CERAMICS MONTHLY

focus MONTHLY atmospheric fi ring December 2006 $7.50 (Can$9, h 6.50) www.ceramicsmonthly.org

Kathy Venter’s Immersion Series

focus atmospheric fi ring

DECEMBER 2006 $7.50 (Can$9, E6.50) www.ceramicsmonthly.org

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E d itorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 ed itor Sherman Hall associate ed itor Jennifer Poellot ed itorial assistant Brandy Agnew technical ed itor Dave Finkelnburg pu b l isher Charles Spahr ed itorial interns Holly Gosselin, Erin Pfeifer A d v ertising/ C l assifi ed s [email protected] (614) 794-5809 fax: (614) 891-8960 classifi[email protected] (614) 794-5866 ad v ertising manager Steve Hecker ad v ertising serv ices Debbie Plummer S u b scriptions/ C ircu l ation customer service: (800) 342-3594 [email protected] D esign/ P rod u ction prod u ction ed itor Cynthia Conklin d esign Paula John Editorial and advertising offices 735 Ceramic Place, Suite 100 Westerville, Ohio 43081 USA E d itorial A d v isory B oard Linda Arbuckle; Professor, Ceramics, Univ. of Florida Tom Coleman; Studio Potter, Nevada Dick Lehman; Studio Potter, Indiana Meira Mathison; Director, Metchosin Art School, Canada Don Pilcher; Potter and Author, Illinois Bernard Pucker; Director, Pucker Gallery, Boston Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Susan York; Santa Fe, New Mexico

Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and September, by The American Ceramic So- ciety, 735 Ceramic Pl., Suite 100, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. The publisher makes no claim as to the food safety of published glaze recipes. Readers should refer to MSDS (material safety data sheets) for all raw materials, and should take all appropriate recom- mended safety measures, according to toxicity ratings. subscription rates: One year $34.95, two years $59.95. Canada: One year $40, two years $75. International: One year $60, two years $99. back issues: When available, back issues are $7.50 each, plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4–6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, P.O. Box 2107, Marion, OH 43306-8207. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. indexing: Visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists’ names. Feature articles are also indexed in the Art Index, daai (design and applied arts index). copies: Authorization to photocopy items for internal or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright. com. Prior to photocopying items for classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional purposes, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Publisher, The American Ceramic Society, 735 Ceramic Pl., Suite 100, Westerville, Ohio 43081, USA. postmaster: Send address changes to Ceramics Monthly, P.O. Box 2107, Marion, OH 43306-8207. Form 3579 requested.

Copyright © 2006 The American Ceramic Society All rights reserved

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Dec_06_001_009.indd 3 11/9/06 3:12:25 PM How long does your kiln last? Easy-Fire kilns are durable, easy to use, easy to service & come with a Three Year Warranty. Hard Ceramic Element Holders Make the Difference!

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Dec_06_001_009.indd 4 11/9/06 3:12:47 PM DECEMBER 2006 / Volume 54 Number 10

MONTHLY

focus atmospheric fi ring

34 Soda, Clay and Fire by Gail Nichols After years of research, one of the foremost practitioners of soda glazing shares her expertise in a new book. Here, we present a sneak peak as part of this issue’s focus on atmospheric fi ring effects. recipes Slip and Soda Introduction Mix 38 Why Wood? What is the value of fi ring with wood in this day and age? W ho better to answer this question than the presenters of “20 + 1 Y ears of the Tozan Ki lns,” the r ecent international wood-fi re conference held at Northern Arizona University? Thei r responses and their work are shared in this focus article. features

44 The Immersion Series by Kathy Venter A trip to the local swimming pool with an underwater camera leads to a compelling new body of work.

48 Looking at Schulman by Don Pilcher A former student shares insights into the artistic motivations and philosophies of a legendary teacher.

51 Opened Earth by Eric Serritella During a residency in Taiwan, an artist develops an appreciation for organic pots that celebrate the natural beauty of clay. monthly methods The Look of Parched Ear th 34 54 Brother Thomas A Long and Winding Road to Artistic Success by Richard Busch

cover : “Immersion Series” sculptures, to approx. 6 ft. (1.8 m) in height, handbuilt terra cotta with polychrome layers of Hydro-Stone and engobes, by Kathy Venter, Saltspring Island, British Columbia, Canada; page 44. 38 51 54 Photos by David Borrowman.

