount for his work) which dried quickly. Stored prints should be protected from changes in hu­ midity because the syrup may soften and the newsprint stick together; if the images are to be kept for any length of time, Bob suggested dusting the surfaces with flint. The direct transfer prints were applied pigment down to damp clay slabs and rubbed gently by hand until the paper felt moist, indicating the image had trans­ ferred. After removing the newsprint, Bob said the slab may be distorted from behind or used as a component in a larger object, but care should be taken to avoid touching the image, as it may smear—even after bisquing. A final firing to a higher tem­ perature will fix the stain. Bob normally fires forms with photo transfers in a reduc­ tion stoneware kiln, with the image area unglazed. For those preferring an overall glazed surface, the artist suggested a thin application of any transparent recipe.

PAT SWYLER Handbuilt clay bottles and jars were recently exhibited byPat Swyler at Gallery North in Setauket, New York. The spher­ oid forms were embellished with repeated patterns including stamped, carved or sten­ ciled images accented with slip or glaze. Most of the artist’s work was constructed Continued January 1980 79 80 Ceramics Monthly NEWS & RETROSPECT from leather-hard slabs formed in shallow oval and circular plaster molds. “I find that using press molds facilitates the pro­ duction of pieces which have a totally different look from thrown work, even when the forms created are nearly round,” she commented. Cedar Heights Redart clay was used as the earthenware body; white slip was poured over the forms before bisque firing.

Pat Swyler Dots of brown slip and a transparent glaze were added for the final Cone 03 firing. Color variations were achieved through thick and thin applications of slip and glaze. Shown are bottles from the exhibi­ tion—top, 16 inches in height with white

Press-molded earthenware and brown slips; and above, 11 inches in height; both with handbuilt foot and neck. Pat Swyler holds an M.F.A. degree from the School for American Craftsmen, and Continued January 1980 81 82 Ceramics Monthly NEWS & RETROSPECT currently maintains a studio in Sound Beach, New York.

CERAMICS IN THE NORTHWEST Two recent Seattle exhibitions, both curated by LaMar Harrington, docu­ mented the creative energy that has gone into Northwest ceramics during the past 40 years. The show at the University of Wash­ ington’s Henry Gallery, “Functional Forms of Clay: Four Decades in the Northwest,” featured 72 objects by 50 artists. Among the earliest works in the exhibi­ tion were small bowls byVictoria Avakian Ross and Lydia Herrick Hodge in the 1940s. Like most early Northwest ceram­ ists, Ross and Hodge, both teachers in Oregon, were limited to earthenware clay bodies and low-temperature firings in small oil- and wood-burning or electric kilns. As improved technology became avail­ able, artists experimented with larger wheel-thrown vessels and a variety of glazes and decorative techniques. Berkeley artist Peter Voulkos got his start in pottery at Montana State University, Bozeman, under Frances Senska, who believed that sculp­ tural form wasn’t the only thing, that “sur-

Peter Voulkos face could also be personalized.” Shown, above, from the exhibition, is “Babe the Blue Ox,” 15 inches in height, wheel- thrown stoneware with wax resist and sgraffito decoration, cobalt and iron glazes, by Peter Voulkos, circa 1952. Oriental influences became increasingly important in ceramics after Bernard Leach Shoji Hamada and Soetsu Yanagi gaves a week-long workshop in 1952 at the Archie Bray Foundation in Helena. Many works in the Henry Gallery show were inspired by Japanese techniques. In contrast, the show at the Seattle Art Museum’s Modern Art Pavilion, “Another Side to Art: Ceramic Sculpture in the Northwest, 1959-1979,” caught the spirit of artistic rebellion felt in many quarters during the ’60s and ’70s. Most of the 56 Continued January 1980 83 84 Ceramics Monthly NEWS & RETROSPECT ceramists, represented by 129 works, re­ jected traditional shapes, materials and concepts of beauty. Satirical social commentary character­ ized much of the style from that earlier decade; in the last few years many of the artists have been creating work that is

Linda Wachtmeister more personal. Frustration with the ten­ sions of modern life might be seen in “Tarred and Tethered,” 17 inches in height, a cast stoneware figure covered with strips of tire tubing, byLinda Wacht­ meister. Text: Ann Strosnider photos: Murry Godeon and Linda Wachtmeister.s

RICHARD HIRSCH Richard Hirsch, ceramics professor at Boston University, recently exhibited raku- fired work at the Yamato House Gallery

Richard Hirsch in Lenox, Massachusetts. Included in the show were large baskets, small ceremonial vessels and tripod forms. Shown from the Continued January 1980 85 86 Ceramics Monthly NEWS & RETROSPECT exhibition is “Aged Vessel,” 11 inches in height. Some of the raku-fired surfaces

“Aged Vessel” were air brushed; post-fire reduction with raw cotton formed “dynamic color ranges.” Photos: Carol Long.

