2 Ceramics Monthly William C. Hunt...... Editor Ruth C. Butler...... Associate Editor Valentina Rojo ...... Assistant Editor Robert L. Creager...... Art Director Mary Rushley...... Circulation Manager Mary E. Beaver. .. . Circulation Assistant Jayne Lohr ...... Circulation Assistant Connie Belcher .... Advertising Manager Spencer L. Davis...... Publisher

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Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc., 1609 Northwest Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year SI 8, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to: Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con­ sidered for publication. A booklet describing procedures for the preparation and submis­ sion of a manuscript is available upon re­ quest. Send manuscripts and correspondence about them to: Ceramics Monthly, The Ed­ itor, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap­ ple Macintosh computer system. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index; on line (computer) indexing is available through Wilsonline, 950 University Ave., Bronx, New York 10452. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, Suggestions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s articles are indexed in the De­ cember issue. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Copyright © 1987 Professional Publications, Inc. All rights reserved January 1987 3 4 Ceramics Monthly Ceramics Monthly Volume 35, Number 1 JANUARY 1987

Feature Articles Verne Funk: The Dance by Elizabeth Skidmore Sasser...... 24 A Studio in Manhattan...... 26 The Politics of Potteryedited by Warren Fredrick ...... 28 Functional Ceramics: North Carolinaby Phyllis Clark...... 31 Meltdownby Esther Grillo ...... 34

Functional CeramicsAfter 12 years as Savage Interiorsby Juta Savage...... 36 a national, the College of Wooster’s annual functional clay exhibition took a regional Neil MOSS by Melinda Barth...... 39 turn toward North Carolina. Refractory and Meshby Walter Hall...... 43 Faenza’s 44th International...... 44 uuith Buon Giomo Faenzaby Dennis Parks Soviet Ceramics at Faenza...... 48 A Family of Raku Glazesby Harold McWhinnie...... 51 Pack With Care by Debra Berke...... 76

Departments Letters to the Editor...... 7 Comment: The Death of Ernest Kunst Refractory and Meshartist Walter Hall Itinerary...... 11 by Brad Sondahl...... 23 began experimenting with ceramic mortar Suggestions...... 15 on steel mesh for “wiry strength in pieces New Books...... 69 that are thin, even paperlike.” Questions...... 17 Classified Advertising...... 78 Meltdown Ceramists don’t work in a vacuum, and increasingly they are using Where to Show...... 21 Index to Advertisers...... 80 the medium for social commentary, wheth­ er in vessel or sculpture format. One such artist is Esther Grillo, whose antinuclear installation at 14 Sculptor’s Gallery in New News & Retrospect York left few observers sitting on the fence. The Politics of Potteryaddresses the Free Workshop Listings ...... 53 Reproducing a Qin Soldier role of today’s potters: Is tradition holding Four Danish Potters ...... 53 by Gail Haborak...... 63 them back? Should viewers be challenged Jeri Au...... 65 or visually and tactilely pleased? New Talc Hazard Ruling...... 53 With this issue, Ceramics Monthly in­ Alabama Clay Conference Sheila Nussbaum at Nabisco...... 65 troduces a new, more extensive Contents by Susan Younce...... 55 In the Round ...... 65 page. We hope it will help you readily focus Wholesale Reps ...... 55 on articles you want to read, and that on Artpark Installation returning to an issue, you will be able to Laura Speiser ...... 57 by Theresa Millard and Jim Neiman .... 67 locate articles easily. Mark Bell ...... 57 David Keator ...... 73 The coverThrown porcelaneous stone­ Oregon Anagama...... 59 ware bowl, approximately 13 inches wide, An American in Germany...... 75 with saturated-iron and ash glazes, by Cal­ Westminster Gallery Closes...... 61 Jan Axel ...... 75 ifornia potter Neil Moss. American Clay at Christie’s Photo: Brian Goodman by Christopher Wagner...... 61 Animal Spirits...... 79 James Watral...... 63 Margaret Ford...... 79 6 Ceramics Monthly Letters It’s What’s Inside That Counts I do truly enjoy photos and copy on the ney, its effective diameter is measured at its I greatly enjoyed the articles by Dennis current whiz kids of our colleges and uni­ narrowest point. So when Olsen tapers his Parks and Colin Pearson in the November versities but often feel that we in the arts are chimney, does everyone realize that the issue. This is an era when technique is wor­ so concerned with the cutting edge that we smallest diameter is what you take into ac­ shiped; more and more gadgets and ready­ no longer care for the sword. count when relating the chimney diameter made items are advertised in CM, and many /. Hoyman to the kiln size? Do you know those charts ceramic artists shown in these pages pride Ukian, Calif. L. L. Bean has for how to measure your body themselves on being able to make clay jump for sizes? That’s the sort of idea we should through hoops. In the work of Pearson and No Assumptions, Please have for kilns. Parks, the artistry shines through and tech­ In regard to the query about smoke from I love it when people speak of trial and nique is secondary. Parks uses a very simple a wood-burning kiln: I have always had less error. That’s really “greasy kid’s stuff.” Nifty idea and simple materials, producing rich and smoke than expected—in fact, except just af­ when you’re in school and all the handsome meaningful images. Pearson also does noth­ ter stoking, no more smoke than my wood- lads want to show off their muscles and tans, ing terribly exotic in the way of either build­ burning stoves produce. Now I wish I could and throw up a kiln every day, then take it ing or glazing (I saw his workshop), but the believe that this happens because I am such apart the next. But when you are an older idea and images are paramount. This is a good person; alas, I know it is not. Is it potter, or one who must count every penny something that is difficult to explain to be­ because I mostly use hard wood? Because and every minute, experimenting is not what ginning potters: Specialized techniques and the wood is barkless (we used discarded slabs you want to do. use of gimmicks will not necessarily produce from a pallet factory) or because our chimney One last thing: Just about a year back, I art. It’s what’s inside that counts. has a passive damper at the foot (as suggested asked about using ground-up old firebrick Bette Drake once by Ceramics Monthly)? and you provided a helpful answer [March Cleveland This brings me to a point I’ve wanted to 1986 Questions]. In finally building the kiln, make for some time. Bless you, but you give I put several bits of advice together. And I Richard Behrens: Sound Concepts us more credit than we deserve. I, for one, came up with the following: refractory bodies The setting of aesthetic standards, togeth­ went to school in the 1940s and 1950s and can range from 1 part alumina hydrate, 2 er with the influence of commerce and public never took any advanced science. Now my parts regular cement, 4 parts fireclay and 7 demand on these standards, is an issue Ce­ “advanced” is probably not your “advanced,” parts “additives”; to 2 parts alumina hydrate, ramics Monthly has been addressing for years. but I don’t know what an ion is, and frankly 1 part cement, 2 parts fireclay and 2 parts It is easy for beginners in the field to be I don’t much care. (Yes, there was life on “additives” for kilnbuilding. Insulation was overcome by the possibilities of the medium. earth before Sputnik made everyone science much freer and I ended up playing it by ear: Is function a priority, or craftsmanship, or crazy.) I had the good fortune of having a About 1 part cement with 2 parts fireclay invention, or design, or technique, or are all good foundation in glaze chemistry so I know and all the sawdust and vermiculite it would equal in importance? Different masters hold a molecule when I meet one, but what I am hold. I also used 1 part kaolin and 1 part varying philosophies on these questions. Ber­ trying to say is that there must be others out sawdust mixed with 20%-50% crushed fire­ nard Leach’s book Towards a Standard sheds there who for one reason or another do not brick, which I got out of Andrew Holden’s much light on the issue, yet cultural influ­ have much science training and get as con­ The Self-Reliant Potter. I have only fired the ences fluctuate and a contemporary amateur, fused as I sometimes do. kiln twice and I am happy with the survival like myself, can feel a bit lost in all the phil­ For me it is particularly so in reference to of the walls (nothing falling out, cracking, osophical jargon. kilns. I realize that today’s young school- etc.). Some stuff came out of cracks the first It is men like Richard Behrens, who are/ trained potters all have built kilns since they time, was replaced and really, for an old kiln were scientifically sound and straightforward were freshmen, and many apprentices have (put together from ten-year-old firebrick), it in their concepts and accomplishments, who worked with people who built kilns, but I, is doing super. Many thanks for the good I find exciting. To my delight, I have dis­ for instance, am never 100% sure what is advice. covered that he once wrote for Ceramics being talked about. I should add that after reading the answer Monthly and have since made a point to read Now let me see. Primary air is that which in Ceramics Monthly, I decided against cast- his work published in older issues. It is in­ comes into my kiln through the ash pit and ables and just rebuilt entirely with the old formative, accurate and explicit. This has grates—the “inevitable” air of combustion. brick, cutting and fitting and just stuffing aroused my curiosity of the man’s life, ed­ And secondary air would be the air that comes holes as needed with the above mixes. I still ucation and accomplishments. For the new in through extra air holes not related to the plan to cast a door. Next year... generation, could CM perhaps feature an ar­ burners, or sucked in through cracks. But Lili Krakow ski ticle on Behrens’s personal endeavors in the tertiary air? Tertiary air you say comes in Constableville, N.Y. ceramic field? over one of the kiln’s hot surfaces. Okay. So Amelia A. Davis a passive damper when fully opened would Being Educational Atlanta count? But what is it when it is sealed, which I have been a potter for seven years now it is towards the end of firing? and am still very interested in learning tech­ More Subjectivity I have just, by the way, read the new edi­ niques and different ways to do things. All I use pottery as my therapy. It is very easy tion of Fred Olsen’s The Kiln Book. And he, the crap and criticism should be left to edi­ to forget a day filled with problems when too, makes assumptions that one knows more tions not interested in education. I enjoy Ce­ you look and act like a kid caught in a mud than one knows. Maybe one day you could ramics Monthly most when it has something puddle. Your sales quota and boss’s ridicu­ do a short illustrated piece with nitty-gritty to teach me. Old or new, it is still viable lous ideas seem to melt into oblivion as your labelings—like exactly what mouseholes and information. clay takes shape. trickbricks are. More basic, where is the flue Margie Dodds Let’s have more down-to-earth articles like measured? Olsen speaks of tapering the exit Omaha “Mud Pies” by Amber Hayward (October the gases take from the kiln into the chimney, 1986) and less “artiste” critiques. Keep the but where do you measure the flue? Where A long time ago a wonderful teacher showed articles by the “artistes” in, but be a little it leaves the kiln (bigger)? Where it enters her faith in me, a first-time “thrower,” by more subjective in selection. the chimney (smaller)? By the same token, giving me a subscription to Ceramics Month­ S. W. Guyette in correspondence once with Daniel Rhodes, ly. Times have changed drastically and still Mattoon, 111. I learned that no matter how tall your chim­ Continued January 1987 7 8 Ceramics Monthly Letters

I find each issue a “recentering experience,” a reminder of the things I love best. Marilyn B. Dale Warwick, N.Y. I think Ceramics Monthly needs to become more involved with the high school, colleges and other educational settings. Mike Levine Worcester, Mass. Visual Versus Verbal? I would like to see many more pictures and a lot fewer words—especially some how­ to articles on functional and salt-glazed ware. Also information on equipment would be useful. Shari Greenfield Belfast, Maine Readers’ Requests It would be very helpful if Ceramics Monthly had feature article space dedicated to new, less-experienced potters. Recom­ mendations of books for beginning potters would also be appreciated. John J. Murphy III Brighton, Mass. I enjoy the criticism in reviews and the resulting Letters to the Editor, as it makes me think. Please continue to publish things that are criticized by your readers, with the idea in mind that we may all think and reflect on our art/craft. Susan D. Hill Santa Fe Please print more practical articles on making it in the business world. Sharon Ware Moreno Valley, Calif. How about more on how artists/potters and potters/ceramic sculptors actually make their living? I know CM has already done some, but please continue. Maybe a little more detail, particularly on how they got started. Shirley M. Wall Harrison, Tenn. I particularly enjoy articles about potters around the world, especially in “less devel­ oped” areas. Please try to show more variety of style when highlighting individual potters and their work. I noticed CM has a tendency to concentrate on what is “avant-garde” and ignores many excellent potters and ceramic sculptors because their work is not of the “New York Style.” Let’s see what earthen­ ware potters are doing and not just in En­ glish-speaking countries. Gayle Prevatt Saint Augustine, Fla. 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. January 1987 9 10 Ceramics Monthly Itinerary conferences, tours, exhibitions, fairs, workshops and other events to attend