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10 letters from readers

18 answers from the CM technical staff

20 suggestions from readers 20 Tip of the Month: Sphere Perfection

22 upfront reviews, news and exhibitions 32 click and collect pay a virtual visit to the galleries in this issue 60 call for entries 60 International Ex hibitions 60 United States Ex hibitions 62 Regional Ex hibitions 62 Fairs and Festivals 66 new books 72 calendar 72 Conferences 72 Solo Ex hibitions 72 G roup Ceramics Ex hibitions 76 Ceramics in Multimedia Ex hibitions 77 Fairs, Festivals and Sales 78 Workshops 82 International Ev ents 86 classified advertising 87 index to advertisers 88 comment On the Tail of a Dragon by Sebastian Blackie

online www.ceramicsmonthly.org 22XX current features, expanded features, archive articles, calendar, call for entries and classifi eds expanded features Why Wood? See more work and read the full interviews of the presenters at the “20+ 1 Y ears of the Tozan Ki lns” International Wood-Fire Conference. new online exclusive features China: A New Frontier for Western Artists by Dorian Beaulieu Abhay Pandit: Seascapes by Brinda Gill special listings G allery G uide Where to see ceramics in the U.S. and abroad Residencies and Fellowships Full listing of professional-development opportunities

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Dec_06_001_009.indd 9 11/10/06 11:30:18 AM l etters C M as G al l ery the reputation of this “gallery” has been and gluttony, even pleasure thereof, an An effort has been made recently by seriously compromised by some of the eroding force of nature? The fi rst reac- this publication to provide articles “curatorial” decisions being made. tion I had upon viewing the cover of about a certain “focus.” I understand This letter will include no threat the October issue was, “Oh my god, it is not the intention of CM to devote to revoke my subscription. On the chocolate. Give me. Mmmm.” Not a the entirety of the copy in each issue to contrary, I want to continue to encour- critique for the textbooks, but sincere. explore this focus. However, this reader age the readers of this publication to Constance J. Gates, Edgerton MO feels there has been an inadequate ex- challenge the staff of CM to raise the ploration of these stated focuses, espe- bar, delve beyond the surface of each A rtists and H eroes cially true for November’s issue, with month’s focus and improve the quality I have been a ceramics artist for 38 education as the focus. The amount of the artists in its “gallery.” years and have read Ceramics Monthly and quality of material being offered Benjamin J. Edwards, Fayetteville, AR for my entire career. Many times, I do by this publication on the focus does not agree with or even like some of the not account for even the smallest frac- W hat D o Y ou T hink ? articles, but I usually respect your edito- tion of what could be offered to the Let us know what you think the focus of rial judgment. Until now. I was greatly reader, even in such limited space. Ceramics Monthly is or should be. E-mail disappointed and sad to see the Rick I feel most readers would agree that comments (with your full name and address) Hirsch article buried toward the back. the actual focus of this publication is to to [email protected]. Hirsch has a depth and soulfulness to be a gallery for artists that use clay as a his work that most artists only strive medium. There was a time when I felt for, yet never attain. His career as a ce- the artists featured in the CM “gallery” F ood and P ots ramics artist and professor has inspired were insightful, inspiring, known lead- Beautiful chocolate, caramel topping, many to reach deeper to understand ers in the art world. I realize now my the vision of the archetypal cookie jar. his relationship with the raw material ignorance after reading many articles Is this the great mystery that Paul Mc- and his aesthetic. His incorporation over the course of the last year. I feel Coy may be trying to integrate? Is greed of texture, color, art history, history of