CALVERT BARRON Ceramic wall pieces and small sculptures were recently shown byCalvert Barron in her first solo exhibition at Quay Gallery, San Francisco. Fishing equipment, salmon steaks and other camping paraphernalia are incorporated in the work, which docu­ ments a summer camping trip through western Canada. According to the artist, the wall pieces resemble old-fashioned cuckoo clocks, and represent the passage of time. Shown, below, from the exhibition is a handbuilt porcelain wall sculpture, 14

Porcelain wall sculpture inches in height. Calvert Barron studied at the San Francisco Art Institute, and is currently working toward an advanced Continued January 1980 87 88 Ceramics Monthly NEWS & RETROSPECT degree at San Francisco State University. Photo: Courtesy of Quay Gallery.

DIANE FLYR San Francisco artist Diane Flyr recently presented a solo exhibition of sculptural porcelain at the Following Sea Gallery in Honolulu. Much of her work incorporates Japanese-related imagery, such as paired

Samurai warrior cup cups in the form of samurai warriors or torsos clad in kimonos which combine ac­ tual fabric and china-painted clay. Other works in the show consisted of cups with

China-painted porcelain handbuilt clay kimonos. Shown, above, from the exhibition is an unglazed, hand­ built porcelain sculpture, 20 inches in height, with cobalt oxide and commercial luster surface decoration; actual fabric lines the sleeves, neck and base. The multiple porcelain hands and heads were attached after firing. In conjunction with the exhibition, Diane presented a two-day workshop at the University of Hawaii, where she dem­ onstrated handbuilding and surface deco­ ration. Explaining how the addition of nylon fibers to her porcelain clay body enables forming everything from slender fingers to flowing drapes of clay fabric, she further guided the group through the use of lusters, overglazes and stains.Photo: Peter Magnani.

AUSTRALIAN ARTS TRAIN The Arts Train brings mobile studios to teach ceramics and other crafts in remote rural communities in the state of Victoria, Australia. The Council of Adult Educa­ tion hired the diesel locomotive and four Continued January 1980 89 COMMENT Continued from Page 29 use of metal is not to be despised. We value the introduction of bright gold in an illuminated manuscript; why then should we deny the ceramic artist the use of that which will enable him to add force and brilliancy to his work? The value of pure design is an im­ portant element of beauty in ceram­ ics; it enters largely into the produc­ tion of form and the arrangement of decoration. But it often happens that the designer is not highly educated in the mechanical arts and that the craftsman is not skillful in design. Division of labor may be carried to a point where it destroys all artistic feeling, but there is, I think, much to be said for collaboration. The human hand is undoubtedly the most satisfactory medium for the execution of any art work, not because there is any actual advantage in the hand itself, but because by its means the artist and the craftsman can impress life upon their work. At the same time there is nothing more objectionable than bad hand work. If we are to have inferior work let it be relegated to the machine; the reason for using the hand is that its capabilities are greater than those of any mechanical contrivance. To conclude, let me express once more my conviction that the elements of beauty in ceramics are to be found mainly in pure design and accurate execution, and I refuse to admit that defects constitute merit. In criticizing a painting we do not look for imper­ fections in technique as evidence that the artist’s hand has alone been em­ ployed. But the reverse is the case. We demand, and rightly, that hand work shall supersede every other means in artistic production. It can­ not, then, be in decorative art that we look upon imperfect execution in hand labor as an advantage. I am forced to believe, from the examples I constantly see exhibited by so-called “art” dealers, that there are some who differ from me, and who prefer a brilliant dash of color or an abnormal shape to anything that may be called skillful. It was not by such as these that the ceramic reputation of ancient Greece was made or the gems of the Chinese kilns produced. yU CERAMICS MONTHLY NEWS & RETROSPECT an amateur china painter of Utica. Also included were ceramics from Rookwood, railroad cars outfitted as a pottery work­Jugtown and Marblehead Potteries. shop and studios from the Victorian Rail­ The exhibition was designed to comple­ ways. During the past 10 years the train ment “The Arts and Crafts Ideal: The has made two tours annually to various parts of the state, usually visiting a dozen towns each week. Children’s classes are held in the morning as part of their school courses, and adults work in the train