Send announcements of conferences, tours, exhi­ Michigan, KalamazooJanuary 8-February 15 the East Campus Gallery, Valencia Community bitions, juried fairs, workshops and other events at Chun Hak Oh, press-molded, inlaid and callig­ College. least two months before the month of opening to: raphy-decorated work; at the Kalamazoo Institute Florida, SarasotaJanuary 2-March 1 “The Paris The Editor, Ceramics Monthly, Box 12448, Co­ of Arts, 314 S. Park St. Style 1900: Art Nouveau Bing,” includes ceramics; lumbus, Ohio 43212; or call: (614) 488-8236. Add Nebraska, Omaha through January 11 Tony at the John and Mable Ringling Museum of Art. one month for listings in July and two months for Hepburn, “Cross Cultural Tracks”; at the New Georgia, Atlantathrough February 1 “The those in August. Gallery, 614 S. 11 St., Old Market. Burghley Porcelains,” 17th- and 18th-century New York, New Yorkthrough January 6 Keiko Japanese works from the Burghley collection; at Hasegawa, “Raku”; at Graham Gallery, 1014 the High Museum of Art, 1280 Peachtree St., NE. Conferences Madison Ave. Illinois, Chicagothrough January 5“Pattern and Rhode Island, Providencethrough January 5 Color, Surface to Form.” January 9-February 7 Hawaii, Oahu April 7-10 The “National Con­ Carden Holland Cerullo, “Of Hawk and Wiz­ “Chicago Inner View,” includes Marva Jolly, pit- vention of Craftspeople” will include seminars on ard...Sword and Knight,” mosaic murals depicting fired, large-scale vessels with narrative decoration; marketing techniques, insurance, financial plan­ Arthurian legends; at Bert Gallery, Biltmore Ho­ at Esther Saks Gallery, 311 W. Superior St. ning, workplace hazards, legal issues, computer tel. Illinois, EvanstonJanuary 11-February 22 “An software for craftspeople, etc. Fee: $100 per per­ Utah, Loganthrough January 11 Nicholas Bon­ Invitational Exhibition from the Lill Street Gal­ son; $150 for couples. Contact: The National Con­ ner, sculpture; at the Nora Eccles Harrison Mu­ lery”; at the Evanston Art Center, 2603 Sheridan vention of Craftspeople, c/o Joao and Holly, 111 seum of Art, Utah State University. Road. Liberty St., Petaluma, California 94952; or call: Illinois, Highland Parkthrough January 17 John Harvest Festival (800) 321-1213; or, within Cal­ Glick, “Viewpoints: Anagama/Porcelain/Stone- ifornia, (707) 778-6300. Group Exhibitions ware”; and Linda Shusterman, “Functional Work.” Louisiana, Baton RougeJanuary 30-February 1 Arizona, MesaJanuary 23-February 28 The “9th January 17-February 28 Stanley Mace Anderson, “Poetry & Professionalism: Crafts in the Post-In­ Annual Vahki Exhibition,” national juried com­ Rick Hensley, Michael Lambert and David Nel­ dustrial Age,” organized by the American Crafts petition of contemporary crafts; at Galeria Mesa, son, “Functional Ceramics”; at Martha Schneider Council/Southeast Region and the Louisiana Crafts 155 N. Center. Gallery, 2055 Green Bay Rd. Council, will include panel discussions and lec­ Arizona, ScottsdaleJanuary 1-30 A two-person Indiana, Indianapolisthrough January 10 “Gifts,” tures addressing the historical and contemporary exhibition with Beth Forer, nerikomi vessels; at functional and sculptural crafts; at the Indianap­ role of the craftsperson in society, professional and the Hand and the Spirit Gallery, 4222 N. Mar­ olis Art League’s Downtown Gallery, 110 W. aesthetic issues, marketing, etc.; plus workshops, shall Way. Washington St. exhibitions and commercial displays. Clay work­ Arizona, Tucsonthrough January 11 “Crafts January 27-March 22 “Ice and Green Clouds: shop leaders: Akio Takamori and Michael Simon. Showcase,” includes Suzi Barnes-Moore. January The Tradition of Chinese Celadon Wares”; at the Contact: Lynda Katz, 450 W. Bennett Rd., In­ 24-March 15 “Erni and Rose Cabat: A Tucson Indianapolis Museum of Art, 1200 W. 38 St. dependence, Louisiana 70443; or call: (504) 878- Tradition”; at the Upper Gallery, Tucson Mu­ Iowa, Ames through January 25 “Clay/Paper 6441. Or: Toni Bova, 644 Camellia, Baton Rouge seum of Art, 140 N. Main Ave. Show”; at the Octagon Center for the Arts, 427 70806; or call: (504) 344-7228. through January 18 Bill Berchou, Esmeralda De­ Douglas. Massachusetts, BostonFebruary 11-14 The an­ laney, Tom Hatton, Emily Carpenter Long and Louisiana, Baton RougeJanuary 30-February nual meeting of the College Art Association of Doug Schuneman, “Flights of Fancy”; at Obsidian 20 “Made in the Shade,” 19th annual Louisiana America will include sessions on art history and Gallery, 4340 N. Campbell Ave., Saint Philip’s Crafts Council juried exhibition; at Louisiana State studio art. A placement service is provided for Plaza, Suite 90. University. those interested in college teaching, art adminis­ California, Oakland through January 11 “Best Louisiana, HoumaJanuary 10-February 26 The tration and related fields. Contact: College Art As­ Picks,” an exhibition of work by four Bay Area “25th Anniversary Exhibition of the Louisiana sociation of America, 149 Madison Ave., New York, artists, includes Robert Brady, sculpture; at the Crafts Council”; at the Southdown Plantation/ New York 10016; or call: (212) 889-2113. Art Special Gallery, Oakland Museum, Tenth and Terrebonne Museum. New York, SyracuseApril 8-11 “Ceramics in the Oak Sts. Massachusetts, Worcester through January 7 Art World,” the 21st annual National Council on California, PomonaJanuary 5-29 “Ink & Clay “3 Central Massachusetts Artists,” includes a Education for the Ceramic Arts (NCECA) con­ XIV,” regional exhibition of works by California “Domestic Interiors” sculpture series by Heather ference, hosted by the Everson Museum and the artists; at ASI/University Union Gallery, Cali­ Sussman; at the Worcester Craft Center’s Gallery, Syracuse University School of Art, will include fornia State Polytechnic University. 25 Sagamore Rd. exhibitions, workshops, panel discussions, slide California, San Diegothrough January 10 “In­ Michigan, Ann ArborJanuary 12-April 3 lectures, etc., plus social events. Participants will terior: The Home—Exterior: The Landscape,” in­ “Michigan Ceramics ’87”; at Selo-Shevel Gallery, include artists, gallery dealers, critics, collectors cludes Sandy Brown, colored dinnerware; Steph­ 329 S. Main St. and museum professionals. Contact: Ronald A. anie DeLange, slip-cast porcelain; Thom Hatton, Michigan, Detroit< January 10-February 21 “Cel­ Kuchta, Everson Museum of Art, 401 Harrison casseroles and teapots; Michael Lamar, ceramic ebrating Craft,” includes Bennett Bean, Annette St., Syracuse 13202; or call: (315) 474-6064. and mixed-media sculpture; Les Lawrence, plates Corcoran, Washington Ledesma, Jan Richardson, and sculpture; and Beverly Saito, sculpture; at Wita Susanne Stephenson and Kurt Weiser; at the De­ Tours Gardiner Gallery, 535 Fourth Ave. troit Gallery of Contemporary Crafts, 301 Fisher California, San Franciscothrough June 28 “Ital­ B1 England, Stoke-on-TrentMay 11-26 “The ian Maiolica from the Arthur M. Sackler Collec­ Missouri,^' Saint LouisJanuary 4-24 “Mid-Amer­ Treasures of English Pottery” includes visits to tion,” works from the 15th through 18th centuries; ica Arts Alliance National Endowment for the Art nine potters’ studios, museums, galleries and craft at the California Palace of the Legion of Honor, Fellowship Winners,” includes ceramics; at Craft shops. Up to 20 participants. Fee: $2195. $300 Lincoln Park. Alliance gallery, 6640 Delmar Blvd. deposit due by February 15. Contact: Audrey California, Santa Anathrough March 1 “Colom­ January 11-February 14 Robert Archambeau, Rossman and Shirley Freed, Greater Lafayette bia before Columbus,” approximately 250 ceramic Larry Davidson, Tam Irving, Bruce Cochrane, Museum of Art, 101 S. Ninth St., Lafayette, In­ objects dating from 2000 B.C.; at the Bowers Mu­ Wayne Ngan, Walter Ostrom and John Reeve, diana 47901; or call: (317) 742-1128. seum, 2002 N. Main St. “Canadian Potters”; at Pro Art, 5595 Pershing. D.C., Washingtonthrough May 1 “Earth Views,” New Jersey, Newarkthrough January 25 “Re­ Solo Exhibitions a national competition of artists’ interpretations of cent Acquisitions: Decorative Arts.” through Jan­ California, La JollaJanuary 9-February 7 Ken- the world seen from above; at the National Air uary 31 “Coptic Art of Ancient Egypt: Treasures ichi Saito, “Noborigama”; at the Crafts Center, and Space Museum. from the Nadler Collection and the Newark Mu­ Grove Gallery, University of California. January 25-May 17 “The Age of Sultan Suleyman seum,” includes terra cottas; at the Newark Mu­ California, Oakland January 17-March 15 the Magnificent,” includes tiles and ceramics; at seum, 49 Washington St. “Robert Arneson: A Retrospective”; at the Oak­ the National Gallery of Art, Fourth St. at Con­ New Jersey, Tenaflythrough January 7 “Collec­ land Museum, Tenth and Oak St. stitution Ave., NW. tor’s Christmas,” includes ceramics; at America Hawaii, VolcanoJanuary 11-February 1 Rima Florida, Hollywoodthrough January 25 “Com­ House, 24 Washington Ave. Greenland, “Volcanic Views in Clay and Lava,” munity Art Alliance Annual Exhibition”; at the New Jersey, Trentonthrough January 11 “New sculpture and vessels; at the Volcano Art Center, Hollywood Art and Culture Center, 1301 S. Ocean Jersey Arts Annual: Clay, Metal, Fiber”; at the Hawaii Volcanoes National Park. Drive. New Jersey State Museum, 205 W. State St. Illinois, ChampaignJanuary 24-March 1 “Rob­ Florida, North Miamithrough January 22 “Miami New Mexico, Santa FeJanuary 9-February 14 ert Turner: A Potter’s Retrospective”; at the Kran- Hands On”; at the North Miami Museum and “Women of Sweetgrass, Cedar and Sage,” Native nert Art Museum, University of Illinois, 500 E. Art Center, 12340 N.E. Eighth Ave. American women artists’ work; at the Wheel­ Peabody. Florida, Orlando January 19-February 27 wright Museum of the American Indian, 700 Iowa, Cedar RapidsJanuary 9-February 10 John “Craftwork: A Southern Tradition”; at the West Camino Lejo. Gradoville, wall and freestanding sculpture; at Coe Campus Gallery. January 30-March 13 The “36th New York, Brooklynthrough June 29 “Magic in College Galleries, First Ave., NE. Annual Florida Craftsmen Juried Exhibition”; at Continued January 1987 11 12 Ceramics Monthly D.C., WashingtonJanuary 18 A lecture with Vik­ Itinerary tor Schreckengost. Contact: James Renwick Col­ lectors Alliance, 5240 Nebraska Ave., NW, Wash­ Miniature: Ancient Egyptian Scarabs, Seals and ington 20015; or call: (202) 686-5262. Amulets,” includes faience objects; at the Brooklyn Florida, OrlandoJanuary 31 A session with Rob­ Museum, 200 Eastern Pkwy. ert Sperry at the 36th Annual Florida Craftsmen New York, New Yorkthrough January 11 “In Conference at the Valencia Community College. Pursuit of Beauty: Americans and the Aesthetic Contact: Ellen Patton, Florida Craftsmen Con­ Movement,” works of American artists, designers, ference, 1601 Orlando Ave., Longwood, Florida craftspeople and decorators from the mid 1870s 32750. through the mid 1880s, includes ceramics and tiles; Illinois, EdwardsvilleJanuary 20-24 FLon Mey­ at the American Wing, Metropolitan Museum of ers, slide lecture and demonstrations on throwing Art, Fifth Ave. and decorating. Open to the public. Contact: through March 22 “Craft Today: Poetry of the Southern Illinois University at Edwardsville, De­ Physical,” opening exhibition of the new American partment of Art, Edwardsville 62026; or call: (618) Craft Museum facility; at 40 W. 53 St. 692-3146. January 13-30 “Rhode Island School of Design Maryland, BaltimoreJanuary 26-30 A hands- Graduate Students’ Exhibition”; at Greenwich on session with Tom Coleman. Fee: $200. Live- House Pottery, 16 Jones St. in accommodations available. Contact: Baltimore New York, Staten Islandthrough June 30 “Ce­ Clay works Education Center, 5706 Smith Ave., ramics at the Crossroads: American Pottery at New Baltimore 21209; or call: (301) 578-1919. York’s Gateway 1750-1900,” approximately 150 Michigan, KalamazooJanuary 24 Chun Hak Oh, stoneware and redware objects; at the Staten Is­ slide lecture and demonstration on clay inlay, press land Historical Society, 441 Clarke Ave. molds and Korean techniques. Fee: $5. Contact: Ohio, Cincinnati through January 18 “Ebla to Tom Kendall, Kalamazoo Institute of Arts, 314 S. Damascus: Art and Archaeology of Ancient Syria”; Park St., Kalamazoo 49007; or call: (616) 349- at the Cincinnati Art Museum, Eden Park. 7775. Oregon, PortlandJanuary 18-February 14 “Col­ New York, New YorkFebruary 2-6 Cynthia lectors Exhibition,” Northwest collections of art in Bringle, a hands-on intensive workshop on pottery, craft media; at Contemporary Crafts Gallery, 3934 plus slide lecture. Contact: Janet Bryant, 92nd S.W. Corbett Ave. Street Y, 1395 Lexington Ave., New York 10128; Oregon, SalemJanuary 15-February 22 “Oregon or call: (212) 427-6000, ext. 172. Arts Commission Fellowship Recipient Exhibit,” North Carolina, Winston-SalemFebruary includes Debra Norby, Richard Notkin and Geof­ 28-March 1 Tom Turner, slide lecture, demon­ frey Pagan; at the A.N. Bush Gallery, Salem Art stration and a hands-on workshop on glazing. Fee: Association, 600 Mission St., SE. $60. Contact: The Sawtooth Center for Visual De­ Pennsylvania, Pittsburghthrough February 1 sign, 226 N. Marshall St., Winston-Salem 27101; “Contemporary Crafts: A Concept in Flux,” in­ or call: (919) 723-7395. cludes work by Mark Burns, Anne Currier, Ruth Oregon, PortlandJanuary 24-25 Ronna Duckworth, Wayne Higby, Rudolf Staffel, Liza- Neuenschwander, “Mold Making and Ceramic Slip beth Stewart and Paula Winokur; at the Society Casting,” demonstration and hands-on workshop. for Art in Crafts, 2100 Smallman St. Fee: $56; nonmembers $62. February 7 Fran Strom, January 10-February 22 “Baskets: Clay”; at the “Sumi Brush for Western Scribes.” Fee: $26; non­ Clay Place, 5600 Walnut Street. members $29. Contact: Oregon School of Arts and South Carolina, ClemsonJanuary 7-26 “Orna­ Crafts, 8245 S.W Barnes Rd., Portland 97225; or mental Architecture Reborn: A New Terra Cotta call: (503) 297-5544. Vocabulary,” a review of historical and contem­ porary uses of ornamental terra cotta, plus in­ dustrially produced examples of the winning de­ International Events signs from a national competition; at the Rudolph Belgium, Strombeek-BeeverJanuary 9-25 “In­ E. Lee Gallery, College of Architecture, Clemson ternational Exhibition of Ceramic Art from the University. Netherlands, Belgium and Holland”; at Cultureel Tennessee, Gatlinburgthrough January 24 “Space: Centrum Strombeek-Bever, Gemeentelpein. New Form, New Function,” national juried ex­ Canada, Alberta, EdmontonJanuary 31-March hibition; at the Arrowmont School of Arts and 7 Kirsten Abrahamson, Pat Matheson, Shirley Ri­ Crafts. mer and Garry Williams, “Another Roadside At­ Washington, BellevueJanuary 16-February 22 traction,” traveling exhibition of work by Alberta Three clay exhibitions, “Noritake Art Deco Por­ ceramists; at Beaver House Gallery, 10158 103 St. celains,” “New Vistas: American Art Pottery” and Canada, Alberta, Fort McMurrayJanuary 2-23 “Howard Kottler: Clay Art 1984-1986”; at the “Another Roadside Attraction,” traveling exhibi­ Bellevue Art Museum, 301 Bellevue Square. tion of work by Alberta ceramists: Kirsten Abra­ Wisconsin, SuperiorJanuary 26-February 13 Bob hamson, Pat Matheson, Shirley Rimer and Garry and Cheryl Husby; at the Kruk Gallery, Univer­ Williams; at Fort McMurray Public Library, 9907 sity of Wisconsin. Franklin Ave. Canada, Ontario, Torontothrough January 12 “A Taste of Elegance,” 18th-century porcelain from Workshops private collections in Ontario; at the George R. Alabama, MontevalloFebruary 27-28 Don Reitz, Gardiner Museum of Ceramics, 111 Queen’s Park. demonstration, slide show and panel discussion, in Canada, Quebec, Montreal through January 5 conjunction with the “Alabama Clay Conference “Christmas Fair”; at the Centre des Arts Visuels, II.” Fee: $35; $25 for students. For further infor­ 350, avenue Victoria. mation contact: Ted Metz, Art Department, Uni­ France, Hazebrouckthrough February 2 “Glazed versity of Montevallo, Montevallo 35115; or call: Pottery from the 17th through the 19th Centuries”; (205) 665-6400. at the Musee Municipal, Place Georges Degroote. California, SunnyvaleJanuary 24 Catharine France, Le Cateau January 24-March 30 “From Hiersoux, pottery demonstration on throwing, the Second Empire through Art Nouveau, Ceram­ decorating large platters and two-piece works, plus ic Creation,” traveling exhibition of treasures from slide show and discussions on design and market­ the northern Museums; at the Musee Matisse, ing. Fee: $16. Contact: Libby Page, Sunnyvale Parks Palace Fenelon, Cambresis Nord. and Recreation Department, Box 3707, Sunnyvale France, Lille January 10-March 30 “French Por­ 94086; or call: (408) 730-7343. celain from the XVIII Century,” traveling exhi­ Connecticut, GuilfordFebruary 7-16 Chris Clark, bition of treasures from the northern museums; at “Salt Firing.” Fee: $66 plus materials. “Pit Fir­ the Musee des Beaux Arts de Lille, Place de la ing.” Fee: $44 plus materials. Contact: Guilford Republique, Lille Nord. Handcrafts, Box 221, Guilford 06437; or call: (203) France, Paris January 8-12 “International Arts 453-5947. and Gifts Show”; at the Porte de Versailles. Connecticut, MiddletownFebruary 1 Elsbeth France, Saint-Amand-les-Eaux through January Woody, “Handbuilding on a Large Scale.” Fee: 12 “From the Second Empire through Art Nou­ $40. Contact: Wesleyan Potters, 350 S. Main St., veau, Ceramic Creation”; at the Musee Munici­ Middletown 06457; or call: (203) 347-5925. pal, Tour Abbatiale, Grand-Place. January 1987 13 14 Ceramics Monthly Suggestions from our readers Cool Peephole Plugs Cone-shaped pieces of ceramic fiber insulation make unbreakable peephole plugs for kilns. They also remain cool to the touch, if made long enough to extend 3-4 inches beyond the hole. Form a fiber plug by rolling a triangular piece of ½-inch-thick insulating blanket, and fasten it together with heat resistant wire

or fiber cement. Rigidizer liquid may be applied to the plug to prevent chafing and wear. — John Eckert, Saint Petersburg, Fla. Rinse-Free Tools! When using a plastic scoop or ladle while glazing, you can nearly eliminate rinsing the tool by spraying it with silicone mold release. Glaze will not adhere, so the scoop can be dunked in a series of buckets without worry of contaminating a batch. —James W. Jahoda, Bemidji, Minn. Plaster and Glaze Foam Retardant To reduce bubbles and “foam” when mixing plaster, add a few drops of kerosene for every pound of plaster added to the water. The kerosene acts to reduce the water surface tension so that bubbles pop quicker and surface foam is minimized. There is little effect on the setting time or plaster strength. Small amounts of kerosene also work as a defoamer and bacterial retardant in glaze mixtures. —Jerry Weinstein, Newark, Del. Transferring Designs A simple way to transfer images onto a smooth clay surface is to draw your design onto tracing paper. Then, with a free-flowing, felt-tip pen, go over the outline on the reverse side. When you are ready, just press the inked side of the paper down firmly onto the slightly damp clay surface, and the ink will come off cleanly and clearly. You can keep going over the original drawing, or prepare as many transfers as you need in advance. You can then brush on oxides, use ceramic pens, sgraffito or inlay—the possibilties are endless. With this method, we repeated a caricature of ourselves in luster on some recent promotional items. —Susan Bennett and Earl Hyde> London Packing Fragile Ware An excellent packing medium for thin pots or exceptionally fragile ware is 0.3-mil plastic drop cloths, purchased at paint, hardware or drugstores. When cut and unfolded, the plastic is so soft and pliable, it fills the spaces often missed with Styrofoam peanuts or plastic bubble wrap. Simply fill the box with plastic and nestle objects down into it, making sure they are well cushioned below and above. I send all of my paper-thin porcelain vessels this way and have never had a piece broken in transit. —Joann Spamer, McLean, Va. Dollars for Your Ideas Ceramics Monthly pays $10 for each suggestion published; submis­ sions are welcome individually or in quantity. Include an illustration or photo to accompany your suggestion and we will pay $10 more if we use it. Send your ideas to CM, Box 12448Columbus, Ohio 43212. Sorry, but we can’t acknowledge or return unused items. January 1987 15 16 Ceramics Monthly Questions Answered by the CM Technical Staff Q Can you provide some suggestions for developing low-fire, re­ duced, luster glazes? I would like to do some experiments and come up with some recipes of my own.—D.T. Robin Hopper, in his book on glaze and color development, The Ceramic Spectrum, recommends starting with any of a variety of overglaze enamel or raku base glazes, “...particularly those which are high in alkaline materials. Add 1-3% of any silver or copper compound to the base glaze. Bismuth subnitrate at 1% may also help. The glaze is fired to its maturing temperature in an oxidizing atmosphere, and left to cool to approximately 650-750°C [1200-1350°F], at which point the kiln is reignited and held at the same temperature, with a heavy reduction, for between 30 and 90 minutes. The resulting sheen is likely to have many variations, and is difficult to repeat. This type of luster can also be created by removing the piece from the hot kiln and placing it into some com­ bustible material to get a postfiring reduction, as in raku.” Q Vve seen a number of recipes for high-expansion glazes which produce crackles on cooling, but I am interested in locating some low-expansion clay bodies that will produce crackled surfaces from the glazes I am already using. Of special interest would be white or near-white recipes in order to show color well. I am currently firing both earthenware and Cone 6 electric-fired stoneware. Td also like to know how two-color crackle glazing is achieved. I’ve seen historical examples with a large crackle pattern stain in one color and a small crackle pattern stain in another. How did they do that?—R.S. The following are two low-expansion clay bodies that suit your requirements: WHITE EARTHENWARE (Cone 015-06) Talc...... 34% Gerstley Borate...... 5 Bentonite...... 3 Kentucky Ball Clay (OM 4)...... 58 100% WHITE MIDRANGE STONEWARE (Cone 02-6) Talc...... 39% Bentonite...... 3 Kentucky Ball Clay (OM 4)...... 58 100% Both these recipes are suitable for throwing or handbuilding, and are relatively trouble free for drying and firing. Test some samples with your own glazes to see if you like the crackle produced. As to the process of “double crackle,” pots fresh from the kiln are rubbed with oxides and stains, sometimes milled together with frit for a more fused color, then refired, fusing the stain in the large crackle pattern. Work from this firing may simply be left to stand for a period of time until new crackles naturally form, or if this second firing is cooled quickly, another level of finer crackling can be encouraged. Thereafter, a second color of oxide or stain ground together with frit is rubbed over the surface into the new crackle lines and the piece refired. It is possible to encourage the second or even third crackling by quenching relatively hot ware in cold water, but on refiring, such ware must be completely dry, and the quenching must not be sufficient to structurally harm the body, which would then crack through during refiring. Experimenting with these processes can lead to some extremely handsome, classical ware with a great deal of potential in the contemporary marketplace. Subscribers’ inquiries are welcome and those of general interest will be answered in this column. Due to volume, letters may not be answered personally. Send questions to: Technical Staff, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. January 1987 17