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cultures and thoughtfulness into his front,” November CM, page 20], to what we do and may even help de- sculptural forms makes me want to I went to the Dean Project website marcate our process philosophies. That understand so much more of all of his (www.deanproject.com) to also read exercise (focusing on the extremes), work. I will hope that you give him a Garth Clark’s essay. Both articles, I however, does little to explain our in- great cover and more updates on his believe, add to my own growing un- tended goals and whether as artists or ever-evolving global body of work. derstanding of ceramics, art, process craftspersons we actually reach those Michelle Griffoul, Buellton, CA and most importantly the why of being goals. Those explanations, in my opin- a maker. ion, are in the minority and I thank One Part Clay, the Other Part… Listing the differences between the Ms. Reichert for her contribution. After reading the article “One Part ceramist purist and mixed-media art- In Ceramics Monthly’s defense, the Clay” by Elizabeth Reichert [“Up- ist assists us in defi ning our approach magazine is a process-oriented publica- tion fi rst and only secondarily a source of critique. It is supported by material and tool advertisers and is seen, right- fully, as the process resource for the ceramics community. Hopefully the magazine and groups like the American Ceramic Society’s Clayart Listserv will maintain this valued focus. What Reichert’s article underscores for me are two observations: the fi rst is the artifi cial division between the ceramics purists and the mixed-media artists, and the second is the success these artists attain by employing clay/ ceramics as one of the vehicles to ex- press themselves. The use of clay in art and craft is a continuum, not a broken-road-and- cliff scenario. Pushing the envelope is an integral part of being an artist and craftsperson, and adding to our mate- rial repertoire is almost a survivalist birthright. Whether as a ceramist who experimentally adds previously unfamil- iar minerals to a clay body or glaze, or as a fi gurative sculptor adding abstract elements to underscore a theme, we as makers push our skills and materials as a necessary part of our expression. There is no such thing as purity of materials. Over history, all materials used in expressing our art have changed and have been added to by manufactur- ing processes, by convenience, by safety requirements and by cultural demands. The issues and thoughts we wish to ex- press are primary and the materials, the tools we use, and our developed skills are the servants to that expression. If our vision is served by a strict code of material singularity, then no other approach will be honest for us and our

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vision would be ill served in any other are successful because, in part, they, where I am today; co-owner of a now- method. However, if our friend and in Reichert’s words, are “subverting, twelve-year-old clay studio and gallery, colleague has found a path in which redefi ning and outright rejecting…” and married to Paul (one of the penpals he or she employs materials similar to clay traditions just as the “old guard” is who answered my ad). ours but differently applied, it does not successful because they do not. It was several years after we were diminish us or our work. It only adds to Tony Reynolds, Prescott, AZ together that we were finally ready to the vitality of the medium. The contrast give up our separate Ceramics Monthly between the two, by itself, adds to the Romantic Romanicks subscriptions. After all, who would get conversation our respective expressions Little did I know that a personal ad I “custody” of the shared issues if this as makers brings to the audience. The placed in the February 1993 issue of union didn’t work? One of us would artists participating in “One Part Clay” your magazine would help take me be left with a gap in our collection. We are still together and now happily share one subscription. Latonya Romanick, Newark, DE

Submit letters by e-mailing [email protected]. Include your full name and address. Editing for clarity or brevity may take place. Letters also can be mailed to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081.

Editorial Deadlines: Emerging Artist Search In May 2007, Ceramics Monthly will again publish a photo spread featuring the works of emerging clay artists. Anyone actively pursuing a career in ceramics for less than ten years is eligible. To be considered, submit up to five professional-quality images (300ppi resolution on CD, plus a color print of each image, or original slides or transparencies), with full descriptions of works, cover letter, artist’s statement and résumé to Emerging Artist, Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081. Submissions of more than five images will not be considered, and materials will be returned only if a padded envelope with appropriate postage is included. Arrival deadline: February 23.

Free Listing for Summer Workshops The “Summer Workshops” listing will appear in the April 2007 issue of Ceramics Monthly. Potters, craft schools, colleges/universities and other institutions are invited to submit informa- tion about summer ceramics workshops (June, July and August only—regularly scheduled classes excluded) by February 9. Submit using our online form at www.ceramicsmonthly.org. Listing information also may be e-mailed to [email protected]; or faxed to (614) 891-8960. Provide the workshop name, synopsis of what will be covered, location, opening and closing dates, level of instruction, instructor’s name, languages spoken, fee(s), contact address, plus a telephone number that potential participants may call for details. Captioned images from last year’s workshops will be considered for publication, and should be mailed on CD to Summer Workshops, Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081.

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Dec_06_010_021.indd 17 11/9/06 4:22:01 PM answ ers