Jessie Roemer Ward House,” a show which featured ceramic tiles by Henry Chapman Mercer, who owned and operated the Moravian Pottery and Tile Works, Doylestown, Penn­ sylvania (see the Ceramics Monthly portfolio in the December 1978 issue) ; and stained glass by Henry Keck of Syra­ cuse, New York.

CLAUDIA REESE Arts train ceramic studio Seventeen clay works byClaudia Reese during the afternoon and evening. Charleswere featured in a two-artist show at the Rocco, C.A.E.’s coordinator of creativeLaguna Gloria Art Museum in Austin, arts for country areas, said that the trainTexas, through November 29. Represent­ was no longer able to visit as many areasing “frozen moments in my thought pro­ because of the closure of branch railwaycesses—connected threads and severed ties lines (in much the same manner as they of consciousness,” Claudia described the are closing here in the United States). The source of imagery in her work as “bits and C.A.E. was examining proposals to have the train remain at country centers for longer periods as an art materials library from which communities could borrow equipment.Photo: Eric Wadsworth.

ART POTTERY AND GLASS Featuring approximately 30 examples of turn-of-the-century American and Euro­ pean craftsmanship, the exhibition “Art Pottery and Glass” was shown through October 28 in Fountain Elms at the Mun­ son-Williams-Proctor Institute, Utica, New York. Many of the objects presented were from the household furnishing of the Proc­ tor families, while others were acquired as gifts. Shown, right, from the exhibition is a“Hours Before Sleep” cylindrical porcelain vase, 13 inches in pieces of life: the random stuff of which height, decorated with peacocks in a grape every day is made.” Shown from the exhi- arbor and signed in 1918 byJessie Roemer, Continued January 1980 91 92 Ceramics Monthly NEWS & RETROSPECT such as the one below, approximately 18 bition is “Hours Before Sleep,” 18 inchesinches in height, fired and painted with square, of whiteware cast from actual objects. Claudia Reese is currently a visiting artist at the Chicago Art Institute.Photo: Ellen Wallenstern.

EILEEN AND WILL RICHARDSON Thrown and pinched porcelain forms with underglaze paintings were presented by California artistsEileen and Will Rich­ ardson in “Images,” a group exhibition at the Del Mano Gallery, Los Angeles, through October 6. Eileen produces the functional forms on which both artists Suspicious cow, ceramic hay acrylics. (The cow is real.) Karen also exhibited hay-like cast paper panels sus­ pended from clay hayhooks. Commented the artist, “Clay has been my medium since I took my first ceramics course, but I don’t feel that clay is always the solution and am open to incorporating other materials into my work. Karen Koblitz received an M.F.A. de­ gree from the University of Wisconsin, Madison, and is currently on the art faculty at Baker University, Baldwin, Kansas.

THE ELEMENTS GALLERY Three ceramic artists were featured in a mixed-media exhibition at The Elements Gallery in New York City through No­ Eileen Richardson vember 17. depict fantasy images of their home life. Having worked together since 1965, Guided by pencil drawings, oxides are Warren Hullow and Isabel Parks presented applied to bisqueware, then glazed and thrown and handbuilt forms in porcelain fired to Cone 10. Shown from the exhibi­and stoneware, glazed in a matt white tion is “Rose of Trollee,” approximatelyrecipe. Many of the artists’ shapes were 6 inches in height, by Eileen. Photo: Janice Sheldon.