January 1987 19

Where to Show exhibitions, fairs, festivals and sales

Send announcements of juried exhibitions, fairs, $15 for up to 3 entries. Contact: Ann Hunter, 2202 Maryland Crafts Festival” (October 16-18) is ju­ festivals and sales at least four months before the Harrison, Wichita Falls 76308. ried from 4 slides. Fee: $250. Send 66^ in stamps entry deadline to: The Editor, Ceramics Monthly, January 31 entry deadline to: Deann Verdier, Sugarloaf Mountain Works, Box 12448, Columbus, Ohio 43212; or call: (614) Las Cruces, New Mexico “From the Ground 20251 Century Blvd., Germantown, Maryland 488-8236. Add one month for listings in July and Up VI” (February 5-21) is open to residents of 20874; or call: (301) 540-0900. two months for those in August. Arizona, New Mexico and Texas. Juried from up Manassas, Virginia The “7th Annual Virginia to 3 works. Awards. Send SASE to: Jan Archey, Crafts Festival” (September 18-20) is juried from 4140 Senna Dr., Las Cruces 88001; or call: (505) 4 slides. Fees: $ 150—$250. Send 66 i in stamps to: 522-3765. Deann Verdier, Sugarloaf Mountain Works, 20251 International Exhibitions February 1 entry deadline Century Blvd., Germantown, Maryland 20874; or January 22 entry deadline Chapel Hill, North Carolina “In Pursuit of Ex­ call: (301) 540-0900. Zagreb, Yugoslavia “II World Triennial Exhi­ cellence” (April 2-26) is open to residents of Flor­ January 30 entry deadline bition of Small Ceramics/Zagreb” (June ida, Georgia, North Carolina, South Carolina and New York, New York “Fourth Annual Autumn 21-September 13) is juried from 1 work with di­ Virginia. Juried from slides. Juror: Joseph Shan­ Crafts Festival” (August 29-30, September 5-7 mensions not to exceed 6 inches in any direction. non. Awards. Contact: Center Gallery, Box 897, and 12-13) is juried from 5 slides. Entry fee: $8. Send a black-and-white photograph and a resume. Chapel Hill 27514. Booth fee: $285 for each 2-day weekend; $315 for Awards. Fee: $40. Deadline for works: February Huntington, West Virginia “Exhibition 280: the 3-day weekend. For further information send 17. Contact: ULUPUH, Starcevicev trg 6/2, 41000 Works off Walls” (March 8-April 5) is open to SASE to: Brenda Brigham, American Concern for Zagreb; or call: (38 41) 440-639. artists living within a 280-mile radius of Hun­ Artistry and Craftsmanship, Box 650, Montclair, February 28 entry deadline tington. Work should be freestanding or capable New Jersey 07042. Faenza, Italy The “45th International Com­ of being suspended from a ceiling. Juried from New York, New York “The 11th Annual Amer­ petition of Artistic Ceramics” (July 18—October works. Jurors: Dan Dailey, Theo Portnoy and Sarah ican Crafts Festival” (July 4-5 and 11-12) is ju­ 4) is juried from up to 3 works, plus a slide/photo Rogers-Lafferty. $7000 in awards. Contact: 280 ried from 5 slides. Entry fee: $8. Booth fees: of each, technical description and a resume. April Coordinator, Huntington Galleries, 2033 McCoy $280-$320 per weekend. Send SASE to: Brenda 11 entry deadline for works. Awards: “Premio Rd., Huntington 25701; or call: (304) 529-2701. Brigham, American Concern for Artistry and Faenza” (approximately $3800 and a solo exhi­ February 16 entry deadline Craftsmanship, Box 650, Montclair, New Jersey bition); 7 purchase awards and honor prizes. Con­ Chicago, Illinois “Chicago Vicinity Clay VI” 07042. tact: Concorso Internazionale della Ceramica d’Arte, (May 8-June 14) is open to artists residing within February 1 entry deadline Palazzo Mazzolani, Corso Mazzini 93, Faenza; or a 250-mile radius of Chicago. Juried from up to Evansville, Indiana “Ohio River Arts Festival— call: 0546/28664. 2 works. Fee: $15. Send SASE to: CVC VI, Lill Arts on the Walkway” (May 9-10) is juried from March 7 entry deadline Street Gallery, 430 W. Erie, 2W, Chicago 60610; 3 slides. $1500 in awards. Entry fee: $10; booth Los Angeles, California “Artists’ Liaison” (first or call: (312) 649-1777. fee: $50 for a 10x12-foot space. Contact: Carol D. exhibition, June 1-30) competition and marketing February 24 entry deadline Gottliebsen, Evansville Arts & Education Council, service is open to residents of the U.S.A. and Can­ Belleair, Florida “Contemporary Crafts South­ 16½ S.E. Second St., Suite 210, Evansville 47708; ada. $7500 in awards. Juried from 3 slides min­ east” (April 25-May 31) is open to artists of Al­ or call: (812) 422-2111. imum. Fee: $6 per slide. For further information abama, Washington, D.C., Florida, Georgia, Ken­ Frederick, Maryland The “13th Annual Fred­ send SASE to: Artists’ Liaison, 1341 Ocean Ave., tucky, Louisiana, Mississippi, North Carolina, erick Craft Fair” (May 15-17) is juried from 5 #61, Santa Monica, California 90401; or call: (213) South Carolina, Tennessee and Virginia. Juried slides. Entry fee: $10. Booth fees: $ 185—$285. 399-9306. from slides. Juror: John Perrault. Awards. Con­ Contact: Noel Clark, National Crafts Ltd., Gap- tact: Florida Gulf Coast Art Center, 222 Ponce de land, Maryland 21736; or call: (301) 432-8438. Leon Blvd., Belleair 33516; or call: (813) 584- Asheville, North Carolina The eighth annual National Exhibitions 8634. “Winterfest Art & Craft Show” (February 12-14) January 23 entry deadline March 1 entry deadline is juried from slides or photos. Fee: $120; non­ Conway, Arkansas “Small Ceramics National” Albuquerque, New Mexico “Clay in ’87” (June members $135. Send legal-size SASE to: Betty Kdan, (March 16-April 8) is juried from slides. Juror: 5-July 26) is open to artists from Arizona, Col­ High Country Crafters, 29 Haywood St., Ashe­ Don Reitz. Entry fee: $15 for 2 entries. Send SASE orado, New Mexico, Oklahoma, Texas and Utah. ville 28801; or call: (704) 254-0072. to: Helen Phillips, Box 1724, Art Department, Juried from slides. Juror: Wayne Higby. $2000 in February 6 entry deadline University of Central Arkansas, Conway 72032. awards. Contact: Ilena Grayson, 1211 Marigold Boynton Beach, Florida “Boynton’s G.A.L.A. January 31 entry deadline Dr., NE, Albuquerque 87122. (Great American Love Affair)” (March 6-8) is Philadelphia, Pennsylvania Three solo exhibi­ March 15 entry deadline juried from 3 slides, 1 of display. Awards. Fee: tions (first exhibition November 7-28) are juried Boulder, Colorado “Handworks Annual Com­ $65. Contact: Boynton’s G.A.L.A., Box 232, from 5 to 8 slides and a resume. Jurors: Nick petition and Exhibition” (May 1-June 1) is open Boynton Beach 33425; or call: (305) 734-8120, Kripal, Kirk Mangus and Penny Smith. Fee: $15. to artists from the Mountain Zone Time region. ext. 432. Contact: The Clay Studio, 49 N. Third St., Phil­ Juried from 3 slides each of up to 2 entries. Awards. February 7 entry deadline adelphia 19106; or call: (215) 925-3454. Fee: $10 per entry. Send SASE to: Handworks, 1115 Farmington, Connecticut “The Summer Crafts March 1 entry deadline Pearl St., Boulder 80302; or call: (303) 449-2787. Fair” (June 20-21) is juried from 5 slides. Entry Richmond, Virginia “Color & Clay” (August fee: $10. Booth fees: $135-$225. For further in­ 27-September 30, then touring through September formation contact: Brian J. McCartney, Mil Pro­ 1988) is juried from 3 slides. Juror: MaryAnn Fairs, Festivals and Sales ductions, Box 938, Vernon, Connecticut 06066; or Fariello. Fee: $10. Send SASE to: MaryAnn Far- January 12 entry deadline call: (203) 745-5071. iello, c/o HandWorkshop, 1812 W. Main St., Gaithersburg, Maryland The “12th Annual February 10 entry deadline Richmond 23220. Spring Arts and Crafts Fair” (April 10-22) is ju­ Baton Rouge, Louisiana The 14th annual “Fest March 15 entry deadline ried from 4 slides. Fees: $150-$225. Send 66^ in for All” (May 23-24) is juried from 6 slides. Entry Goldsboro, North Carolina “Goldsboro’s 8th stamps to: Deann Verdier, Sugarloaf Mountain fee: $10. Booth fee: $110 for a lOxlO-foot space. Annual Juried Art Competition” (March 20-April Works, 20251 Century Blvd., Germantown, Contact: Richard Sabino, River City Festivals As­ 17) is juried from works. $5000 in awards. Fee: Maryland 20874; or call: (301) 540-0900. sociation, 427 Laurel St., Baton Rouge 70801; or $12 for 2 entries. Contact: Community Arts Coun­ Gaithersburg, Maryland The “12th Annual Au­ call: (504) 344-3328. cil, 901 E. Ash St., Goldsboro 27530; or call: (919) tumn Crafts Festival” (November 20-22) is juried February 14 entry deadline 736-3300. from 4 slides. Fees: $175—$250. Send 66^ in stamps Worcester, Massachusetts The Worcester Craft March 23 entry deadline to: Deann Verdier, Sugarloaf Mountain Works, Center’s “17th Annual Craft Fair” (May 15-17) Easton, Maryland The “23rd Annual Juried 20251 Century Blvd., Germantown, Maryland is juried from 5 slides. Entry fee: $15. Booth fees: Show” (May 21-June 25) is juried from slides. 20874; or call: (301) 540-0900. $140-$170. Contact: Craft Fair Registrar, Juror: William Olander. Awards. Contact: 23rd Gaithersburg, Maryland The “10th Annual Worcester Craft Center, 25 Sagamore Rd., Annual Juried Show Prospectus, Academy of the Winter Crafts Festival” (December 11-13) is ju­ Worcester 01605; or call: (617) 753-8183. Arts, Box 605, Easton 21601; or call: (301) 822- ried from 4 slides. Fees: $ 150—$250. Send 66^ in February 15 entry deadline 0455. stamps to: Deann Verdier, Sugarloaf Mountain Indianapolis, Indiana The 17th annual “Broad Works, 20251 Century Blvd., Germantown, Ripple Village Art Fair” (May 16-17) is juried Maryland 20874; or call: (301) 540-0900. from 3 slides. Fee: $40 for a 15x15-foot space. Regional Exhibitions Timonium, Maryland The “10th Annual Spring Contact: Marge Beal, Indianapolis Art League, January 19 entry deadline Crafts Festival” (May 1-3) is juried from 4 slides. 820 E. 67 St., Indianapolis 46220; or call: (317) Wichita Falls, Texas “Works in Clay V” (March Fee: $200. Send 66^ in stamps to: Deann Verdier, 255-2464. 20-April 16) is open to residents of Louisiana, 20251 Century Blvd., Germantown, Maryland Ann Arbor, Michigan The 28th annual “Ann New Mexico, Oklahoma and Texas. Juried from 20874; or call: (301) 540-0900. Arbor Street Art Fair” (July 22-25) is juried from slides. Juror: Mary Jane Edwards. Awards. Fee: Timonium, Maryland The “11th Annual Please Turn to Page 60 January 1987 21 22 CERAMICS MONTHLY Comment The Death of Ernest Kunst by Brad Sondahi

It was one of those posh midtown gal­ know no English, handed me the bucket leries. A potter, Ernest Kunst, lay and took off down a busy sidestreet. I sprawled on the floor. Who or what had realized he had given me the slip! “Cone killed him? Homicide division was on 10 White Slip,” the bucket read. the case. On a hunch, I made my way to the As I walked into the immaculate gal­ waterfront, where Japanese teahouses lery, a couple of well-heeled art patrons litter the wharves. I knew this was it stood gawking at the lifeless heap: “What when I found two beat-up pickup trucks do you say, dear? Maybe we could fit it parked outside a teahouse. Each had at the end of the coffee table in the bumperstickers—one read “Potters do it knickknack room...” in the mud”; and the other “Stoned on “If you want to take it home, you can stoneware.” keep it in your den.” Peering through the window, I saw I dutifully informed them it was not the arcane rituals of the Japanese tea modern art but modern tragedy before ceremony, and overheard the one I their eyes. They seemed relieved. thought might be the Leech saying to Inspecting the body, I observed a neatly Hamada: “Do you use EPK?” dressed, plumping, middle-aged man with I’d heard enough. Kicking open the clay on his shoes. Why can’t they ever door, I flashed my badge and gun, and wipe their feet? A knife was stuck said: “All right, quit discussing your fa­ (through a newspaper clipping criticiz­ vorite drugs and start talking about Er­ ing his latest show) into his back. To me nest Kunst!” it seemed an obvious red herring. Mod­ The Leech responded: “Kunst, Kunst. ern artists are too tough to die from stuff The name rings a bell.” like that. Hamada retorted in perfect English: Still, bad press might implicate the “I believe he was your apprentice, old gallery. The owner was ready to talk. chap.” Looking at the review, she said: “Yes, I “Ah yes, a very serious young fellow. read it. Where do they hire those beasts? Decent worker. I couldn’t tell you more It wasn’t even Ernest Kunst’s show. I than that.” don’t give shows for functional potters. Another dead end! Leaving the watery He was really just my lotion pump and tea district, I decided to try a new angle. potpourri potter.” Kunst’s parents lived in the city; I thought I had to ask what she meant by that. maybe I could get a lead from them. “Oh, you know. He wholesaled some The Kunsts refused to believe Ernest pots with pumps and others as con­ was dead. “In an art gallery? Oh come tainers for that stuff that fills the room on. It was probably just a performance with fragrance.” piece. Let us show you some of his work,” “Sure,” I said. “Did he have any friends they said, throwing open a closet. or enemies?” I saw pot after pot lining the walls. “Well, he was always talking about “This was his first teapot,” said his mother someone named Hamada, and another proudly. fellow called ‘the Leech.’” “But the spout goes horizontally from I mulled this over as I gave the body the bottom,” I said. “It wouldn’t hold a another quick check. If this guy hung drop.” around with friends with nicknames like “Ernest wasn’t always bound by func­ the Leech, he could easily have under­ tionality. Look at his college senior din- world ties. Just then I noticed a wet gray nerset.” trail leading away from the body out the “It looks like the food would slide off. front door. I’ve never seen plates where the edges “Hey!” shouted the gallery owner. fold down.” “There goes one of his friends now.” “He also made a series of interesting, I dashed out the door, following the nonfunctional ashtrays... ” gray trail to a leaky bucket carried by I laughed, “He must’ve kept you an Asiatic person I assumed to be Ha­ amused.” mada. When stopped, he pretended to Please Turn to Page 80 January 1987 23 Veme Funk: The Dance by Elizabeth Skidmore Sasser

Funk acknowledged. Casts from shoes Texas Tech Museum was recently the and boots, picked up at secondhand stores scene of a dance where faculty artist Verne and garage sales, were also altered to Funk’s life-sized ceramic couples clung avoid repetition of styles. to one another to the sounds of the big After firing to Cone 04, the figures band era. Each of the six couples rep­ were surfaced with gesso or epoxy resin. resented a popular beat and interpre­ Funk likes the epoxy “because it really tations of human types subtly spiked with soaks into the clay. The reason for un­ sardonic humor. dercoating is to keep the clay from ab­ The figures ranged in height from 6 sorbing paint which will be applied. In feet to the 7¾ feet assigned to a ceramic addition to painting color directly on the pair of tall Texans. Constructed from figure, I may use a staining technique slabs of a 50:50 talc/ball clay body, most where oil paint is rubbed into the fired were made in four segments. Dividing ‘ground.’ The treatment is dictated by the figures into sections, Funk ex­ the kind of surface effect wanted. There plained, was a matter of necessity. “I is too much happening on the surface to thought how am I going to fire these? I develop a high gloss. A shiny or reflec­ have electric kilns that are not large tive appearance would tend to distort or enough for huge pieces—so I split them eliminate some of the detail.” By finish­ into parts that could be fired easily. It ing the surfaces with a sprayed fixative, turned out to be a good thing, because Funk controls the amount of sheen. “I I could also move them more easily. An can go very glossy or get less shine. In­ entire figure would be difficult to carry stead of building a heavy coat with the or pack for shipping. An owner could first spraying, I can exercise better con­ change a sculpture’s location without any trol by applying a number of coats.” special hardship, too.” The sections have Each clay couple was exhibited on a “flanges like those on covered jars” and square constructed of black-and-white are held together with florist putty. “The tile, inlaid vinyl or parqueted wood. A putty is so sticky,” Funk explained, “it mirrored ball turning overhead cast a takes two people to separate the pieces— rainbow of sparkles onto the dimly lit one to hold and one to wiggle the parts dance floor. loose.” At first the artist constructed sections Right “Tango” 72 inches in height, 50:50 freehand, then he tried cardboard shapes, talc/ball clay slabs formed over wire mesh, but that didn’t work well. Finally, the assembled with cast heads, hands and feet, curved forms were slab built over wire wire removed, then the work is fired to mesh. The slabs placed around the wire Cone 04, brushed and rubbed with oil forms “are only about ¾ inch thick,” said paints, then sprayed with a fixative. Funk. “The thinness cuts down on the weight and prevents cracking as I bend Center "High Jazz,” 71 inches in height, the clay about the short curve.” slab-built and cast, oil painted. Heads, hands and feet were cast and Far right “String of Pearls,” low-fire clay altered. Funk often used his wife’s hands with oil paints, 71 inches in height; from or those of friends as models. Two of “The Dance,” a ballroom installation by the heads of the male dancers are self- Verne Funk at Texas Tech University portraits. “I do a lot of plastic surgery,” Museum in Lubbock. 24 CERAMICS MONTHLY January 1987 25

Photos: courtesy of Jessica Danraby Gallery A Studio in Manhattan

Ever daydream of a studio of your own in Manhattan? Here’s a prototype to whet your appetite. land, where he studied ceramics at art was no front to the storefront. With little Manhattan is not an easy place for busi­ school and worked as a production pot­ money and a lot of ingenuity, Frank and nesses to survive, especially with esca­ ter, studio manager and teacher. Five some friends had the space ready to open lating rents from the real estate boom. years ago, he came to New York to visit for business in three months. However, Mugi Studio on the Upper a friend, and stayed. Sally Rothchild is from Minnesota and West Side of Manhattan is not only sur­ After working in the city for a year, came to New York via Bennington Col­ viving, but doing well. In this storefront he was offered a space in a building being lege in Vermont. Fours years ago, she pottery on Amsterdam Avenue near West renovated under a “homesteading” plan began working as a potter at Mugi Stu­ 109th Street, co-owners Frank Edge and whereby the city pays for the materials, dio, and recently became a full partner. Sally Rothchild “got what we wanted— and tenants supply the labor. All of the On weekdays, both Frank and Sally a comfortable work space, a good gas apartments were finished and occupied, are in the studio from 9:30 to 6, pro­ kiln and the energy of the city.” but the storefront was in shambles— ducing a range of functional stoneware Frank Edge was born in Dublin, Ire­ falling ceiling, decayed floors, and there and porcelain fired to Cone 10-11 in

In a renovated storefront on the Upper West Side, Mugi Studio partners Frank Edge and Sally Rothchild operate a showroom, give classes and produce a range of functional ware. 26 CERAMICS MONTHLY Photos: Ken Schles

The production/class space behind the display area is also used by two other potters. reduction. There is a private room at the seven children, ranging in age from 5 to a time when we can do our own work,” back of the shop where one can work 10. Emphasis is on handbuilding proj­ they observed. uninterrupted, while the other takes care ects with some wheel work. Though their ware is made for use, of business (talking to customers, taking Four evenings a week (from 6 to 9), both Frank and Sally emphasize one-of- phone calls, etc.). Two other potters with adult classes, concentrating on wheel a-kind pieces, rather than production limited access two to three days a week work, are offered. These classes run as ware. “Consistency is less important to work in the studio during this time as six-week sessions, with Frank and Sally our work, it is always changing as it well. each teaching two. grows. A person buying a bowl or mug Children’s classes at the studio serve On weekends, the studio is open to from us will not find that same bowl or the immediate community, which is pri­ adult students to work. Generally, just mug at our shop a year later. marily Hispanic. Two afternoons a week one of the partners is there then. “The “We enjoy being a neighborhood shop (Tuesday and Wednesday, from 3:30 to weekend is taken up with helping stu­ and our goal is to build a reputation that 5), Sally teaches a group of about six or dents and serving customers, and is not will bring customers in.”