Q I have been using undiluted ferric chloride There are two elements at work here. The simple fact that the ware has a somewhat acid as a tinting agent in my post-reduction fi ring First, getting metal, rather than an oxide, on metallic surface is a good reason to have it tested process. Some of my pieces are functional. Is there the surface of ceramic ware typically requires for leaching metals. Besides, without a way to any health hazard associated with using ferric reduction fi ring, so you must be using a reduc- measure how thoroughly dissolved metal is being chloride acid after the fi ring process?—S.W. tion-fi ring process. Second, metal oxides don’t removed from the ware after the etching, it isn’t Good for you for being concerned about dissolve easily, but plain metals often do. That’s possible to say for certain no dissolved, danger- the potential health effects of your work! Of why you can tint the surface of your ware with ous metal will be left behind that could get into course, the only way to answer your ques- ferric chloride, which, when dissolved in water, food or drink. tion absolutely is to have your ware tested for separates into iron ions and hydrochloric acid. The testing involves exposing the ware to a metal leaching. Dissolved metals like chrome, It’s the acid that etches the metal. Etching is fairly weak acid solution, and then analyzing the cobalt, copper, etc., are certainly not things simply the process of dissolving some of the acid solution for toxic chemicals. The solution we want to put into someone’s food or drink. surface metal. is about 80% of the strength of vinegar, and thus provides some indication of what might happen if the ware were exposed to acid food or drink. Such a test (technically, EPA Test Method 0200.7) can be done by any qualifi ed analytical lab. For more detailed information, and the names of two such labs, either see the September, 2000 Ceramics Monthly article, “Making Stable Glazes for Functional Stoneware and Porcelain,” by John Hesselberth and Ron Roy, or read testing instructions on Hesselberth’s website at www.frogpondpottery.com/glazetest.html. Dave Finkelnburg CM Technical Editor Pocatello, ID

W ord of the M onth H eatw ork The term used to describe the combined effects of temperature and time on ceramics during the fi ring process. The chemical and physical changes that occur in clays and glazes during fi ring are the result of the total amount of heat (energy) that is absorbed, not simply the temperature to which they have been heated. Since en- ergy is transferred to ceramics during fi ring (raising their temperature), the longer the fi ring continues, the more energy will be transferred, and the greater the effect on the clay and glazes. The concept of heat work is employed in the use of pyrometric cones to monitor the progress of fi rings. The cones, which are made of ordinary ceramic materials, respond to the effect of heat over a period of time by partially melting (softening) and bending, giving us a visual representation of the amount of energy that they have absorbed. Since the cones are made of the same basic materials as the pots, the cones also indicate the approximate condition of the ware in the kiln.

If you have a question about this or any other ceramics topic, ask the CM experts at [email protected]. You also can mail ques- tions to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081; or fax to (614) 891-8960.

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Exercise Wheel If your main form of exercise is wedging and throwing clay, try sitting on an exercise ball to get a “free” workout at the wheel. I use a blue 65–75 centimeter ball, which sits in a stabilizing ring. The amount of infl ation will determine the seated height. Both ball and ring were purchased from a sports-equipment store. Results: lower back, abdominal, upper thigh and glute strengthening. Need a break? Just lie on your stomach over the ball.—Jane Johnson Hoeltzel, St. Louis, MO

Gardener’s Bat Molds I wanted to make some plaster bats recently, so I went around town looking for fl at, shallow round things to use as molds. One thing I found was those cheap, fl imsy plastic plant-drip trays with radial ridges. They come in sizes from 4 to 14 inches, they’re fl exible enough to pop out the bat as soon as it sets, and they don’t need any mold release. They’re also cheap enough to not worry about if they break, and you can buy enough to pour a bunch of molds all at once, rather than mixing several small batches of plaster. I poured them only ½–¾ inch thick, but I used hydrostone plaster, so they’re durable and light, too!—Sarah Ferrency, Sitka, AK

From Mud to Music By Barry Hall Tip of the Month This exciting book is truly a unique blend of ceramics and music at its best. Sphere Perfection The only one of its kind, From Mud to Music is about the remarkable trans- To make a hollow clay ball perfectly formation of how the simplest of materials—clay or mud—can be used smooth and spherical, it must be closed to make tools for producing one of the most complex human so the air can’t escape, but it does not have expressions—music. It describes not only the history of each type of ceramic instrument, but also provides the most com- to look good at fi rst. After you pinch or plete survey of ceramic artists and their instruments throw the ball, rotate it on a table until it today, including several step-by-step projects for cre- is reasonably round. Now you need a rigid ating your own. Filled with over 440 color photo- plastic hemisphere. I bought a clear plastic graphs and illustrations, this book also includes sphere made of two halves that come apart a mesmeric CD of music performed by talent- (used to hold ornaments) at a crafts-supply ed musicians on well-crafted ceramic store. You can also use a bowl, but it must instruments. From Mud to Music is the be perfectly round and smooth inside—no perfect blend of ceramics and music and bottom. The diameter of the bowl should is a must for anyone who enjoys the be at least twice as much as the desired ball. best of these two art forms. Put your clay ball in the bowl and swirl it around. In a few seconds, you will have a very NEW 2006 Hardcover (259 pages) + CD smooth ball, perfect for creating all kinds of ISBN: 1-57498-139-0 fruits and vegetables.