KAREN KOBLITZ A solo exhibition at the Lawrence (Kan­ sas) Arts Center earlier last year featured mixed media works in a rural theme. Among the objects displayed in “Karen Koblitz in Kansas: Works in Clay and Paper,” were “Tornado Series,” wheel-

Warren Hullow and Isabel Parks reminiscent of sea fans and coral, such as that shown, “Sea Form I,” approximately 10 inches in height. Slip-cast porcelain components assem­ bled into functional objects represented the work of James Rothrock. He feels “function is important primarily because it invites a tactile appreciation of the form.” Before firing to Cone 10, his bisqueware was accented with oxides and covered on the interior with a glossy glaze; exteriors were wet-sanded to yield a satiny surface. ‘‘Tornado Series’* thrown plates, 12 inches in diameter, of OHIO DESIGNER CRAFTSMEN low-fire clay, with air-brushed underglaze Members of Ohio’s guild of professional and ceramic pencil decoration. artisans, Ohio Designer Craftsmen, held The gallery installation included a an exhibition earlier last year at the grouping of press-molded bales of hay, Continued January 1980 93 94 Ceramics Monthly NEWS & RETROSPECT involving clay and collageLinda by Them Smith—was presented at the Studio Gal­ Columbus Cultural Arts Center. Entitledlery in Washington, D.C., from November “Ohio Crafts to Use and Enjoy,” the show 8 through December 1. Rolls of porcelain, terra cotta and black stoneware were assembled with wood, roofing slate, bone, copper wire, rag paper, stone, metal and some industrial construction materials, to form images al­ luding to opposites or paradoxical personal experiences. Designed to be experienced as a unit, the exhibition repeats geometric shapes, with twisted copper wire often providing

Linda Them Smith a sense of line. For unity, Linda selected muted colors—grays, beiges and rusts, with black and white. Shown, above, is “Racked,” 38 inches in width, a wallpiece composed of rolled stoneware mounted on wood with square nails. Also shown from the exhibition (be­ low) is “Showcased Pots,” a molded rag Gary Hart featured 137 works, 49 of which were ceramics. Shown, above, from the exhibition is a stoneware vase, with cobalt blue decora­ tion, 32 inches in height, by Gary Hart, Beachwood. Also from the exhibition, below, is “Desertscape Lidded Jar,” reduction-fired

“Showcased Pots” paper construction, 14 inches in height, with terra cotta slip-cast pots on a balsa wood ladder. “Certain pieces are strictly for this in­ stallation,” Linda observed, adding that they “do not embody any feeling of ‘the Michael Hieber precious art object’ and could be dis­ stoneware with matt glaze, 15 inches in mantled after this particular exhibition to height, byMichael Hieber, Middletown. enable their modular components to be reused in a different manner in a different piece. In the suite their presence conspicu­ LINDA THERN SMITH ously provides a sympathetic environment “Combinations,” a solo exhibition for of the smaller more intricate pieces.” clay assemblage relief—modular sculpturePhotos: Claudia Smigrod. January 1980 95 Liquid Latex as Resist byS kip Allen

Several years ago I became fascinated with the idea of applying colored slips as flat patterns to the surface of pottery. The process, though promising, involved certain problems. Direct painting of the slips was unsatisfactory because I was never able to completely rid the design of brush strokes. Wax resist, while allowing the desired surface decoration, was difficult to control and resulted in imprecise patterns. The answer was liquid latex; it fills the need for a resist medium, is controllable, and eases the correction of mistakes. colored slip followed—in this instance a dark green. The In the examples shown, a leather-hard pot was placed process was repeated with a third layer of latex and a on the wheel and banded with lines of water-soluble ink; subsequent layer of blue slip. alternating vertical lines were applied to create a grid on When complete, a needle tool was used to lift the latex the surface of the pot, enabling duplication of a designat a corner, and the resist was pulled from the pot, reveal­ previously developed on graph paper. (The ink completelying a complex pattern of colored slips. Bisquing and disappears in the bisque firing.) Using the grid as a guide, refiring with a transparent glaze completed the form. the pattern was repeated in ink on the pot. Following the ink outline, liquid latex was applied and allowed to dry (approximately fifteen minutes) before returning the form to the wheel for the first coat of slip—in this case, a light green. About the authorSkip Allen is The liquid latex does not resist slip as liquid wax does.a graduate of the Memphis Acad­ Instead, it acts as masking—the outlined pattern can be emy of Arts, and has worked for seen only as raised areas underneath. Using this raised the Mississippi Art Association. outline and the graph paper pattern as a reference, I Currently he is a full time potter applied a second layer in another complementary pattern at Springwood Pottery, Inc., Flo­ of latex to the dried, light-green slip. A second layer ofrence, Mississippi.

1. A preliminary design is drawn 2. Water soluble ink is banded 3. Alternating vertical lines are on graph paper. around the pot. applied in ink.