Each week a bisque and one or two glaze Stoneware vase, 14 inches in height, with Both Frank and Sally are in the studio loads are fired in the 22-cubic-foot onglaze oxide brushwork, reduction fired to from 9:30 to 6 weekdays; each also teaches downdraft gas kiln. Cone 10-11, by Sally Rothchild. two evening classes. January 1987 27 The Politics of Pottery edited by Warren Fredrick

assure you that I do. I would hesitate to you have to sell a piece for that much The following article is from a panel dis­ separately define the role of painting or during a show in order to pay the rent. cussion on “The Role and Relevance of the role of pottery. I think that the role Gallery owners respond to potters in one Pottery in Contemporary Society ” spon­ of art is to expand our freedom, to push of two ways: They tell potters, “We can’t sored by Anton Gallery in Washington, out wherever there seems to be some kind afford to sell the work.” Or they say, D.C. The panelists were fane Addams of regulation. Potters fight those rules “We don’t show crafts.” Allen, art critic for the Washington Times; just as much as painters or anyone else. The reality is that potters can either Rob Barnard, potter from Timberville, I’ve always equated pottery with paint­ climb into the realm of very high-priced Virginia; Tom Nakashima, painter from ing in that it has a preestablished for­ pots where they destroy 90% of their Washington, D.C.; Harvey Sadow, potter mat. You make paintings in certain size work or at least only show a small per­ from Clarksburg, Maryland; and Jack rectangles, triangles or whatever. There’s centage to try to make a dent in the Troy, potter from Huntingdon, Penn­ a limitation. Pottery, unlike sculpture, is Madison Avenue scene; or they can con­ sylvania.—Ed. also limited to a specific format because tinue their current efforts—showing here of the wheel and the physics involved. and there, and developing their own gal­ Rob Barnard: When I began making Some old-generation people in the arts, leries. This is a problem I can’t imagine pottery, there was a tendency to think who don’t accept pottery as a full-fledged, a solution to; it’s as difficult as nuclear that if we were able to physically make blue-chip art form, reject it because they warfare. and sell a piece of pottery, then that in consider function as something that sur­ Jack Troy:The longer I work in clay, itself was enough. Selling was the source rounds it and keeps it from being fine the more I subscribe to a variation on a of both gratification and critical acclaim. art. We could just as well say that paint­ couplet that Emerson wrote. He said, More recently we seem to have divided ing is made as decoration or to hide nail “If eyes were made for seeing, then beauty pottery into two different categories: one holes in the wall. Painting does have a is its own excuse for being.” I think pot­ is objects that carry some kind of mes­ function, but I don’t think that in any tery is its own excuse for being. There’s sage; the other is objects that are simply way infringes on its ability to be an ac­ an inherent validity to the private in­ intended for physical use. I don’t think tive, stimulating image that is exciting teraction we have with objects of our those goals have to be separate. Since in either an intellectual or emotional choice—either of our own making or the the industrial revolution, the traditional manner. It’s in no way better than or ones made by others that we encounter. role of pottery has been taken over by less than pottery. Conceptual art, and a It is almost a sacred act to approach an mass-produced objects that are cheaper, number of things that have come about object, realizing that there is something more functional, easier to use, and are since Marcel Duchamp, point exactly to about it that draws you into its presence, created in a larger variety than potters the fact that you cannot exclude any­ almost as if you lost it once and found ordinarily can make. It would seem, thing from being a possible art form. We it again. It isn’t always necessary to be therefore, that the traditional role of pot­ can’t say that candle making doesn’t have able to verbalize those feelings, but it is tery is no longer relevant. potential as an art form. Conceptual art important to have them. A lot of pottery One of the things that separates a Sty­ demonstrated that you can enter into any appreciation for me is done on a non­ rofoam cup from a good handmade cup realm (even physics, mathematics, verbal basis. I always feel that partici­ is aesthetic impact. Once we start dis­ chemistry or medicine) and be an artist. pating in a panel like this is a shorthand cussing aesthetics in the making of work The difficulty with pottery is econom- exercise because the final experience be­ and that work’s impact on people, we tween you and the object is where it all begin dealing with the same problems “The reality is that potters can starts; and for some of us where it ends. as other artists in our society. The over­ either climb into the realm of Having a favorite cup, seeing a favorite riding problem then is how to make an piece of ours in a museum, being around aesthetic impact. To do that you have to very high-priced pots...to try to and reacting to it, seeing how our per­ use the language of pottery, and function make a dent in the Madison ceptions of the piece change over a pe­ is part of that language. You hold pot­ Avenue scene; or they can riod of time—those experiences are really tery, put it to your mouth, and put dif­ important. ferent things in it. If you are aware of continue...showing here and Jane Adams Allen: Many have the idea all these possibilities, then you can use there, and developing their own that critics don’t write about ceramics them to help communicate feelings or galleries.33 because they devalue ceramics. On the concerns. contrary, critics are terribly aware of the Tom Nakashima:As a painter, I think ic. Anyone who’s a potter has experi­ immense ceramic history, of Chinese ce­ I was invited to speak to give a point of enced the problem of entering into the ramics, Japanese ceramics, Greek ce­ view from the “other” area. It’s often world of galleries showing primarily ramics. We just don’t know very much assumed that at least some painters do paintings and sculpture. If you talk to because we have spent most of our time not share the idea that potters are equal New York art dealers, they might say, studying painting and sculpture. participants in the world of art. I can “That’s a $25,000 wall.” That means My relationship with ceramics is en­ 28 CERAMICS MONTHLY tirely personal, developed simply through work: pottery whose only saving grace I’ve been thinking about why pottery seeing works of individual artists like is that it keeps the food off the table and doesn’t seem to be valued in our society. Ruth Duckworth and Richard DeVore. paintings whose sole function is to fill Maybe it’s because most of us make very What seems particularly relevant to me wall space. But I did not come here to bad pottery. We don’t want to face the about ceramics is the quality of intimacy pass judgment on anyone else’s work, possibility that there’s simply not enough that I don’t get from painting and sculp­ rather to discuss relevance. Currently, ture. This has partly to do with touch, I’m working on a series entitled “Ground cc partly to do with the human qualities Zero,” vessel forms, with global meta­ ...the strongest criticisms were of a really fine pot that I don’t find in phors, picturing postnuclear worlds, dark, from potters walking into the any other art form. That is of particular charred and empty, radiating a serene, show and saying, (Where the relevance today because you don’t get colorful glow. Who would like to argue hell do you get the nerve qualities of intimacy anywhere very often. the relevance of that subject in the last If you can develop a relationship be­ quarter of the 20th century? The rele­ charging $500 for a pot?”’ tween aesthetics and intimacy within your vance of pottery is determined by the own home via ceramics, then that’s ter­ mind and vision of the maker. significant work to make the field truly ribly important to the quality of life. Barnard: In the crafts world a lot of relevant. time is spent talking about how mean­ Sadow: That’s an interesting comment “I’ve been thinking about why ingful our lives are. I really don’t have because I find myself definitely on the pottery doesn’t seem to be time for that because that’s the attitude opposite end of the table. My work, by we hide behind to avoid dealing with the pottery standards, is expensive. You know valued in our society. Maybe it’s politics of craft. To a degree, we all com­ $4000 or $5000 is the high end. But because most of us make very pete so that we can survive, to do what there are only somewhere in the vicinity bad pottery. ” we want and live the way we want. That’s of 20 pieces a year coming out of my the reality. studio. And if I don’t get that much money One of the problems is that many ce­ Although we believe in our hearts that for them, I’m going to starve—and did ramists are so busy trying to compete pottery is as significant as painting, the for a number of years. with painters and sculptors on sheer vi­ financial reality mentioned by Tom is For me, the problem has always been sual impact, that they forget these tactile that our society really doesn’t value it an antagonism on the part of craftspeo­ qualities, this intimacy and sensibility the same as painting. I arrived at that ple. At my first one-man show in New that is uniquely part of pottery. That conclusion by the simple fact that we York in 1977, the strongest criticisms were seems to me to be a terrible sacrifice for don’t get that much money for it. It’s from potters walking into the show and a rather dubious gain. not that important. We have a national saying, “Where the hell do you get the Harvey Sadow:Artists have used the museum in Washington, D. C., that is nerve charging $500 for a pot?” That pottery format since the dawn of history, supposed to be the center for contem­ was a lot of money for a pot in 1977. but I don’t want to travel all the way porary crafts that has almost no budget Whereas the people who were not some­ through history to make a case for view­ or permanent collection and has been how connected with clay were talking ing pottery as fine art. Why bother? The under renovation for the past six years. about the work’s landscape quality and contemporary rhetoric about art versus So when potters push out and say, “This the light pattern quality. craft comes down to the bottom line in To date, I have work in several art Webster’s New Collegiate Dictionary. “Many have the idea that critics museum collections, but I’ve had only After the five definitions of crafts, it says: one piece in the course of 20 years in synonym art. After the six definitions of don’t write about ceramics an American Craft Museum show. I’m art, it says: synonym craft. So we’re talk­ because they devalue ceramics. not having the trouble (I hear about from ing, and actually have been all along, On the contrary.... We just don’t other craftspeople) getting reviewed by about the relevance of art in the last know very much because we art reviewers, but I can’t get my work quarter of the 20th century. For most of published in Ceramics Monthly. us gathered here, the relevance is clear. have spent most of our time Allen: Is there an ethic in the ceramics Our hearts, souls and minds need nour­ studying painting and world that comes from the Leach tra­ ishment. Art opens doors, shines light sculpture. ” dition, that usable pottery with aesthetic into darkness, speaks about things often value should be widely available? Har­ left unsaid. There’s abundant pottery, is art, too,” what they are really saying vey’s approach of making works for painting, photography, music, etc., con­ is, “We want recognition for what we’ve thousands of dollars each is a totally dif­ ceived purely to generate income. That done.” One way to gain recognition— ferent idea. Is the Leach tradition hold­ work speaks about little other than mon­ really, political power—in the fine arts ing back other potters from doing what ey and is seldom deceptive. Commercial is to produce work that people must have Harvey has done? art is commercial art. Then there’s weak because it’s so good. Audience: There seems to be an urge January 1987 29 to find a general philosophy or tradition perience the three-dimensional lan­ why it can’t occur even in the most tra­ that will hold everything together in spite guage of pottery. ditional aspects of craft. The possibility of real differences. There is no tradition, Audience: But critics have always de­ exists, but we just don’t think about in­ certainly in this country, that’s strong scribed sculpture. I don’t know why pot­ corporating this concept often enough in enough to tie everything together. But tery is any different. our work. The idea that we can’t knock there still seems to be a desire for cohe­ Barnard: Agreed. The vocabulary to sion. The fact is everybody’s going in describe pottery is not going to be very “Something about this object individual directions, looking for their different from the vocabulary used to de­ should...irritate in some manner. own individual market. scribe sculpture. The difference is per­ ...irritating people, expanding Barnard: Admittedly, we are all work­ ceptual. Visually, if you are not familiar ing with different intentions to create with how lips, feet, glazes or lack of glazes, boundaries...that's what art is different things. But, if we spend some or certain shapes are used to evoke cer­ about.33 time and try to sort it out, we’ll begin tain emotions, pottery can be a foreign over preconceptions within the tradi­ to see that there are distinguishable language. tional format of pottery may be pre­ groups of people with similar lines of Allen: It’s not the technical vocabulary venting people from thinking of us as thought. One of the reasons for this and that’s missing; it’s the sensibility. There serious. is a certain understanding of tradition, Troy:It really depends on the beholder “In our culture we often don't a certain development of the sense, a as to whether someone will be chal­ accept things on the merits of certain sensitivity to qualities you don’t lenged or will just dismiss the work. I the work until we see the work get in metal sculpture, for example. sent what I thought were my best pieces validated in print.33 Audience: To what extent is challeng­ to a show and they got kicked out. Two ing the user or viewer an important role months later, I sent them to another show other discussions is to try to sort out what in art as opposed to more decorative works and they won first prize. Now, who’s languages we are using. Some people are that are very easy to empathize with? being challenged there? What does that doing what I’m attempting, while others Nakashima: When you walk into a say about the work, and about my per­ like Tom or Harvey are trying to do museum and something meets with your ception of the work? I’ve got to believe something else. expectations of what art is, that’s in that that work is just as good if it gets For me, pottery has an enormous vo­ keeping with the museum as a store­ kicked out of the show as it is if it gets cabulary for communicating how I feel. house of ancient objects. But if you go first prize. It is the language I use when I want to into a gallery, the work should be chal­ Audience: That may be, but the real say something that I can’t say using spo­ lenging. At least one of your expecta­ question is did you intend to challenge ken or written words. A large part of tions should not be met. Something about the viewer? the vocabulary of pottery resides in its this object should make you say, “There’s Sadow: I’m not particularly interested ability to function. For that reason I don’t something wrong.” It should irritate in in challenging a viewer. I don’t think think it can be left out because it’s an some manner. If you’re not irritating these that necessarily has to be a function of active part of the way a piece has to be people, then you’re not expanding art. What I’m aware of is the fact that perceived. boundaries and that’s what art is about. there are a million people rolling around Troy:One of the problems is that a lot Barnard: Sometimes we think of crafts the Washington beltway all day long, of critics haven’t had the vocabulary nec­ as being relatively safe. We’re comfort­ every day of the week, scooting up and essary to talk about ceramics. In our cul­ able with them because we understand down the streets in town, not having the ture we often don’t accept things on the time or taking the time, or in some cases merits of the work until we see the work “...if you are not familiar with even being able to discern the subtleties validated in print. That has to come first. how lips, feet, glazes or lack of that occur in the natural world. I have I think that’s a horrible thing, but it’s glazes, or certain shapes are a sense of that being a valid function of true. So the more we read, the more books used to evoke certain emotions, the artist, and certainly the function that we see and the more critical opinion, I feel is mine. What I’m trying to do is then the greater the validity of the work, pottery can be a foreign to share something about nature with at least in the eyes of some people. language.33 those people. Barnard: It’s not just that it’s validated; Audience: If you make your work your any significant movement in art has al­ them. That’s part of the power of the way, is it just going to sit there and wait ways been accompanied by huge amounts vessel. Now the problem that I sense for somebody else? Or are you going to of dialogue, part of which is written. from many painters and sculptors is that incorporate something that reaches out Verbal language is merely a beginning they feel this breaking or expanding of of the work and taps somebody? means to find common denominators that boundaries doesn’t occur very often in Sadow:No, you just put the work out we can apply when we go back and ex­ crafts. I don’t see any reason, though, there, and if it’s articulate, it will speak.

30 CERAMICS MONTHLY Functional Ceramics: North Carolina by Phyllis Clark

and around Seagrove by many families The 1986 “Functional Ceramics” show for generations. The B.J. Cole Pottery, at the College of Wooster in Ohio, was for instance, has continued as a family a departure from the nationwide surveys pottery for 150 years. It is currently op­ of the past 12 years in that it focused erated by a brother and sister team, Nell on the clay scene in North Carolina. Se­ Cole Graves and Waymon Cole, with lected to represent the diverse work cur­ assistance from others in the family. A rently produced in the state were 23 pot­ drive down lovely country roads takes ters and potteries. you past grazing cows and open fields, Since the earliest years of our country, down a narrow lane, to a long, low col­ North Carolina has been rich in pottery Stoneware casserole, 10-inch diameter, with lection of attached sheds. Visitors are in­ tradition, due in large part to its natural onglaze brushwork, by Rebecca Plummer vited to browse through myriad pieces clay deposits. Its hills and valleys are and Jon Ellenbogen of Barking Spider in the display room and then to explore home today to many potters—some of Pottery, Pen land. the pottery. To walk on earthen floors, them fifth, sixth and seventh genera­ up and down over the contours of the tion—working in much the same man­ making was done when the farming land on which the sheds are built, through ner as their forebears. There is also a schedule and weather permitted. Local the “turning” area, the drying rooms, the large group of academically trained peo­ clays were dug and prepared with self- glazing and kiln rooms, is a unique ex­ ple working in clay, in more diverse styles constructed equipment powered by an­ perience. Both Nell and Waymon have and using methods and some materials imals or family members. been “turning” since early childhood, and unknown to earlier potters. During the 18th and 19th centuries, friends quote Nell as saying, “I would Historians verify that potters have lived potters in the Piedmont area were work­ rather be doing this [throwing pots] than and worked in North Carolina from the ing with earthenware clays, making the sleeping.” mid-1700s. The pressures of plantation dishes and items needed for the home Seagrove Pottery is owned and op­ economics and the crown policies re­ and farmstead. Some of the earliest were erated by Walter and Dorothy Cole Au- garding trade in the colonies made the the Moravians whose slip-trailed and man. Dot, a fifth-generation Cole potter, interior of North Carolina very attrac­ lead-glazed redware is in many mu­ and Walt, have not only continued the tive to potters. Looking for more land seums and private collections today. traditions of their heritage, they have and fewer restrictions, many of German Though earthenware production de­ worked to preserve that heritage for fu­ and English origin migrated either di­ clined when production of the stronger ture generations. Years ago they started rectly from Europe or from the northern stoneware began, it never stopped com­ collecting a variety of early North Car­ colonies to the clay-rich Piedmont area. pletely. (Mary and David Farrell’s olina pots and potters’ equipment. In the As with other early settlers, the need to Westmoore Pottery in the Seagrove area old Seagrove depot adjacent to their provide food and shelter for their fam­ still produces redware pieces reminis­ workshop, they have established the Pot­ ilies forced them to become first self- cent of early Moravian work, but with­ ter’s Museum to house and provide pub­ sufficient farmers and then craftspeople. out the lead-based glazes.) lic access to this collection. The cabinet making, weaving or pottery Earthenware has been produced in In the mid-19th century, stoneware

Barking Spider Pottery soup tureen, 8 inches in height, bowls Earthenware plate with trailed slips, 11-inch diameter, by Mary and ladle, wheel-thrown white stoneware, with pulled handles. and David Farrell, Westmoore Pottery, Seagrove. January 1987 31 became an important development in the Prohibition heralded a crisis for the cause materials were scarce for an in­ pottery marketplace. Fired to a much potters, with the subsequent smaller de­ dustry deemed nonessential. After the higher temperature, the ware was more mand for stoneware. By that time, the war, tourism became an important part durable, less porous and easier to clean market for redware “dirt dishes” had also of the state’s economy as people became than earthenware. Since stoneware was disappeared; people were buying glass aware of the lush valleys, beautiful salt, ash or slip glazed, the dangers of fruit jars instead of crocks for preserving wooded hills and pleasant climate. Pot­ lead glaze were removed. Stoneware vin­ and white “chiney” for the table. ters from outside (many academically egar jugs, crocks and churns for dairy With social and economic changes trained) became aware of the region’s products, large jars for preserving meats through the years, the number of pot­ beauty and natural resources, too, mov­ and fruits, and pans for kitchen use be­ teries declined, and the products changed ing there to work in a peaceful environ­ came essential to the agrarian way of in response to demand. The manufac­ ment. life. As the population of the state grew, turing firms in the North quickly and Today, we find both traditional and social and economic changes became ev­ efficiently produced ware more inter­ academically trained potters working ident and the demand for household and esting to the people in a country fasci­ within the state. Penland, home to the farm wares increased. Itinerant potters nated by automation. Materials, meth­ Penland School of Crafts, is also home moved from area to area seeking better ods and types of ware changed; new colors to a number of these potters. clay, more land or work as throwers in and shapes were in evidence and some Seagrove itself is a small rural town already established potteries. of the larger pieces were put aside to in the middle of North Carolina, but a The Civil War itself created such a make way for smaller, less utilitarian hub of pottery activity. A decade or so demand for utilitarian pottery, such as forms. Marketing methods changed as ago, there were about ten potteries along bowls, mugs and medicine bottles for use well. Instead of local purchases or sales a 15-mile stretch of country road; that in the hospitals, army camps and the within a few days’ wagon ride, pots had number has now almost doubled, mak­ homefront, that potters were exempt from to be transported by train or ship to dis­ ing the area a mecca for pottery lovers. serving in the army! After the war, tant markets. Problems for potters evolved In various other regions of the state, training programs were established to with the use of unfamiliar materials. New potters work alone in rather isolated areas help farmers take advantage of what techniques and equipment had to be de­ and also in urban environments. All cre­ meager resources they had and to create vised to deal with these new demands ate individualistic pieces, but all are still methods of increasing revenue from their and to keep the potteries going. part of the rich heritage of North Car­ crops and land. Because cattle herds had Some commercial potteries were es­ olina clay—what this exhibition at­ been decimated by the war, there was a tablished and produced ware in North tempted to demonstrate. fairly good supply of corn, and farmers Carolina for several decades prior to After opening at the College of Woos­ were encouraged to produce whiskey. World War II. But in sharp contrast to ter, the show traveled to North Carolina This, of course, required quantities of the Civil War period, the later conflict State University in Raleigh for further jugs and jars. forced commercial potteries to close be­ exhibition.

1 Salt-glazed stoneware candlesticks, IV/2 inches in height, wheel Wheel-thrown pitcher with incised bands, 14 A inches in height, thrown, by Vernon Owens, Jugtown Pottery, Seagrove. stoneware, by Bradley Tucker, Creedmoor. 32 CERAMICS MONTHLY Photos: Craig Jay Clark

“Face fug,” 11 inches high, by Charles Fisk, who aims to “carry Teapot constructed from thrown, extruded and slab-built on the Burlon-Craig-type ware as we are the only two in Vale.” stoneware, 12V2 inches high, by Kathy Triplett, Weaverville.