RELEASE! Congratulations to Talli Barr of Na- halal, Israel. Your subscription has been extended by one year!

Previously unpublished suggestions are welcome. Ceramics Monthly Price: $59.95 will pay $10 for each one published. Include a drawing or photograph to Order Code: CA30 illustrate your idea and we will add another $10 to the payment. E-mail to [email protected]; mail to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081; or fax to (614) 891-8960 Ceramics Monthly December 2006 20

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Dec_06_010_021.indd 21 11/9/06 4:24:07 PM upfront reviews, news and exhibitions

22 Who’s Afraid of Virginia Wood? by Howard Risatti Quirk Gallery, Richmond, Virginia 24 Members Exhibition Clay Art Center, Port Chester, New York 26 Yoko Sekino Bové Sheetz Gallery, Penn State University, Altoona, Pennsylvania 26 Chris Gustin Sherrie Gallerie, Columbus, Ohio 26 Likeness: The Human Form in Clay Xen Gallery, Saint Louis, Missouri 28 Jason Briggs Tennessee Arts Commission Gallery, Nashville, Tennessee 28 San Angelo National Ceramics Competition San Angelo Museum of Art, San Angelo, Texas 30 Richard Nickel Rawls Museum Arts, Courtland, Virginia 30 Traditions and Transitions Pacifi c Rim Bonsai Collection, Federal Way, Washington 30 Beatrice Wood Garth Clark Gallery, New York City 30 Charity Davis-Woodard Red Lodge Clay Center Gallery, Red Lodge, Montana 32 Steve Howell Deland Museum of Art, Deland, Florida

Clockwise from top left: Kevin Crowe’s “Large Vase with Shells,” 15¹⁄₂ in. (39 cm) in height, thrown stoneware with natural ash glaze, fi red in an anagama/noborigama, $600; Warren Frederick’s “Ellipse Vase,” 16¹⁄₂ in. (42 cm) in height, stoneware with natural ash glaze, fi red in an anagama, $1300; Mary Wolff’s “Sand Hollow Bowl,” 18¹⁄₂ in. (47 cm) in diameter, light stoneware with natural ash glaze, fi red in an anagama, $1200; Randy Edmonson’s vase, 16 in. (41 cm) in height, thrown and assembled stoneware with natural ash glaze, wood fi red, $1200; Steven Glass’ “Sanctuary Jar,” 16 in. (41 cm) in height, thrown stoneware with Shino glaze, wood fi red, $1000. Rob Barnard’s “Flattened Bottle,” 9 in. (23 cm) in height, stoneware with natural ash glaze, $800.

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Dec_06_022_033.indd 22 11/10/06 10:53:39 AM Catherine White’s “Golden Rippled Cocoon,” 9 in. (23 cm) in height, stoneware with natural ash glaze, fi red in an anagama, $800; at Quirk Gallery, Richmond, Virginia.

review: Who’s Afraid of Virginia Wood? by Howard Risatti

“Who’s Afraid of Virginia Wood?” is an exhibition featuring with cylindrical shapes and adds wedges and slabs from other wood-fi red ceramics by nine Virginia artists and paintings by pieces to their rims and sides; the results are hardly inviting to another. Organized by Steven Glass and John Jessiman for the the touch and, perhaps, this is their point. John Jessiman, on Quirk Gallery (www.quirkgallery.com) in Richmond, Virginia, the other hand, activates the surfaces of his rather stout lidded the exhibition runs from January 5–February 20, 2007. It was jars by mottling them with built-up clay and deep scoring; conceived as a survey highlighting the contributions of Virginia this prevents ash from evenly toning their surfaces, thereby artists to the ceramics fi eld. As Glass points out, most of these creating a rich terrain of reverse shadow effects. Catherine ceramics artists have been fi ring with wood for decades; they also White’s “Golden Rippled Cocoon,” a cylinder with pinched have been actively writing about ceramics for many years. The title ends and prominent throwing rings, is presented horizontally draws a parallel between Virginia Woolf’s on a circular “stand” to accentuate color introspective, non-mainstream career in effects created by the fi re’s direction. The the 1920s and that of non-academic, tones range from russets to browns with non-mainstream ceramists fi ring with dapplings of yellow. wood in the 1970s. Other strategies of wood fi ring include Each ceramics artist is represented by adding glazes and fi ring pieces upsidedown. fi ve works that show a range of effects Mary Wolff inverts her “Sand Hollow achievable through the wood-firing Bowls” so the trivets supporting them in process; painter Ray Kass is represented the kiln leave light circles on the clay body, by paintings on smoked and fi red paper while the brown ash glaze that “shadows” done specifi cally to compliment this these circles like the wake of a boat betrays process, both procedurally and concep- the fi re’s fl ow. Steven Glass adds brush- tually. Among Rob Barnard’s work is a strokes of thin porcelain slip and areas of bottle of somewhat husky proportions thick Shino glaze to his lidded containers;