96C eramics Monthly 4. An ink pattern is superimposed 5. Liquid latex is applied over 6. A layer of colored slip is brushed on the grid guide. the ink pattern. over the latex.

7. After the slip dries, another 8. A second color of slip 9. A third layer of latex may be latex pattern may be applied. is brushed on the pot. applied on the dried slip.

10. A final coat of colored slip is 11. After the slip dries, the latex is 12. The finished surface reveals brushed over the latex. lifted and peeled off the pot. a complex pattern. January 1980 97 14th annual “Central Pennsylvania Fes­ WHERE TO SHOW tival of the Arts Sidewalk Sale” is open to Continued from Page 21 all media. Juried by slides. Entry deadline: March 10. For application send self- Washington Street, Danville, Ind. 46122. addressed, stamped envelope to: Michael T. Strailey, 824 Fairway Road, State Col­ Massachusetts, Worcester May 16-18 lege 16801. Tenth annual “Worcester Craft Center Fair” is open to craftsmen. Juried by 5 South Carolina, Murrells InletApril 25-27 slides. Entry fee: $5; booth fee: $40-$75, “Eighth Annual Outdoor Arts and Crafts depending on space. Entry deadline: Feb­ Festival.” Juried by 2 slides or photo­ ruary 1. Contact: Registrar, Worcester graphs. Fee: $48. No commission. Awards. Craft Center Fair, 25 Sagamore Road, Entry deadline: March 31. Write: Wilma Worcester 01605, or call: (617) 753-8183. Martin, Murrells Inlet Arts and Crafts Festival, Box 231, Murrells Inlet 29576, or New Jersey, LaytonJuly 26-27 “Elev­ call: (803) 651-7555. enth Annual Peters Valley Craft Fair.” Jury fee: $10; booth fee: $50. EntryTexas, HoustonMarch 22-23, 25-30 “1980 deadline: April 14. For application, send Houston Festival” is open to craftsmen. self-addressed, stamped envelope to: Craft Juried by slides. Fee: $3. Entry deadline: Fair, Peters Valley, Layton 07851. January 15. Contact: Houston Festival Crafts Exposition, Craft and Folk Arts Ad­ New York, LockportMay 23-25 “Kenan visory Committee, 3815 Montrose, Suite Craft Festival.” Juried by 5 slides. Fee: 211, Houston 77006, or call: Anne Cooper $3. Entry deadline: January 29. Contact: (713) 522-3736; or Barbara Metyko 529- John O’Hern, Kenan Center, 433 Locust 7126. Street, Lockport 14094. Vermont, StoweAugust 1-3 Eighth an­ New York, Rhinebeck June 24-29 Fif­ nual “Stowe Craft Show.” Juried by slides. teenth annual “Northeast Craft Fair” is Entry deadline: March 15. Write: Stowe open to all U.S. craftsmen. Juried by 5 Craft Show, Box 1084, Stowe 05672. slides. Screening fee $15. Entry deadline: January 10. Contact: American Craft En­ Wisconsin, Milwaukee March 8-9 “4th terprises, Inc., Box 10, New Paltz, N.Y. Craft Fair U.S.A. Indoor Spring Show” is 12561, or call: (914) 255-0039. open to artists 18 years or older. Juried by 5 slides accompanied by current resume Pennsylvania, Pittsburgh June 6-15 and self-addressed, stamped envelope. En­ “Three Rivers Arts Festival” is open totry fee: $40 for 10x10-foot space. No artists and craftsmen 18 years or older commission. Entry deadline. March 1. who live within a 150-mile radius of Pitts­May 3-4 “Seventeenth Wisconsin Festival burgh. Juried by slides. Cash and pur­ of Arts” is open to artists 18 years or chase awards. Entry deadline: March 19. older. Juried by 5 slides accompanied by For application, send two first class stamps, current resume and self-addressed, stamped name and address to: Three Rivers Arts envelope. Entry fee: $65 for 10x10-foot Festival, 4400 Forbes Avenue, Pittsburghspace. No commission. Awards. Entry 15213. deadline: April 1. For both, write: Den­ nis R. Hill, 1655 So. 68 St., West Allis, Pennsylvania, State CollegeJuly 10-13 Wis. 53213, or call: (414) 475-1213. Index to Advertisers

98 Ceramics Monthly