(

sometimes flows off the piece onto the a plate glass slab. This level, in turn, Mostly sociopolitical, sometimes ad­ surrounding forms, thus fusing all that “melts” into plastic resin stalactites on dressing feminine issues (woman as ob­ lays in its path. This lavalike flow picks the underside of the glass slab. Directly ject), my sculptures usually begin with up and combines with glaze to add in­ below these is an inverted body cast, its a figurative clay section cast from a mod­ teresting layers of color. When copper cavities filled seemingly with glass from el. After that, welded steel, melted glass, was added to this combination, the ex­ the melting figure. Lighting below ready-mades, cement or Styrofoam may posed copper fired to a flat black, while “ground level” shows the hot, “radio­ be combined with the clay and glazes. submerged copper turned bright yellow. active” ground. The four levels of the The object is to solve the visual problem Thus in the glass and glaze flow, the “Core” are supported by walls of cement in a way that clarifies my objectives. copper caused delicate streaks of yellow. blocks lined with acid-corroded copper Melted glass, slumped or fused in my When the black copper combined with plates. electric kiln, was inspired by camping clear glaze, drips of peacock blue streaked Surrounding the “Core” are walls of experiences. Previous campers had the clay surface. lithographic plates (cast off from indus­ thrown bottles into the firepit; the re­ Featured recently at 14 Sculptor’s try). Suspended overhead is a “Ceiling” sults were globs of brown glass mim­ Gallery in New York was my clay /glass piece consisting of large faceted glass icking the forms on which they had cooled. installation sculpture called “Melt­ domes, which emit diffused light, amid In the studio, I experimented with down,” which was inspired by the ac­ rows of caged lights, similar to those found combinations of glass on clay. I knew cident at Three Mile Island. Begun in in industrial sites. The result is strong these media would contract at different 1984, this piece reflects growing anx­ light and heat enveloping the viewer as rates when cooled. The cooling variance ieties regarding the use of nuclear power well as the “Core.” caused some types of glass to crackle over and its effects on all aspects of life. A month after the installation of the clay; others would simply bubble. “Meltdown” includes a 6x5-foot cen­ “Meltdown,” the nuclear accident at Melted glass also creates a low relief tral piece with a complete body cast in Chernobyl shocked the world and reaf­ or transparent/translucent color which buff clay and glass “melting” down into firmed my fears. 34 CERAMICS MONTHLY Photos: Fred Tiiman

“Meltdown ,” by New York artist Esther Grillo (right;, was begun in response to the nuclear accident at Three Mile Island. The four levels of the “Core” are supported by cement blocks lined with acid-corroded copper plates. On top is a buff clay body cast “melting” through a plate glass slab into plastic resin stalactites. At “ground level” is an inverted body cast ^detail left;, seemingly filled with glass from the “melting” figure. Lighting beneath the inverted figure suggests radioactivity. Surrounding the core are walls made of lithographic plates (salvaged from industry) ; while overhead a “Ceiling” of faceted glass domes and caged lights emits strong heat as well as bright light. “Upon entering the environment ” comments the artist, “one cannot help but be engulfed by the suggestion of manmade death and destruction.”

January 1987 35 Savage Interiors by Jut a Savage

In my recent mixed-media sculpture, cause they usually outlast us. Objects Sculpture and functional porcelain bythere seem to be analogous contradic­ seem to have their own separate stances, Berkeley artist Juta Savage were fea­ tions, tensions and ambiguities in the gestures, even moods and their own in­ tured recently at Dorothy Weiss Gallery forms and surfaces, and about the con­ terrelationships. If a room is a stage set in San Francisco.—Ed. cept of function or utility per se. Though for human dramas, the inanimate ob­ I now work with a broader vocabulary jects in it are themselves actors in a vi­ We are intimately connected to the ob­ of shapes (the circle no longer domi­ sual drama. I’m interested in the har­ jects within our environments. Our hands nates), materials (wood, wire mesh, monies and discords in the visual dramas consciously and unconsciously caress the acrylics and oils, as well as porcelain) of “things.” dish out of which we eat or drink, then and colors (no longer limited to the high- Though these recent pieces have been wash and place on the shelf. For a potter fire ceramic palette), the circle so closely called still lifes, the label is not always this intimacy begins in the making. associated with pottery is still very much appropriate (as most labels aren’t) be­ Over more than 15 years of working present as, indeed, is pottery—whole or cause much of the work strives to cap­ in clay, I have focused mostly on paint­ in pieces. ture movement (an action caught in a ing functional ware—underglazing the Domestic interiors—dining rooms and movie frame rather than in a still life), insides, the outsides and the undersides kitchens in particular, with tables set for to capture it, for example, in the frozen of porcelain plates, cups, saucers. Yet in eating, with dishes waiting on shelves or flutter of a tablecloth or in the precar­ painting these surfaces, I have been in sinks—are stage sets for our daily ious placement of pot shards so that they striving to counter the dominance of the rituals, for personal and interpersonal seem just about to fall or seem frozen in circle. The resulting bright colors and dramas. Things become symbols, met­ the act of falling or shattering. rich textures de-emphasize the function­ aphors. Yet they maintain their aloof­ Why shards? Without a plan in mind, al aspect of the pots. ness because they are inanimate and be­ I began collecting my own potsherds from

36 Ceramics Monthly pots broken accidentally as well as in­ out in advance, though I do start with of wood or cardboard left over from some tentionally. (My frugal mother seldom an idea—sometimes a feeling or mood, earlier project. Working with a hot glue threw away things, thinking a use for a point of view; other times only a ges­ gun, a saber saw and a matt knife, I put them would turn up later.) These shards ture, a shape. The process is one of trial pieces together, disassemble them, change drew my attention to the arbitrariness and error all the way. Most of the shards them continually until I am satisfied. This and precariousness of the line drawn be­ or pots used were not made with a sculp­ form then serves as a full-scale model tween highly valued and useless objects, ture in mind. Those that were often end for the final structure, which is solidly especially in relation to pottery and oth­ up being used differently than planned. constructed from better wood. er ceramic objects which are so prone to The porcelain is a commercial body The painted surfaces of the nonce- accidental breakage. The shards also were or a special mix which incorporates sand. ramic components are claylike. Both the notes and reminders about past work— Sometimes the clay is colored with com­ wooden structures and wire mesh (for successful, unsuccessful and in between. mercial stains. The leather-hard ware is the tablecloths) are coated with a thick Above all, I found the shards visually painted with slips, again colored with layer of acrylic modeling paste, then pleasing, especially in relationship to each commercial stains. Wet newspaper cut­ painted with acrylics and/or oils. Some­ other in a pile, on a shelf, in a box. The outs and sometimes latex are used as times the shards (transferred from the shapes of broken pottery were not unlike stencils. Thick slip layers are built up, model to the final structure) are also the abstract, brightly colored shapes with resulting in subtle color variations and, partially painted with acrylics or oils. ragged edges I had been painting on pots after the removal of the stencils, in a Painting the sculpture is the least for years (using cut and torn wet news­ low-relief or highly textured surface. anxious stage. Making involves working paper as stencils for the underglazes). I After the bisque firing, more colored slips with mass, gravity, volume. The process, liked the way the shards and the painted are applied. Then the surface is washed at times, seems a physical feat. Errors surfaces worked together. I arranged and off so that the slips remain only in ir­ can be disastrous. (A form falls over and rearranged them, and eventually began regularities and pockets. Glazing is with a ceramic component shatters into pieces.) assembling them in compositions incor­ a high-fire transparent gloss recipe or a Painting is a little more forgiving of er­ porating other objects and various sur­ thin wash of a low-fire transparent gloss rors because you can usually paint over faces. The shards became materials for (to be overfired); the latter produces a them. use in sculpture. (My mother proved to slightly sparkling or matt surface. Fir­ Each finished sculpture feels incom­ be right.) The symbolic connotation and ing is to Cone 10 in a gas kiln, without plete and is a reason to go on to another, metaphorical richness of a broken vessel any extra reduction. always relying as much or more on in­ undoubtedly contributed to my interest. Many of the shapes that make up a tuition and lucky accident than on what These assemblages are not planned “table” or “chair” were originally scraps was learned from previous work.

Far left “Allemande #2,” slip-painted porcelain on acrylic-painted wood, 37 inches in height, from “The Dining Suite” Left “Courante #2” (from “The Dining Suite”), 39 inches in height, porcelain with slips, wood and screen with acrylics and oils, by Juta Savage, Berkeley. January 1987 37 Photos: Ben Blackwell

Above “What Lily Briscoe Saw,”porcelain with thick layers of slip on painted wood, 46 inches in height, refers to a passage in Virginia Woolfs novel To the Lighthouse. Left KSarabande #2,” 39 inches in height, slip-decorated porcelain, painted wood and metal screen, by Juta Savage.

38 CERAMICS MONTHLY Neil Moss by Melinda Barth

Thrown and altered porcelaneous stoneware vase, approximately 8 inches in height, with matt and ash glazes, reduction fired.

January 1987 39 of both the boat and the bells have grad­ “My emphasis has always been on form, ually influenced his ceramics. and inspiration has come from the con­ “I cherish the slow process of growth, tainer,” observed Neil Moss, studio pot­ and I’ve no desire to move quickly with ter from Lomita, California. “But I don’t my work. It takes a long time to review necessarily mean to work only from it before I can talk philosophically about functional containers to create function­ it. And it takes a long time for me to al forms.” use what I’ve seen—almost a decade for A Puget Sound ferry is a “container the ferry boat’s shape to move from my of people,” says Neil, and the bronze memory to sketch pad, through several bells of Japanese artist Masahiko Katori changes on the wheel to the form I want­ Neil Moss are “containers of sound.” The shapes ed.” And, while he has traveled in Ja-

40 Ceramics Monthly pan, it was a 1983 show at the Japanese- recent solo exhibition at Little Tokyo Below left Porcelaneous stoneware covered American Cultural Center in Los An­ Clayworks in Los Angeles. jar, thrown, with iron-saturated and ash geles which featured Katori’s bells that, “I’ve been observing how other pot­ glazes, high fired in reduction, Neil says, “knocked me out.” He had ters have used the surface of clay as a approximately 13 inches in height. undoubtedly seen the shape in Japan place to show landscape, and I’ve de­ years earlier, but “readiness for absorb­ veloped more interest in this,” he ex­ Below Teapot, wheel-thrown porcelaneous ing the form is part of the process.” plained. “But I also try to keep my forms stoneware, with matt and ash glazes, Although form remains his major and surfaces subtle. I don’t care for pots approximately 10 inches in height. concern, Neil’s new work has gained a that scream! You can’t read pots created feeling of landscape and organic dimen­ with too much information. People say sion by gradually building up slips to they like my work more, and see more alter the surfaces, as evidenced in his in it, after they’ve lived with it.”

January 1987 41 Left Concerned primarily with form, Lomita, California, potter Neil Moss develops shapes slowly. “Fve no desire to move quickly with my work. It takes a long time for me to use what I’ve seen...from memory to sketch pad, through several changes on the wheel.” Below Ash-glazed bowl, approximately 9 inches in diameter, thrown porcelaneous stoneware, reduction fired. Photos: Brian Goodman

42 CERAMICS MONTHLY Refractory and Mesh by Walter Hall they are thin, because the mortar is de­ yond that, each form develops in un­ Though thin and apparently delicate, signed to air harden. predictable ways, and the end result is my most recent works have a tensile The dried forms are bisqued, brushed more often than not a complete trans­ strength created by combining ceramic with slips or glazes, then fired to a va­ formation of the original idea. I have mortar with steel mesh. I wanted a feel­ riety of temperatures. Some, such as learned to accommodate myself to these ing of wiry strength in pieces that are “Nightwalker” and “Green Amphora,” unexpected turns, realizing that this thin, even paperlike. When in the course were fired to Cone 8 in oxidation. At procedure enlivens the work in signifi­ of working on a form I inadvertently high temperatures the steel becomes cant ways and that it is in fact the most bang into a delicate edge and it draws molten and bloats (for me a desirable exciting part of the process. blood rather than breaking, that pleases effect), and the shapes slump badly if The images tend to be figures, usually me. That’s a quality I’m after. not supported during firing. I spend hours having psychological overtones, or pot The idea of working with ceramic packing complex forms with Kaowool forms inspired by ancient pottery and mortar occurred to me several years ago and kiln stilt supports to prevent this. glass. These are set against flat back­ when I was examining a shard of mortar Some slumping occurs in low firing as drops or are framed by concave “plates” which had held soft firebrick together. well, but it is much less drastic. with rough edges. Aspects of the Ameri­ The soft firebrick had broken away and I have experimented with a range of can Southwest, such as dry desert or adobe­ I was left with a thin, irregular, textured other metals (brass, copper, aluminum, like surfaces, suggestions of Navajo and slab of fired mortar. It was fascinating etc.) in combination with ceramic mor­ Pueblo sand painting and Mimbres pot­ because despite its thinness it was ex­ tar. Interesting effects can be achieved tery, emerge in many. To characterize tremely hard—much harder than ordi­ with the other metals, but steel survives the work as “desert pieces” probably nary clay after firing. the firing with the most strength, though overstates the influence, but it is none­ Usually a piece of my work is begun it is brittle after high firing. theless an appealing description to me. by modeling the steel mesh, cutting with I work intuitively. Starting from an wire snips and sewing with fine wire. initial impulse, I rough out a complete The author Walter Hall is a faculty Then, using a palette knife or brush, I piece in my mind. Despite an intention artist at the University of Hartford coat the steel mesh shapes with a com­ to follow this plan closely, in most cases (Connecticut). A solo exhibition of his mercial refractory mortar. Sometimes it serves only as a point of departure, ceramic mortar and steel mesh sculpture colorants are added to the mortar. Once determining the format of the work, its was featured at the Clay Studio in Phil­ dry, the forms are very strong, even if dimensions and the color of the clay. Be­ adelphia through November 1, 1986.

“Green Amphora,” 8 inches in height, refractory mortar on steel mesh, fired to Cone 8 in oxidation, by Walter Hall, Simsbury, Connecticut. “The idea of working with ceramic mortar occurred to me several years ago when I was examining a shard of mortar which had held soft firebrick together.” Right “Nightwalker,” 27V2 inches in height, refractory mortar on steel mesh, accented with porcelain slip, high fired.

January 1987 43 Faenza’s 44th International

monte, competition chairman; Edouard prize at Faenza; and Claudio Spadoni, For the second time in the history of the Chapallaz, a Swiss ceramist who won director of the School of Fine Arts in Faenza international competition—the the 1967 first prize at Faenza; Masaaki Ravenna. For three days in April, they first was in 1950—the jurors decided not Iseki, director of the Japanese Culture reviewed 1041 entries by 454 artists from to award the top prize. In explanation, Institute in Italy; Doris Kuyken-Schnei- 39 countries. Of these, they selected 353 they wrote: “Even though we gave quite der, keeper of the modern collections at works by 172 artists from 34 countries a high rating to the chosen works, we the Boymans-Van Beuningen Museum for exhibition in the 44th “International did not consider any one to be better in Rotterdam; Luigi Lambertini, an Competition of Ceramic Art” at the Pal­ than the others.” Italian art critic; Pompeo Pianezzola, an azzo delle Esposizioni through Septem­ The jury included Edoardo Dal- Italian ceramist who won the 1963 first ber 28.

“Samsara” approximately 18 inches in height, purchase award winner, by Enryu Kanoh, Tokyo.

44 CERAMICS MONTHLY Buon Giomo Faenza by Dennis Parks

Exiting the Faenza railroad station, all and became interested in what others show. Furthermore, the exhibition is I needed to say to the approaching taxi thought. Fortunately the dominant lan­ probably a good show every year. It cer­ driver was “hotel.” Silently he loaded my guage of the crowd was English: tainly serves a sound purpose. Faenza bags into the cab and drove straight to “There seem to be fewer countries has been the only annual international the Albergo Vittoria, which I later learned represented this year. The show’s small­ juried exhibition of ceramic art for the is the hotel of choice for ceramists. As er than ever before.” past 44 years. This year’s exhibition gives I carried my suitcase and camera bag “It’s not what it used to be.” an overview of European work (62%), into the lobby, my respect grew for the “Faenza is wounded.” includes a generous survey of contem­ cabdriver’s instincts—Hanibal Salvaro “Artists are saving their finest for Ja­ porary Italian ceramics (25%) and a (Yugoslavia) was standing in a corner pan.” sampling of ceramic expressions from chatting with Sylvia Blanco (Puerto “Why didn’t the jury award the first around the globe (13%). Rico); Jo-Anne Caron-Devroey (Bel­ prize?” The following week found me in Rome, gium) brushed past me on her way out “To restore respect for the honor,” said sharing my observations concerning to visit Carlo Zauli’s studio; then Poul a former prizewinner. Faenza with archaeologist Gianni Ponti. Jensen (Norway) stood right behind me “To increase the value of it for those He listened patiently, but finally inter­ at the check-in desk. By early in the day who have won in the past,” whispered rupted me to ask: “Do people in your before the opening of the exhibition, the a young dissident behind me. discipline speculate on what they cre­ hotel Albergo Vittoria was full, as evi­ At 7 P.M., the award presentation ate... the significance of what they make denced by new arrivals pleading with a ceremonies began. From reading the as cultural evidence? For ceramics in desk clerk who just shook his head. catalog, we all knew who had won what some incidences is the only data left from The opening itself was packed, with and also that the Premio Faenza had not which we later speculate as to the way several hundred eager to see what pieces been awarded. The crowd was under­ of life and the values of a civilization. had been selected, how they were dis­ standably restive until the speeches end­ You know how paper and cloth disin­ played and who had won the prizes es­ ed and the individual award winners were tegrate, marble is reduced to dust, met­ pecially the Premio Faenza. This year’s called forward to receive official plaques als are melted down....Do you believe at first prize was to be 5,000,000 lire (about and the standing applause from their this Faenza exhibition the ceramics dis­ $3230). Even with that kind of prize peers. All the prizewinners were notified played would be an accurate record of money, only three Americans were rep­ in advance and were in attendance, ex­ our society?” It was something worth resented—round-trip shipping costs are cept for Nelli Fedchun. The Soviet am­ thinking about. usually cited as the reason. A droll Hun­ bassador accepted hers. The catalog states that the following garian added his two fillers worth: “Poor At the following champagne cocktail were the considerations taken by this Americans—the falling dollar, fallout party, cross-cultural gossip brewed: year’s jury: “A strict selection based on from Chernobyl, terrorists. Even Ram- “...an awful lot of Italians in this the careful comparison of the works pre­ bo stayed away from Cannes.” show...” sented; inventiveness and expressive­ For Europeans, however, to be rep­ “...course everyone knows he’s KGB. ness, research on material, quality of resented at Faenza is de rigueur, and to How else would he have the money?” glazes, ability in manufacture; a consis­ win an award (in particular the Premio “...and why so few Polish entries?” tent development in the production of Faenza) can radically accelerate a ca­ “...curious how the Greeks and Turks the artist, seen as a whole; importance reer. It should be noted that in these are displayed side by side.” of the exhibition as a reference point of countries there is usually a preliminary “...Romanians and Soviets are cer­ the most outstanding trends in contem­ jurying by a national sponsoring orga­ tainly well represented.” porary ceramics.” nization, and then the selected works are “Anyone see back in that corner where At 30,000 feet over the Atlantic flying crated and shipped to Faenza at no cost they hid the Cypriot work?” west toward home, I brooded over Faen­ to the artist. And on and on—about which artists za—how different an exhibition might I spent more time than normal ex­ were overlooked; who was missing; who’s be if the jury was made up not of past amining the exhibition. After an initial over the hill, yet in the show. Of course, prizewinners, prominent critics and di­ swing through the galleries I had for­ every exhibition is chastised for short­ rectors of this and that, but of, say, ar­ mulated very definite opinions about what comings, the if-I-were-only-on-the-jury chaeologists and philosophers, ethnolo­ was significant and what was missing. syndrome. It’s healthy and natural. On gists and poets. And what if, on alternate After several more circumnavigations, I that day, the consensus of the English- years, the jury included one regular, old- grew more tolerant and philosophical, speaking crowd was that it was a good fashioned, blue-collar potter? January 1987 45 “Instruments,” ranging to 30 inches in height, purchase award winner, by Martin Andrew Halstead, Orange, Australia.

Handbuilt porcelain boxes, ranging to approximately 5 inches in height, by Poul Johs Jensen, Oslo, Norway.

46 CERAMICS MONTHLY Raku vessels, ranging in height to approximately 16 inches, by Roswitha Presis, Aachen, West Germany.

Untitled sculpture, approximately 23 inches in height, by Paul Dorrschuck-Hanke, Bremen, West Germany.

January 1987 47 Soviet Ceramics at Faenza

“At the end of the 19th century, the in the 1920s in the city of Riga. Each year a number of shows are pre­ Moscow-based Strogonov art school and “Today the Soviet constituent repub­ sented concurrent with the exhibition of the Petersburg-based Shtiglits art school lics boast of ceramic chairs or depart­ works selected in the Faenza interna­ provided a boost for the development of ments run by their art colleges. Nation­ tional competition. Among those fea­ the country’s professional pottery mak­ als from the republics (where training tured last year was an exhibition focus­ ing. The artistry of ‘rough’ ceramics, centers for pottery makers are yet to be ing on ceramic art in the Soviet Union. however, appears to have been fully ap­ established) go to study the art of ce­ Shown were works by 40 artists selected preciated thanks to the Abramtsevo pot­ ramics in Moscow, Leningrad and Bal­ from those who took part in a show in tery studio sponsored by S. Mamontov tic cities. Moscow the previous autumn, plus works and directed by the artist M. Vrubel and “The figurative art practiced by the by Soviet artists who had received prizes the technologist P. Vaulin. Later on, the Soviet artists is part and parcel of every­ or awards at the Faenza competitions latter professional set up his own studio day realities. This linkage is the Soviet since 1969. at Kikerin near Petersburg. Ceramics art’s organic and substantial feature. “The multinational Soviet Union,” studios were built near Smolensk at Tal- Daily events and concerns and the prob­ observes art critic Kyril Makarov in an ashino [200 miles west of Moscow], in lems facing people are represented, overview of modern ceramics in the Moscow and at Khotkovo near Moscow. though not always representational. U.S.S.R., has “a large number of long- The Ukrainian town of Mirgorod was the Topics relating to peace, building on established schools, folk pottery centers place where Ukranian ceramics were re­ earth, nature and the conservation of the and areas fed by tradition and built upon born. The 20th century saw professional earth’s living environment, the peaceful specialized art training that have com­ pottery making get off to a good start in exploration of outer space and the mem­ bined to give rise to professional pottery the Baltic Sea area. Latvia’s Academy of ories of the last war come naturally to making. the Arts opened up its first pottery studio the Soviet pottery makers.” 48 CERAMICS MONTHLY Above left “The Black Cry” approximately 59 inches in height, handbuilt stoneware, with pigments and salts, by Izabella Krolle, Riga, Latvia. Above “Ave Vita!,” to 11 inches in height, porcelain with glazes and paint, by Lucia Sciulgaite, Riga, Latvia. Right “The Pages from a Notebook,” painted stoneware, 16 inches in height, by Anita Milbreta, Riga, Latvia.

January 1987 49 Above “Militarism,” 12 inches in height, stoneware with colored grog and oxides, by Stanislav Larcenko, Minsk, Belorussia. Far left “The Cranes,” earthenware with slip brushwork, 31 inches in height, by Veronica Orehova, Moscow. Left “The Animal on the Move,” stoneware with oxides, 23 inches in height, by Aldona Jonushkaite-Shaltenene, Vilnus, Lithuania.

50 Ceramics Monthly A Family of Raku Glazes by Harold McWhinnie

Black Raku Glaze When rakuing, the kiln generally is Borax...... 3.22% opened when all or most of the glazes Gerstley Borate...... 43.01 appear (to the eye) to be melted, mature Soda Ash ...... 21.51 and ready to come out of the fire. For Nepheline Syenite ...... 10.75 this reason, it is a good idea to formulate Barnard Clay...... 21.51 raku glazes to be similar in composition so that all will be ready at once. 100.00% The raku glazes in this article were Add: Cobalt Carbonate ...... 4.30% developed to mature together in the fir­ Copper Carbonate ...... 2.15% ing. All were tested on ware (moderate A glossy deep blue-black; does well in to heavily painted, or poured applica­ heavy reduction. tions) fired in a small gas kiln. Postfiring reduction was with leaves and grass. Copper Blue Raku Glaze Borax...... 3.09% Gerstley Borate...... 41.24 Clear Crackle Raku Glaze Nepheline Syenite ...... 41.24 Gerstley Borate...... 67.35% Soda Feldspar...... 14.43 Nepheline Syenite ...... 8.16 100.00% Ball Clay ...... 8.16 Add: Copper Carbonate ...... 3.09% Edgar Plastic Kaolin...... 16.33 A nice transparent Egyptian blue in 100.00% moderate reduction; flows well. Add: Zircopax...... 16.33% White Raku Glaze Base Raku Glaze Barium Carbonate...... 12.05% Gerstley Borate...... 61.22% Gerstley Borate...... 57.83 Cornwall Stone...... 19.39 Nepheline Syenite ...... 30.12 Nepheline Syenite ...... 19.39 100.00% 100.00% Add: Tin Oxide...... 8.43% Add: Zircopax...... 8.16% Zircopax...... 12.05% Bentonite...... 2.04% A dependable glossy white with a light crackle when fired in moderate to heavy Red Bronze Raku Glaze reduction. Gerstley Borate ...... 50.0% Frit 3134 (Ferro) ...... 50.0 Medium Blue Raku Glaze 100.0% Borax...... 11.36% Add: Tin Oxide...... 5.1%Gerstley Borate...... 79.54 Copper Oxide ...... 4.3% Ball Clay ...... 9.10 For an oil luster effect, replace the tin 100 .00 % oxide addition with 1.7% manganese Add: Zircopax...... 11.36% carbonate. Cobalt Oxide...... 2.27% Lithium Blue Raku Glaze Green Raku Glaze Gerstley Borate...... 52.63% Gerstley Borate...... 67.74% Lithium Carbonate...... 22.11 Frit 3134 (Ferro) ...... 32.26 Nepheline Syenite ...... 25.26 100.00% 100.00% Add: Zircopax...... 5.38% Add: Tin Oxide...... 3.16% Red Copper Oxide .... 2.15% Copper Oxide ...... 2.11% Rutile...... 3.23% A medium blue crackle with moderate An opaque light green glaze; yields lus­ luster effects in heavy reduction. ter effects in heavy reduction. January 1987 51 52 Ceramics Monthly News & Retrospect Free Workshop Listings The 1987 Summer Workshops listings will be published in the April issue of Ceramics Monthly. Summer schools, colleges, univer­ sities, craft institutions and workshops not already contacted are invited to furnish in­ formation about their programs in ceramics by February 9. Please include the workshop location, opening and closing dates of session, name or description (handbuilding, throw­ ing, pit firing, etc.), level of instruction, names of instructors, fee(s), availability of live-in accommodations or camping, and where to write or call for details. Captioned photo­ graphs from last year’s workshops are wel­ come and will be considered for publication with the listings. Send to: Summer Work­ shops, Ceramics Monthly, Box 12448, Co­ lumbus, Ohio 43212; or call: (614) 488-8236. Vessels (from left) by Danish potters Bente Hansen, Jane Reumert, Inger Rokkjaer and Richard Kjaergaard Four Danish Potters such skills as demonstrated in the work of notes: “Dr. Woodhall Stopford, a toxicologist Salt-glazed stoneware with geometric glaze his students, Bente Hansen and Jane Reu­ at Duke Medical Center, has reviewed the patterns by Bente Hansen, thrown stone­ mert. Inger Rokkjaer, the other artist in the medical reports on tremolitic talc and found ware with linear sgraffito decoration by foursome whose work was on exhibition at no justification for tremolitic talc or other RichardKjaergaard, slab-built stoneware with Graham Gallery, studied at the Jutland Art nonasbestiform amphiboles to be included monochrome glazes by Jane Reumert, and Academy in Aarhus with Guttle Eriksen, a under the asbestos standard. raku byInger Rokkjaer were on display re­ noted teacher and potter still working in “Regulation of these nonasbestiform min­ cently in the exhibition “Four Danish Pot­ Northern Seeland. erals as asbestos would effectively eliminate ters” at Graham Gallery in New York City. “The disciplines of training create the the use of New York talc in the domestic “On the Peninsula of Jutland and the Is­ standards of these artists. The sureness with ceramics industry. The immediate result would land of Seeland, as well as the other islands which they approach the medium permits be to lower the quality of certain American that make up the Kingdom of Denmark, there them to undertake a personal style with au­ ceramics products dependent upon tremolitic has existed, of course, a ceramic tradition thority,” Hull concludes. “In a field where talc while increasing the cost of their man­ anteceding the 20th century—the Royal Co­ too often statements scream for attention, it ufacture due to the need for considerable re­ penhagen Porcelain Manufactory and Bing is refreshing to find objects that will prevail formulation and more expensive substitutes. & Grondahl, two of Europe’s finest china over the trendiness of the moment.” Photo: These substitutes may be higher in respir- factories attest to this,” notes William Hull, Ellen Page Wilson. able dust without providing any benefit to director of the Pennsylvania State University the health of those using it. Museum of Art. “But for today’s artists-pot- “Moreover, OSHA has admitted in the ters in Denmark, early standards were set New Talc Hazard Ruling preamble to its revised asbestos standard that by Patrick Nordstrom (1870-1929), an art- The Occupational Safety and Health Ad­ the evidence that talc poses a risk to workers ist-in-residence at Royal Copenhagen from ministration (OSHA) new standard on ex­ is ‘inconclusive.’ In order to support even this 1912 to 1922. Nordstrom, a Swede and a posure to asbestos, which includes nonas- equivocal position, OSHA has dismissed self-taught craftsperson, developed stone­ bestiform varieties of tremolite, anthophyllite without adequate explanation the findings of ware and a range of glazes of exceedingly and actinolite, could significantly affect ce­ several important studies of talc workers [and] high quality during his years at that factory ramics production, as nonasbestiform trem­ has misrepresented the results of four studies and afterwards in his studio at Isle. Another olite is common in much of the talc used in of laboratory animals. important part of this tradition was the ex­ hobby and industry clay bodies. But the Ce­ “OSHA relies primarily upon one study istence of the Saxbo Workshop with its two ramics Arts Federation International (CAFI) conducted by the National Institute for Oc­ principal partners, Nathalie Krebs and Eva is calling “foul,” saying that OSHA has ig­ cupational Safety and Health (NIOSH) dur­ Staehr-Nielsen. This remarkable collabora­ nored health studies and scientific fact in tak­ ing the late 1970s. Not only was this study tion of talents was responsible for the setting ing this position. never presented for outside scientific peer re­ of standards for the finest of the ‘Danish In a letter to ceramics manufacturers urg­ view, but its results are in dispute even with­ Modern’ period. The Saxbo Workshop func­ ing them to contact their congressional rep­ in NIOSH itself. Consequently, OSHA can­ tioned from 1929 to 1968 and was the train­ resentatives, CAFI president Larry Duncan not justify inclusion of the nonasbestiform ing ground for many of Denmark’s finest says that OSHA’s position is “totally unfair minerals on the basis of a faulty NIOSH potters. Some of these artists are still working and unfounded....” An accompanying letter study while ignoring the results of several and the influences of Saxbo pieces in Scan­ (drafted by R. T. Vanderbilt Company to use scientifically rigorous studies that exculpate dinavian museums and in the distinguished as a guide for writing letters to Congress) those same minerals (including four animal collection of the late King Gustaf VI Adolf studies showing zero percent tumor proba­ of Sweden remain as models of form and You are invited to send news and photo­ bility and two human mortality studies find­ glaze for many of today’s artist potters. graphs about people, places or events ojing no evidence of increased carcinogenic risk “The quality of Danish ceramics has come interest. We will be pleased to consider from exposure to talc).” about through the rigorous training that these them for publication in this column. Mail Because of the criticisms against this rul­ artists undergo. Richard Kjaergaard, as head submissions to: News and Retrospect, ing, OSHA has stayed the portion of the re­ of the ceramic department at the Applied Ceramics Monthly, P.O. Box 12448, vised asbestos standard pertaining to non­ Arts Academy in Copenhagen from 1955 to Columbus, Ohio 43212. asbestiform tremolite, anthophyllite and 1984, is responsible for the development of Continued January 1987 53 54 Ceramics Monthly News & Retrospect actinolite pending further hearings. How­ ever, CAFI suggests that “OSHA does not intend to give this issue an open and un­ biased hearing. Indeed, to date, OSHA has not made a formal announcement of the stay and the supplemental rulemaking in the Fed­ eral Register.” Alabama Clay Conference The potter’s wheel turned full circle at the first Alabama Clay Conference, held in con­ junction with the opening of the “Alabama Clay Exhibition” at Jefferson Davis College in Brewton, as folk and traditional potters swapped stories while throwing pot after pot. Norman Smith recalled mule-powered pug mill ther’s death, someone broke into his work­ shop and stole his equipment. I just didn’t have the heart then to keep making pots. I started logging, but in the winters, it’s slow. So I thought I’d start making pottery again. In two weeks, I had cleaned the hay out of the barn and was making pottery.” Looking back at a time when they were unable to predict or control kiln tempera­ tures, Jim and Catherine Potmesil recalled: “We experimented a lot. In a way, it was exciting. You never could tell what you would get.” Although he declined to give a demon­ stration at the conference, Norman Smith re­ ported that he still sits down at his wheel and throws pots. During an open discussion, an audience member reminded him of the time when the mule that powered his pug mill died. He smiled, acknowledging that he had used a lawn mower as a replacement for old Bessie. Earlier in the day, Smith was named the first recipient of the Alabama Dis­ Sgraffito-decorated jar by Susan Freeman, Birmingham tinguished Craftsman Award for his role in Among the participants were ninth-genera- furthering the production of traditional tion folk potter Jerry Brown, Hamilton; tra­ Southern pottery. Text: Susan Younce. ditional potters Jim and Catherine Potmesil, Robertsdale; and Norman Smith, who has been potting for 65 years in Lawley, Ala­ Wholesale Reps bama. A number of craftspeople are now turning Jerry Brown shared the story of when he to wholesale representatives to help market once stopped making pottery: “After my fa- their ware on a nationwide scale. In her re­ cently released Directory of Wholesale Reps Carved stoneware jar by Charles Smith, Mobile for Artisans and Craft Professionals, Sharon Olson offers some good advice on contacting and working with reps. “Selling through wholesale representatives offers craft professionals an extensive mar­ ket. Each wholesale company may have any­ where from 100 to 2000 accounts selling to all phases of the giftware industry. To be a success you not only need to have a good product but you also need to be a good busi­ ness person. You must present yourself in a professional manner, be responsible, meet deadlines and have a lot of patience. I asked the reps to give advice to the craft profes­ sional who has never had a rep work with them before. Below are their helpful com­ ments: “‘Finish your product in a professional manner. Adhere to all government regula­ tions concerning product safety and labeling. Continued January 1987 55 News & Retrospect

When first contacting a rep, present yourself as a professional by using business stationery and by having a good catalog, brochure or color photos of your products.’ “‘It is necessary to have price lists, catalog sheets, full color if possible, or photos of your products.’ “‘Be honest, produce quality products and don’t be pushy.’ “‘Be flexible with returning items. Pay commissions on time. See that items are packed extremely well to prevent breakage.’ “‘Patience. Developing a market for a new product takes time. Find a rep who is willing to invest some time in working with your product. That is the rep who believes in your product.’ ‘“Be able to produce in quantity. Have good quality control. Package items extreme­ ly well. Pay commissions on time. Have a good catalog. Be able to consistently produce good selling secondary items after a winner. Be a good business manager by putting suf­ ficient time into the business side of your craft.’ “‘Have color 8x11-inch pictures of your work. Know your production capacity. Have an inventory of your work.’ “‘Trends in artwork and crafts change just as do fashion and interior decorating colors and styles. Changing your products’ colors, patterns, etc., with what is popular today in fashion and interiors, is necessary for a prod­ uct to be a good seller and for you to continue producing good sellers.’ “‘A good rep is extremely valuable to any of us trying to market a product. A bad or mediocre one only gives us headaches and there are some of all of the above in the field. I would look over the lines that a prospective rep is carrying very carefully before hiring one.’ “‘Choose your rep as carefully as a rep chooses products. Do not hesitate to ask one for his/her resume and references.’ “Selling through a wholesale company can increase your sales tremendously but it also adds another who must profit from your craft. Selling through a rep involves you the man­ ufacturer, the wholesale rep/company who sells to the retail outlets and the retail outlet who sells to the consumer. For example, if the retail price of a doll is $36, $18 goes as profit to the retailer, $1.80 to $4.50 to the wholesale company and $13.50 to $16.20 to you the manufacturer. This is based on the following: The retailer doubles the wholesale price of the product. The wholesale company receives a commission of 10% to 25% of the wholesale price. The commission paid to the wholesale companies will vary and this, as well as other details such as billing of ac­ counts, shipping procedures, etc., need to be worked out before hiring a company. “When contacting a rep: Send a catalog, brochure or photos along with a price list. It is very important to represent your product well, as this is the first impression the rep will have of your work and how you handle 56 CERAMICS MONTHLY your business. Do not send samples, as reps are not responsible for their return. Include a self-addressed stamped envelope. If a rep is interested, he/she will contact you.” Copies of the Directory of Wholesale Reps for Artisans and Craft Professionals (cur­ rently with 34 listings) are available for $5 each (postpaid) from: Northwoods Trading Company, 200 Sunnyvale Lane, Minneton­ ka, Minnesota 55343. Laura Speiser “Inner Surfaces,” an exhibition of thrown- and-expanded stoneware vessels by Laura Speiser, was presented at China House of Arts in New York City recently. “Each piece starts as a classical form which I expand and develop beyond traditional proportions into an anthropomorphic shape,” states the

13-inch stoneware vessel, thrown and expanded artist. “As the piece develops, it yields deeper, more complex textures.” Photo: Otto E. Nel­ son. Mark Bell The primary focus of the large-scale ce­ ramic vessels Mark Bell exhibited recently at the Harry Wood Art Gallery at Arizona State University in Tempe “was to convey Untitled vessel sculpture, 42 inches in height

Continued January 1987 57 58 Ceramics Monthly News & Retrospect After graduating with an M.F.A. from Ar­ izona State University, Mark accepted a po­ sition as ceramic studio director at Castle powerful, continuous movements,” according Hill Center for the Arts in Truro, Massa­ to the artist. “The inspiration for this work chusetts. Photos: Russ Good, Judith Cook. comes from my involvement with gymnastics which occurred simultaneously with working in clay. Exhilarating thrusts of energy, pre­ Oregon Anagama cise balance and transitions from movement “Think of it as a river where the pots are to movement are inherently important the rocks and the atmosphere is fluid inside,” expressions.” says Oregon potter Frank Boyden in describ­ The vessels were constructed from ½-inch- ing the firing of the anagama (tube kiln) he thick slabs (starting with a triangular base) co-owns with Tom Coleman and Nils Lou. from the following clay body: Sculpture Body (Cone 01) Wollastonite (screened) ...... 10.0% Custer Feldspar...... 10.0 Lincoln Fireclay ...... 50.0 SPG Ball Clay...... 15.0 Iona Grog (30 mesh)...... 7.5 Crushed Softbrick (screened) ...... 7.5 100.%0 Per 100-pound batch, 500 grams nylon fibers are added. The softbrick is crushed by hand Fly-ash-glazed jar, 12 inches high, by Tom Coleman and sifted through window screen (18 mesh). “The flames move like snakes through the The surfaces were brushed with variations wares,” depositing ash, “imparting life to the of the following slip, colored with commer­ pots inside.” cial stains: Based on an eighth-century Korean de­ sign, the anagama was built on Lou’s prop­ Base Slip erty near Willamina, Oregon. It takes two Custer Feldspar...... 25.0% days to load the kiln, stacking ware to take Edgar Plastic Kaolin ...... 50.0 Flint...... 25.0 100 .0 % Add: Macaloid...... 3.0% The following are among color variations possible with additions. Black: Mason Stain 6600 ...... 15.0% Brown Black: Mason Stain 6134 ...... 4.0% Mason Stain 6600 ...... 0.5% Turquoise: Mason Stain 6134 ...... 4.0% Umber...... 1.0% Cold Mauve Brown: Burnt Umber...... 3.0% 12-inch porcelain plate by Frank Boyden Mason Stain 6134 ...... 4.0% advantage of the path of the flame. The fire Gray: is begun with alder, but once the temperature Burnt Umber...... 1.0% reaches about 1000°F, Douglas fir is used Mason Stain 6600 ...... 0.5% because it burns hotter. Stoking is at the fire­ Olive Green Tan: box in front and at four ports along the kiln’s Mason Stain 6486 ...... 5.0% sides. Every two or three minutes during the Mason Stain 6600 ...... 1.5% height of the firing, the stoker at the firebox Rutile...... 7.0% shouts out “Stoke!” so that the four people Sodium silicate (approximately lcc) is added stationed along the sides will simultaneously to each batch to make it slippery. drop two to five pieces of wood in the ports. Some of the work was also sprayed with Stoking at the same time helps regulate the a light wash of Ferro Frit 3134 before single fire. After about three days, the temperature firing to Cone 01. reaches approximately 2500°F and the kiln “The scale of this work allowed me to en­ is sealed. Cooling takes nearly a week. hance the surface with freedom,” Mark com­ The results are always a surprise. Some mented. “Through layering and overlapping pots are beautiful; some end up as shards on of colors and drawing marks, I tried to cap­ the pot bank. “You have form control, but ture the whole intuitive, creative, ongoing you don’t have surface control,” says Boyden. process. This might be similar to an entire An exhibition of anagama-fired pots by gymnastic performance rather than one fro­ Frank Boyden, Tom Coleman and Nils Lou zen moment or gesture.” Continued January 1987 59 Suite 500, Toronto M5V 2Z3; or call: (416) 869- Center, 142 Riverbend Dr., Dayton 45405; or call: Where to Show 8447. DeEarnest McLemore, (513) 228-1115. Continued from Page 21 March 5 entry deadline Woodstock, Vermont The 13th annual “Wood- Lenexa, Kansas “Dimensions ’87” (May 15-17), stock Summer Festival” (July 4-5) is juried from 5 slides. Fee: SI5. Contact: Ann Arbor Street Art Lenexa’s third annual national three-dimensional 5 slides. Entry fee: $7.50. Booth fee: $100 for a Fair, Box 1352, Ann Arbor 48106. art show, is juried from up to 2 slides each of 3 lOxlO-foot space. Contact: David McWilliams, February 21 entry deadline works. Fee: $15. Contact: Bill Nicks, Lenexa City Pentangle Council on the Arts, Box 172, Wood- Guilford, Connecticut “Guilford Handcrafts 30th Hall, 12350 W. 87 St. Pkwy., Lenexa 66215; or stock 05091. Annual Crafts Exposition” (July 16-18) is juried call: (913) 492-8800. ^ April 6 entry deadline from 5 slides. Clay juror: Washington Ledesma. March 7 entry deadline Farmington, Connecticut “The Autumn Crafts Awards. Fee: $12. Contact: Fernn Hubbard or Saratoga, Connecticut “The Saratoga Springs Fair” (October 10-11) is juried from 5 slides. En­ Joyce Wright, Box 221, Guilford 06437; or call: Craft Fair” (October 2-4) is juried from 5 slides. try fee: $10. Booth fees: SI35—$225. Contact: Brian (203) 453-5947 or 453-6237. Entry fee: $5. Booth fees: $200-$250. Contact: J. McCartney, Mil Productions, Box 938, Ver­ February 24 entry deadline Brian J. McCartney, Mil Productions, Box 938, non, Connecticut 06066; or call: (203) 745-5071. Bartow, Florida “Bartow’s Bloomin’ Arts Fes­ Vernon, Connecticut 06066; or call: (203) 871 - April 10 entry deadline tival” (March 13-14) is juried from 3 slides or 7914. Garrison, New York The Garrison Art Center’s photos; 1 of display. Entry fee: $5. Booth fee: $40 March 15 entry deadline “18th Annual Arts and Crafts Fair” (August 15-16) for a 10x10-foot space. Send sase to: Nell Schulz/ Lewisburg, Pennsylvania The “1987 Lewisburg is juried from slides. Entry fee: $5. Booth fee: $125 Kit Cramer, City of Bartow Art Guild, Garden Festival of the Arts” (May 2) is juried from slides. for a 10x10-foot space. Contact: Laurie A. Clark, Club, Box 1351, Bartow 33830; or call: (813) 533- Entry fee: $5. Booth fee: $25 for an 8x12-foot Garrison Art Center, Box 4, Garrison 10524; or 4171. space. Contact: Festival Street Show, Box 499, call: (914) 424-3960. February 27 entry deadline Lewisburg 17837. April 13 entry deadline Croton-on-Hudson, New York The tenth annual March 31 entry deadline Fort Wayne, Indiana “Three Rivers Festival Arts “Clearwater’s Great Hudson River Revival” (June Baltimore, Maryland* Artscape ’87” (July 17-19) and Craft Show—19” (July 11-12) is juried from 20-21) is juried from 5 slides. Fee: $75 for a 10x10- is open to residents from Delaware, Washington, 5 slides, 1 of display. Awards. Fee: $40 for a 10x10- foot space. Contact: Clearwater’s Great Hudson D.C., Maryland, New Jersey, New York, Penn­ foot space. Contact: Betty L. Newton, 1707 Ken­ River Revival Crafts Committee, c/o Joan Sil- sylvania, Virginia and West Virginia. Juried from sington Blvd., Fort Wayne 46805. berberg, RFD 2, Pudding St., Carmel, New York 5 slides. Fee: $75. Send SASE to: Crafts Artscape Margate, New Jersey “Craft Concepts ’87” (June 10512. ’87, c/o Mayor’s Advisory Committee on Art and 13-17) is juried from 4 slides. Jurors: Hortense March 1 entry deadline Culture (MCAC), 21 S. Eutaw St., Baltimore Green and Jane Korman. Awards. Fee: $10. Con­ Minneapolis, Minnesota The 15th annual 21201; or call: (301) 396-4575. tact: Craft Concepts ’87, Jewish Community Cen­ “Minnesota Crafts Festival” (June 27-28) is ju­ Chagrin Falls, Ohio “Art by the Falls” (June ter, 501 N. Jerome Ave., Margate 08402. ried from 4 slides. Entry fee: $10. Booth fee: $100 13-14) is juried from slides. Entry fee: $4. Booth April 30 entry deadline for Minnesota Crafts Council members; nonmem­ fee: $60 for a lOxlO-foot space. Awards. Send Springfield, Illinois “LincolnFest” (July 4-5) is bers $130. Send sase to: MCC-Festival, Room SASE to: Valley Art Center, 155 Bell St., Chagrin juried from 3 slides or photos. Fee: $100 for an 308, 528 Hennepin Ave., Minneapolis 55403; or Falls 44022; or call: (216) 247-7507. 8x10-foot space. For further information contact: call: (612) 333-7789. April 1 entry deadline LincolnFest, 624 E. Adams, Springfield 62701; or Medina, Ohio The 15th annual “Art in the Park” Clinton, Iowa “Art in the Park” (May 16-17) call: (217) 789-2274. (July 19) is juried from 4 slides. Send business is juried from 5 slides. Awards. Fee: $40 for a Birmingham, Michigan “Art in the Park 1987— SASE to: Art in the Park Screening Committee, Box 10x12-foot space. Contact: Clinton Art Associa­ A Community Festival of the Arts” (September 339, Medina 44258. tion, Box 132, Clinton 52732; or call: Carol Glahn, 12-13) is juried from 5 slides. Awards. Entry fee: Toronto, Ontario, Canada “The Maker’s Eye— (319) 259-8308. $7. Booth fee: $150 for a lOxlO-foot space. Con­ 1987” (July 22-26) is juried from 6 slides. Awards. Dayton, Ohio The 20th annual “Art in the Park” tact: Art in the Park/Common Ground, 1090 S. For further information contact: The Maker’s Eye, (May 23-24) is juried from 3 slides. Contact: Don Adams Rd., Birmingham 48011; or call: (313) 645- Harbourfront Craft Studio, 410 Queens Quay West, Webb, Chairman, Art in the Park, Riverbend Art 1173.

60 CERAMICS MONTHLY News & Retrospect

“Pygmalion15 inches high, porcelain, by Nils Lou was featured recently at Susan Cummins Gallery in Mill Valley, California. Photos: Rick Paulson, Jim Piper. Westminster Gallery Closes “No other gallery in the U.S. made as big a commitment to British ceramics,” re­ marked Kenneth Bridgewater, director of Westminster Gallery (in Boston), which closed at the end of December. “Maybe we tried to cover too much ground. Graham Gallery represents a limited number and Garth Clark [both galleries in New York City] has only a few.” Though the market decreased slightly in the past year (“collectors went directly to England to buy”), location was the most sig­ nificant factor in the gallery’s closing. West­ minster was housed in a space larger than most big-city galleries, so overhead was high. “The economics of running a gallery such as ours, promoting the artists we believe in and displaying their work in a way we feel is appropriate, make it impossible for us to con­ tinue,” Bridgewater explained. Westminster will be sorely missed by collectors and ce­ ramists who found it a convenient British outpost in the U.S. for hands-on experience with the work of influential potters such as Mick Casson, David Leach, Lucie Rie and a variety of others. American Clay at Christie’s Curtis and Suzan Benzie, Columbus, were a bit surprised when one of their galleries called to tell them that Christie’s of London was interested in selling their ware. It seems that Martha Schneider (of Martha Schneider Gallery in Chicago) had described the Ben- zles’ porcelain to a curator at Christie’s on her annual buying trip to England. Continued January 1987 61 62 Ceramics Monthly News & Retrospect

When the curator called the Benzles, they deferred back to Martha, preferring to let any arrangements be done through the gal­ lery. “The curator was her contact,” ex­ plained Curt, “and we thought we would benefit from the distance and from Martha’s expertise.” Indeed, Schneider helped them decide what work to submit for the sale at Christie’s Con­ temporary Ceramics auction. “Initially, we wanted to go with the larger pieces,” Suzan observed, “but Martha suggested we send more moderately sized ones.” Earthenware “Indian Sky” platter “They would be the more moderately priced slab built from red earthenware, decorated ones, too,” added Curt. “We were thinking with slips and glazes, and low fired. Photo: in terms of what exposure would have the Harrison Evans. greatest impact, and our larger pieces would reflect a greater investment of energy, ma­ Reproducing a Qin Soldier terial and experience. Martha considered what In the summer of 1974 at a commune in prices would draw the largest audience and northwest China, the peasants sank a series be the most successful in a European market.” of wells near the mound marking the tomb of Qin Shihuangdi, the first emperor of a unified China whose dynasty lasted from 221 to 206 B.C. No water was found, but what they eventually did find was astonishing— an army of some 6000 life-size, terra-cotta soldiers. (See “The Terra-Cotta Army of Qin- Shihuangdi” in the November 1980 issue of Ceramics Monthly.) Sarasota, Florida, ceramist Frank Colson became fascinated with the buried Qin fig­ ures on seeing some in an exhibition at New York’s Metropolitan Museum of Art in 1980, Translucent porcelain “Flying Home,” 7 inches high but the idea of reproducing one did not occur Among the final choices was “Flying Home,” to him until a customer saw a poster of a 7 inches in height, handbuilt inlaid colored warrior figure at his studio. “I was commis­ porcelain, with incising. sioned to do a warrior for his condominium,” The Benzles emphasize the value of es­ said Colson, “but the only information I had tablishing solid relationships with galleries. to go by was from archaeological drawings “Being the contact person was a great deal and photographs. I had to examine carefully of work for Martha. She did it more because the sizes of the drawings.” she believed in us than for a profit. That’s After completing a warrior figure in a more a rare quality found only in the best galleries: animated stance (with head tilted and arms not only good business sense, but the will­ 7-foot “Commander of the Vanguard” by Frank Colson ingness to share the artist’s enthusiasm as well.” Actually, after duties, tariffs, excise tax and brokerage fees, plus shipping one unsold work (Christie’s wasn’t satisfied with the bid offered) back to Ohio, the Benzles wound up losing $25, but they would do it again. “For now we see little profit in it,” said Curt, “but it was definitely a beneficial professional move. The exposure gives us increased credibility within the arts establishment. When a con­ summate fine art authority recognizes the significance of a body of work, there is an impact. It was a triumph for us as artists; it gave us credibility as such. This affirms our convictions and strengthens our hand in ar­ guing the importance of our aesthetic state­ ment.” Text: Christopher Wagner. James Watral Platters from an “Indian Sky Series” by Texas ceramist James Watral were featured recently at Salon Gallery in Dallas. Among the works shown, this 22V2-inch plate was Continued January 1987 63 64 Ceramics Monthly News & Retrospect poised as though ready to start hand-to-hand combat) than the excavated soldiers, Colson decided to attempt to reproduce exactly a 7- foot-tall commander figure. The terra-cotta figures of the Qin dynasty are highly stylized. The legs are rigid tubes supporting sym­ metrical torsos. While each of the warriors’ feet is different, the commander’s feet are boxlike. “When I saw the commander on ex­ hibit, I realized the pronounced feet are real­ ly part of the slabs which stabilize the fig­ ure,” Colson remarked. “But if you visually “Lumen Below, Par sec Above,” 10 inches high block out the rest of the commander, you can all with a porcelain slip. Then, they were see that the feet look like early art. They are airbrushed with up to 12 underglaze colors, absolutely incongruous with the rest of the bisqued, masked, airbrushed with more un­ figure.” derglazes, masked and sprayed with one or Working with ½-inch-thick slabs of clay two layers of engobes. Firing was to 2000°F shaped over cardboard tubes, Colson formed in an electric! kiln. Photo: Linda Mueller. his commander figure in nine sections: feet (together), legs, subskirt, skirt, torso, arms Sheila Nussbaum at Nabisco and head. The head simply sits in the collar. The arms are attached at the elbow with an An exhibition featuring artists represented interior locking bolt. A flange on the skirt by Sheila Nussbaum Gallery was on view at holds the torso in position. In turn, the skirt the Nabisco Brands USA Gallery in East sits on the subskirt, and the subskirt locks Hanover, New Jersey, through November the two legs together. 26. Included in the show were large wheel- It was important to dry the sections in thrown vessels, decorated with slips and fired their assembled positions. “If I had taken the sections apart to dry, the weather could have made one dry differently than another, thus creating distortion,” Colson explained. “The lip of the torso kept the lip of the skirt in check during the drying process, and so on. After thorough drying, the sections were tak­ en apart for firing. “I have read nothing that indicates clearly how the soldiers were fired during the Qin dynasty,” he reported. “Therefore, it’s my theory that the ancient Chinese fired these pieces in an open-air construction or they built a refractory kiln around each figure. Today, in Mexico and many Third World countries, a kiln is often built around the pottery and sculpture. After the firing, the kiln is torn down. I’m not implying that the ancient Chinese were primitive, but that it makes more sense to build a kiln around each piece.” 25-inch-high “Change Diagram #5” by Rodger Lang Colson slowly fired the sections of his com­ to Cone 6, by Colorado ceramist Rodger Lang. mander figure in a 60-cubic-foot, downdraft, “My sources of inspiration are eclectic, rang­ gas kiln to approximately Cone 06. He want­ ing from the ceramic traditions of ancient ed the clay to remain porous enough to pat- Minoan Crete to cloud-chamber photo­ inate with a solution of powdered colorants graphs of subatomic particles,” notes the art­ in varnish and alcohol. “The body was sat­ ist. These pots “represent an effort to build urated with the alcohol/varnish patina,” he a working relationship between angular, lin­ said. “When the alcohol evaporated, the var­ ear surface markings and the soft, full, sen­ nish set up and the result was a fixed sur­ suous form of the vessel body.” face” similar in color to the once-buried orig­ inal. Text: Gail Haborak. In the Round Patterned bowls and platters by 18 ceram­ Jeri Au ic artists were on view at the Elements in Exhibited recently at Contemporary Crafts Greenwich, Connecticut, recently. Included Gallery in Portland, Oregon, was a series of were both functional and decorative forms, porcelain spheres surfaced with slips, un­ serving as containers for expressive design derglazes and engobes “to reveal the layers or personal imagery. of complexity in the seemingly simple” by John Frantz of Fries, Virginia, notes that Jeri Au, Pacific, Missouri. The enclosed “color with a painter’s approach to line and wheel-thrown forms were altered by carving brushwork, balanced with a forceful form and rolling (like a ball), and smeared over­ Continued January 1987 65 66 Ceramics Monthly dio complete with slab roller, tables and cup­ News & Retrospect boards, we quickly realized that the space would be too small for the approximately 90 slabs which had to be rolled out, dried and assembled in a couple of weeks. Simple, tem­ porary modifications expanded the space by an extra 8x24 feet. From then on the biggest problem was the weather. It could quickly change from 95° and sunny to torrential rain. A lot of time was spent moving clay around, turning fans on and off, and opening and closing doors. This hadn’t been taken into account when planning our timetable in our fourth-floor studio back in Milwaukee. Nevertheless, the sections were built, 16 in all, from the following clay body: Red Earthenware Body 12-inch earthenware plate by John Frantz (Cone 05) has been my major theme for the past several Talc ...... 10pounds years. My use of red earthenware provides A. P. Green Fireclay...... 20 a palette open to the wide variety of modern Cedar Heights Redart Clay . 60 industrial color, yet reminiscent of Renais­ Kentucky Ball Clay (OM 4). 10 sance terra cotta with its soft, warm texture A. P. Green Grog (2 8 mesh). 10 and depth of surface.” 110pounds Add ½ cup barium carbonate to prevent scumming. Artpark Installation The firings were a little tricky in that only by Theresa Millard and Jim Neiman four of the sections would fit in the electric On the first of July, we arrived at Artpark kilns. The remaining 12 had to be fired in in Lewiston, New York, a land reclamation the gas kiln, one at a time. park supported by the state. Time was going A glaze firing had been planned, but we to be tight, so we were anxious to get started. quickly realized that with 12 pieces to fire Originally, we had proposed a five-week in the next 14 days, we would have to think project; but when offered a four-week resi­ again. Because the forms were to be installed dency, we decided to go ahead with the pro­ only temporarily, the solution was to wash posal. It involved a series of five large vase the surfaces of the Cone 05 bisqued forms forms, each built from three or four sections with manganese and iron, then spray with stacked on top of one another. Varathane sealant. Though we were assigned the largest space The assembled and installed vase forms within the ceramics facility, a 15x24-foot stu- had to be completely stable and childproof, Sculpture installation by Theresa Millard and Jim Neiman at Artpark in Lewiston, New York

Please Turn to Page 73 January 1987 67 68 Ceramics Monthly New Books Handmade Potter’s Tools Structures Generated in Situ; and Building by Philip Whitford and Gordon Wong Codes; plus glossary and index. 150 black- “Making your own tools exposes you to the and-white photos and drawings. $29.95, disciplines, forms and decorations of other hardcover; $19.95, softcover. Harper <£rRow, crafts and cultures, forces you to expand your 151 Union Street, San Francisco 94111. Or repertoire of techniques, makes your work­ hardcover copy available from the Ceramics shop and workshop technique more efficient, Monthly Book Department, Box 12448, Co­ and gradually but inevitably makes your work lumbus, Ohio 43212. unique,” assert the authors of this how-to book based on their trial-and-error experi­ The New Ceramics ences. “Tools are at the interface between the Trends + Traditions creator and the created. On one side of the by Peter Dormer equation, there is the potter with a mix of Primarily an illustrated survey of ceramics skills; on the other there is the pot produced. from Europe, Australia and the United States, In between are the tools with which the clay this book considers developments in the field is manipulated. There are precision imple­ during the ’70s and ’80s. In part one, on the ments specialized both for a particular use role of the potter, the author notes that “stu­ and a particular potter so that the hands, the dio pottery is currently more exuberant, more tools and the clay are bound together and act experimental and sometimes more anarchic in concert within one dynamic. The right than ever before. At the same time, it is also tools encourage both control and spontane­ conservative and a guarantor of decorative ity.” Included in the text are instructions on tradition. The tension between these ex­ making and using approximately two dozen tremes, together with the diversity of work potter’s tools, from ribs and wooden knives along the way, give contemporary ceramics to brushes and slip trailers. Adopting a “make- its special flavor and interest.” Parts two and do” attitude, the authors “respect the inno­ three address form and decoration respec­ vations of the past,” but “have no compunc­ tively. “Potters everywhere except Scandi­ tions about augmenting, complementing or navia and Holland (and to a small degree entirely replacing them with new appropri­ West Germany) are more interested in add­ ate technology. We have updated tools and ing ‘art’ to their craft than ‘design.’ That is methods for the modern (post-1970s) world, to say, they prefer to alter their thrown forms producing most of our items for less than the to make them expressive of individuality, cost of a movie ticket—surely a vital consid­ rather than to make them expressive as func­ eration these days!” 203 pages including se­ tional objects. One suspects that, on the whole, lected bibliography and index. 239 black-and- the contemporary potter fears function and white photographs; 208 line drawings. $24.95 fears design as too constricting.” 208 pages (softcover). Kodansha International, 10 East including biographies of the artists; lists of 53 Street, New York City 10022. Or from the galleries, museums, exhibitions, and publi­ Ceramics Monthly Book Department, Box cations; and index. 86 color plates; 148 black- 12448, Columbus, Ohio 43212. and-white photographs. $35. Thames & Hud­ son, 500 Fifth Avenue, New York City 10110. Ceramic Houses How to Build Your Own Ceramic Masterpieces by Nader Khalili by W. David Kingery and Pamela B. “To build a simple house we need not cut Vandiver trees, weld steel, or buy cement and plastic,” For students, professional ceramists and col­ remarks the architect-author of this text on lectors, this text offers an in-depth look at building and firing domed brick structures. ten ceramic masterpieces: an Egyptian fa­ Today, “there is a new consciousness about ience chalice; a Longquan (Lung-ch’uan) the ecology, environment, energy, homeless­ celadon jar; a Jun (Chun) bowl; a Persian ness and other basic human issues. To deal lusterware plate; an Iznik tile; a Medici por­ with such vital issues effectively, we must celain bottle; a famille verte porcelain plate; first understand the fundamentals: the earth a Bottger porcelain tea caddy; a Boucher soft- and the elements.” While exploring the time­ paste sculpture; and a Wedgwood jasperware less principles of adobe construction in Third pitcher. Each is placed in historical and cul­ World countries, he found that old aban­ tural context, then is verbally reconstructed doned kilns had withstood the ravages of wind with details of the forming, glazing and firing and rain far better than the unfired houses. processes learned from examinations by touch, In Iran, he arranged to fire and even glaze magnifying glass and binocular microscope. several adobe structures, with positive, use­ Xeroradiography was used to further ex­ ful results. This text documents the last ten plain the structure of three examples. The years of his research, introduces design pos­ xeroradiograph of the Song (Sung) dynasty sibilities and provides how-to information on Longquan celadon jar shows “the basic shape constructing simple houses with on-site ma­ of this vessel was formed by throwing on a terials. 221 pages including appendixes on potter’s wheel a body that was quite plastic Shell Membrane Theory Applied to Mason­ but had a limited working range. That is, ry Domes; Magma, Ceramic and Fused Adobe Continued January 1987 69 70 Ceramics Monthly New Books from the process of making and the artist’s spiritual involvement with the material, en­ ables the contemporary craftsman to tran­ the clay changes from too stiff to too fluid scend traditional forms and techniques, cre­ with only a small change in water content, ating works of genuinely new significance.” requiring the potter to shape the vessel rap­ Following the introduction is an essay on idly and limiting the size of vessel that can crafts’ “historical roots and contemporary be thrown. The neck was thrown separately perspectives” by Edward Lucie-Smith in and joined to the body after neck and body which he points out the effects of such major were sufficiently stiff to support the weight influences as the arts and crafts movement, but not yet dry. The base was trimmed with Rookwood Pottery, Charles Binns at Alfred a pointed wooden or metal tool, leaving a University, the Wiener Werkstatte and the foot rim with an indented center. Marks from Bauhaus, plus Peter Voulkos and the free­ trimming are present as fine parallel, cir­ dom of attitudes characteristic of California cumferential grooves about 0.8mm apart on in general. “Within the American craft com­ the bottom. The dragon was modeled from munity there is an intricate web of relation­ two lumps of clay and then the legs were ships,” he writes. “The exact linkages are shaped in an open-face mold and added to often influenced by chance: particular crafts­ the body. Porosity in the body and legs of the men studied or taught together at a partic­ dragon is randomly oriented, indicating that ular school; they inhabit the same region; very little extension of the clay took place they have social and aesthetic ideas in com­ during modeling; in contrast, groups of pores mon. Yet Americans do not cease to be com­ in the body are aligned in an upward spiral petitive when they dedicate themselves to the direction as a result of the considerable force crafts, and one of the chief links between required to raise the initial body form. The craftsmen is an intense rivalry in the realm dragon was wetter than the body when it was of technical inventiveness and refinement. Any formed around and joined to the neck. As a process, new or old, is pressed to its limits.” result, there was greater shrinkage during A portfolio of photos documenting the ex­ drying and cracks developed at many of the hibition is divided into four categories: the joins.” The text goes on to explain how the object as statement, which includes works jar was later incised and raw glazed before “created primarily for their aesthetic value”; firing in a saggar stacked in a climbing kiln. the object made for use, “unique items de­ Be prepared to read both Wade-Giles and signed for specific functions”; the object as Pinyin spellings for Chinese names and places vessel, which “surveys those qualities that (e.g., in one chapter the text refers to Ching- are typical of the vessel today”; and the object te-chen, but only Jingdezhen appears on the for personal adornment, wearable works “also accompanying map). 339 pages, with bibli­ designed to serve as objects on display when ographies following each chapter, glossary not being worn.” 328 pages including a 25- and index. 24 color plates; 100 black-and- year chronology of American craft, a 25-year white illustrations including line drawings, chronology of major craft shows, biographies charts and maps. $49.95. The Free Press, 866 of artists, bibliography and index of plates. Third Avenue, New York City 10022. 230 color plates; 55 black-and-white illus­ trations. $40; Weidenfeld Nicholson, 10 East 53 Street, New York City 10022. $29.95 Craft Today (softcover), plus $2 shipping and handling; Poetry of the Physical American Craft Council Publications, 40 West “The motivation to pursue a career in craft 53 Street, New York City 10019. stems from many sources, one of which fre­ quently is the wish for a more self-directed Designer’s Guide to Color 3 occupation,” notes Paul Smith in the intro­ by Jeanne Allen duction to this catalog/book published in Of interest to tile makers and other ceramists conjunction with the inaugural exhibition at working with polychrome design, this hand­ the new American Craft Museum facility. book shows 942 color combinations in a va­ “It is indicative of the ’80s, however,” he con­ riety of patterns. This third in a series (the tinues, “that craftsmen not only value their first book covers basic color combinations; the independence, the love of work and material, second explores emotional effects created by and the pride of making something well that related colors and tones) begins with simple they can share; they also want their work to designs incorporating dots, triangles, stripes, provide a livelihood. An increasing number etc., then progresses through more complex of professionals are supporting themselves geometric arrangements to ornate patterns without recourse to teaching or other sup­ such as found on art deco prints and Japa­ plemental employment. The expanding mar­ nese textiles. “The patterns are presented in ketplace has superseded university patron­ a manner meant to graphically illustrate the age, which had provided the dominant support power of color and design in conveying a system in previous decades. Today, while many profound visual message,” notes the author. people function individually or with assis­ “From pattern to pattern, you will begin to tants, the trend for groups to work in small recognize why certain color combinations have production studios is growing. Their output a particular impact and how different colors ranges from items to be sold directly in the can make the same pattern look strikingly marketplace to commissioned pieces ... Craft different.” 119 pages. $16.95, clothbound; today is distinguished by the sophisticated lev­ $9.95, paper. Chronicle Books, 1 Hallidie el of its aesthetic. This aesthetic, which evolves Plaza, San Francisco, California 94102. January 1987 71 72 Ceramics Monthly News & Retrospect Continued from Page 67

1 3/2-footy red earthenware “Vase” yet readily removable during the winter when the park was closed. As the largest was ap­ proximately 6½ feet tall and weighed 400 pounds, we decided that 4x4-inch fence posts with 1-foot-deep foundations would be ad­ equate to keep the pieces upright under stress. Each section had been constructed with 4½- inch-square holes in the top and bottom to facilitate installation. A spray foam sealant was used to fill excess space between the clay and the posts, and to lock the sections to­ gether. This sealant expanded three times in size and hardened with tremendous surface tension. It was applied generously to the top of each section so that when the next section was positioned the foam would expand to fill not only the gap between that section and the post but also between the sections. Any gaps on the exteriors were filled with grout and mortar. When the park closed in the fall, the sections were easily dismantled once the surface tension of the foam was broken. For us, Artpark was a rewarding expe­ rience. Away from home, it is easier to con­ centrate without the usual distractions of dai­ ly life. And we were given a weekly fee plus materials, travel and living expenses to pro­ duce work that would have otherwise been impossible because of time and financial con­ siderations. As well, the work remains our property. Perhaps the nicest aspect of working at Artpark is the sense of community that de­ velops. At any given time, there are in excess of 20 artists of various disciplines living and working in close quarters. This makes for close relationships and rich interaction. Pho­ tos: James McCoy. David Keator Kentucky artistDavid Keator makes ta­ bles with wood and ceramic legs, marble tops and slip-decorated clay side panels. A vessel matching the panels in color and design sits atop each table. These compositions begin with the ceram­ ic pieces. Low-fire clay is decorated with air­ brushed slips, incising, painted slips and lus­ ters; then David selects wood and marble to Continued January 1987 73 74 Ceramics Monthly News & Retrospect

Clay, wood and marble Meandering rassions complete the form. “Meandering Passions,” 50 inches in height, was among his works exhibited recently at LoHo Gallery in Louis­ ville. An American in Germany Ceramic sculpture bySusan Eisen, Upper Saddle River, New Jersey, was presented in a solo exhibition at Dr. Paul Koster Gallery in Monchengladbach, West Germany,

5V4-inch stoneware “Habitat Series/Cleft” through November 30 (and in a three-person show at the Boca Museum of Art, Boca Ra­ ton, Florida, through October 5). Charac­ teristic of the works shown, “Habitat Series/ Cleft,” 5½ inches in height, was handbuilt from colored stoneware. Photo: O. E. Nelson. Jan Axel “Material Difference,” an exhibition of porcelain with mixed-media works by Jan Axel, was presented at Contemporary Por­ celain in New York City through October 30. “Over the years, I have explored ‘black­ ness’ and ‘whiteness’ through movement of shadow over both representational and ab- Please Turn to Page 79 January 1987 75 Pack With Care by Debra Berke

Appendages should be wrapped, then rounded off with tissue paper so that the resulting tissue ball encases protrusions as part of a smooth whole.

port. The container and not the object rough handling. Double-strength card­ Gallery and museum personnel tell hor­ should absorb shock and vibration. board boxes are adequate for most ce­ ror stories about poorly packed ce­ Before packing, photograph your art­ ramic objects. Select boxes 3-4 inches ramics. For example: “We couldn’t be­ work to document its preshipment con­ larger than the object to be shipped to lieve it, a raku wall piece was sent to dition so you’ll have records should the allow room for cushioning materials. us laying on crumpled newspaper with­ object be lost, stolen or damaged during Transport large or heavy items in a crate. out any padding between the top of the transit. Never tape labels directly onto Reusable molded polyethylene crates can box and the piece. Of course, the box the object, as this may damage its surface often be purchased. Instructions for was tipped during shipment. And, it ar­ and/or leave adhesive residue. A label building wooden crates are given in rived broken!” identifying the object and its component Safeguarding Your Collection in Travel When museums transport irreplace­ parts with your name and address should by Caroline Keck, published by the able ceramics like Inca stirrup jugs, be affixed to the package exterior. American Association of State and Local George Washington’s china, or a Robert To obtain reasonably priced shipping History, Nashville; and Way to Go: Arneson sculpture, breakage is intoler­ containers and cushioning supplies, con­ Crating Artwork for Travel by Stephen able, so specialized packing techniques tact a local museum for a list of pack­ Horne, published by the Gallery As­ and materials have been developed. Pot­ aging suppliers, or look in the telephone sociation of New York State, Hamilton. ters and clay sculptors, too, can prevent directory under Boxes, Packaging Con­ Obtain these reference materials through the embarrassment and expense of cus­ tainers and Packaging Materials. Art your local library or its inter-library loan tomers receiving broken objects or the packing supplies are often the same as program. chance of being taken out of an exhi­ materials used in transporting high-tech An initial wrap with tissue or muslin bition because the artwork arrived in electronics, so most areas should have a protects against the more abrasive ma­ pieces. distributor. Other ceramists have been terials used in cushioning. Either of these Shock, vibration, rapid temperature creative in finding inexpensive sources wraps also serve as a moisture buffer. change, and contact with water or hu­ for packing materials: a Vermont potter When using tape, make sure it cannot midity are the primary causes of break­ obtains surplus insulation from a nearby come in contact with the object. age. The goal of good packing is to pro­ factory. All projecting parts of any object should tect against the worst hazards to which The shipping container must be strong, be rounded off with tissue so that the an object may be subjected during trans­ puncture proof and able to withstand end result is a ball of tissue with the 76 CERAMICS MONTHLY protruding pieces an integral part of the cessive layers of foam. To do this, mea­ of art” because this may invite theft. whole. For example: When packing a sure the shape, mark the contour on the Contact local museum staff for refer­ teapot, stuff loosely crumpled tissue in­ foam with pencil, and cut the foam with rals for qualified shipping companies. side the vessel, around the handle, and a bread or electric knife. This technique They are knowledgeable and usually around the entire form. Then cover the is excellent for objects that must be re­ willing to help. Transportation may be teapot with another sheet of tissue to packed in the same box for return. via the U.S. Postal Service, United Par­ keep the crumpled tissue in place. Double boxing (packing an object in cel Service (U.P.S.) or other commercial Put the part of the object that can two sequential boxes) is an excellent deliverers. Cost depends on size, weight, handle the most shock at the bottom. cushioning procedure, and the one most distance and deadline for arrival. U.S. Component parts of an object, like tea­ commonly used by potters. The immo­ mail and U.P.S. can ship up to 70 pounds pot and lid, should be packed separately. bilized object is cushioned inside one box, and 108 inches in length and girth com­ Make supports and mounts for heavy then the first box is nested inside a sec­ bined. When using the U.S. mail, send portions of the object and to secure the ond box that is at least 2 inches larger by return receipt. U.P.S. is particularly object in position. on all sides. The space between the two useful for fragile objects and has next- Cushioning materials float the object boxes is completely filled with news­ day delivery available. Air freight is the inside the container and absorb shock paper or foam. fastest method, but it is expensive and and vibration. A general rule is to pro­ If the packing configuration is com­ packages are subjected to much han­ vide 3-4 inches between the objects in plicated and if unpacking in an incorrect dling. Van and truck lines have fragile the same container and the container order can cause damage, then include product shipping services in specially walls. Polyurethane and polyethylene written unpacking instructions or a se­ equipped vans with air-ride shock ab­ foams are the best cushioning materials, quence of Polaroid shots. Also include sorption and climate control. but less expensive sponges and papers an itemized packing list to protect against An artwork is truly completed when can provide sufficient cushioning if used small items being accidentally tossed out it reaches the intended destination, be it correctly. Pack very carefully when us­ with the packing materials. in a home or an exhibit case. Therefore, ing the expanded and exploded plastics Neatly wrap and label the container. potters and clay artists should be as cre­ (peanuts) because they can settle and Shoddy looking boxes invite rough treat­ ative and analytical when packing and leave the object exposed. ment, whereas a neatly wrapped box may shipping their ware as they are in pro­ One cushioning technique is to wrap command more care by handlers. Put ducing it. the rounded-off object in layers of bub­ arrows on the sides to signify which end ble sheeting, then pad the extra space is up, and letter neatly on the top face The author A potter and a curator with inside the container. Another technique “open this side.” Do label the package the National Park Service, Debra Berke for fragile objects is to pack them in suc­ “Fragile”; but it is best not to write “works resides in Arlington, Virginia.

Even a very fragile object can be successfully packed and and thereafter in foam layers, each custom cut to conform to shipped. Such work should be delivered and returned in the the shape of the tissue wad. A rare 16th-century Bellarmine same crate or box (3 to 4 inches larger than the ceramic jug and an illustration of a teapot show the progressive object). Pack the work with tissue paper until smoothed over assembly of a protective package.

January 1987 77 78 Ceramics Monthly News & Retrospect Continued from Page 75

Porcelain and glass unit, 31 inches in length, by New York artist Jan Axel stract ceramic forms,” the artist commented. “Twin-Bird Vase,” 18 inches in height, “This body of work is a further study in handbuilt white earthenware, with under- ‘blackness,’ synthesizing my concern with light glazes and clear glaze, by Elaine Bolz, and shadow with experience within industry. Leicester, Massachusetts. The forms are not generated from clay’s plas­ ticity; rather, drawing upon the industrial process, from a sensuality I find in plaster. Margaret Ford ‘Material Difference’ expands upon my in­ Ceramic and wood figures of mythological volvement with ‘blackness,’ incorporating a characters by Margaret Ford, currently a vis­ number of materials which inherently offer iting artist at the College of Wooster, Ohio, a subtle experiential interchange. In both were on view at Foster/White Gallery in functional and quasi-functional forms, clay, Seattle through November 30. Shown from glass, cement and metal meld as structural the exhibition, “Daphne’s Possession,” 59 and visual components.” inches in height, whiteware with actual branches on a tile and wood base, interprets the myth about the nymph who attracted Animal Spirits Apollo; pursued by him, she prayed for es­ Bird and beast sculpture and decorative cape and was turned into a laurel tree. vessels by nine potters were among the ob­ “Daphne becomes rooted in the pavement of jects on view in “Animal Spirits” at America an urban society,” Meg explains, “her safety House in Tenafly, New Jersey, through No­ from Apollo secured with the loss of her free­ vember 20. Shown from the exhibition is dom of movement in her native territory.”

18-inch “Twin-Bird Vase” by Elaine Bolz "Daphne’s Possession,” whiteware and wood January 1987 79 Comment Continued from Page 23 “Oh no, he was very serious about it. He has integrity.” “What about his love life. Any jealous lovers?” “His wife left him. He was committed to thrown reduction stoneware and she got into handbuilt oxidation porcelain. They were just incompatible.” I left the parents’ residence, mulling over the facts. But as I drove along, I got a call from the gallery owner. “You can forget the whole thing about Ernest Kunst,” she said. “He’s alive and well, and took a job driving a potato chip truck. I guess it was just his way of leaving the art world with bravado.” The case was closed, but I couldn’t help thinking about it. What could lead a potter to the point of driving a potato chip truck? Was it the lure of a regular paycheck? Or freedom from kowtowing to customers’ whims? Perhaps life with­ out art fairs was just too attractive. And how could he have died and yet not have died? Then I understood what had hap­ pened. This guy had really tried, but the artist inside him had died. He took him­ self too seriously. The author A professional potter with II years experience, Brad Sondahl maintains a storefront/studio in Spirit Lake, Idaho.

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