whose heavy ash accumulation seems John Jessiman’s untitled, 16 in. (41 cm) in height, when fi red, the sides facing the fi rebox de- to have suddenly broken free of its thrown and altered stoneware, wood fi red, $1200. velop soft tans, the others soft, rosy pinks. broad shoulders and, pulled by gravity, Clearly wood-fi red works are intrigu- cascaded down in rivulets of mustard yellow (the Dijon kind) ing and even genuinely compelling. Yet, why would anyone dramatically setting off the dark brown and russet tones of its struggle with such an unpredictable and labor-intensive process clay body. A somewhat similar, though less dramatic, effect is when modern glazes and kilns are so much more convenient achieved by Kevin Crowe on his large “Vase with Shells” as he and reliable? This is a question with implications not only for manages to coax a range of subtle gray and tan tones out of craft, but contemporary art generally. After all, if wood fi r- the fi ring process. In contrast, Richard Taylor’s jar and Warren ing is a “backward” process, what about making images with Frederick’s “Ellipse Vase,” by being fi red on their sides, give paintbrushes as opposed to digital cameras and Photoshop? But their rivulets of ash glaze a wind-swept look that seems to defy surely we are in a post avant-garde age so the “up-to-dated-ness” gravity; it also heightens the eccentricity of Frederick’s vase, of process, as a value in and of itself, can no longer be assumed. with its tiny base precariously supporting a large, swelling body Since each historical age presents its own set of conditions out with an over-sized mouth. of which meaning emerges, the relevance of these works should Formally, the most unsettling works in the exhibition are not be determined pro forma by modernist ideas about process Randy Edmonson’s vases. Infl uenced by Voulkos, he begins as progress, but by what the art says about its time. Whether Ceramics Monthly December 2006 23

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these artists, through the wood-fi ring process, are engaging issues potential to re-enchant the world by capturing its mystery through important to the present or are simply infatuated with tradition the singular, unique work of art. and the past, is the real issue. the author Howard Risatti is emeritus professor of contemporary Genuine works of art illuminate the world in ways that allow us art and critical theory at Virginia Commonwealth University. to see and experience it and the things in it differently and more profoundly. That’s why they can be said to belong to their own time Members Exhibition at Clay Art Center and not the past. The works in this exhibition do this by throwing The Member’s Annual Exhibition and Holiday Sale is on view through into question the old modernist paradigm of material progress as December 20 at the Clay Art Center (www.clayartcenter.org) in Port the key to personal fulfi llment. Despite its good intentions, this Chester, New York. The exhibition features functional pottery and paradigm, derived from the Enlightenment ideals of the perfect- ceramic sculpture by 46 members of the Clay Art Center. ibility of “man,” is now fostering the dissolution of the individual “My eye has always been drawn to color, graphic shapes, lines self and the uniqueness of things. In the name of perfection—the and textures as pattern,” explained Loren Maron. “The decoration perfection of “man” through the perfection of form—we are now on my work is a result of this fusion. I approach the surface of my seeing the triumph of modern industrial and commercial culture, a culture in which standardization and endless repetition (think of franchising) have become predominant hallmarks, seeping into every facet of human life. In such a culture, every handmade object becomes an object of critical refl ection on that culture. This is especially true of wood- fi red objects liked those in this exhibition. For, like every human being, every one of them is unique. Unlike, say, a Barcelona chair which, when broken, can always be replaced by another, these wood-fi red objects can never be replaced because they can never be replicated, even if their makers wanted to do so. Since no two kilns nor two fi rings are exactly alike, each one of them must be

Loren Maron’s “Striped Tumblers 1 & 2,” 4 in. (10 cm) in height, thrown porcelain, with commercial low-fi re underglazes and clear overglaze, fi red to Cone 10 reduction, $28 each; at the Clay Art Center, Port Chester, New York.

pots by what I call building—laying down fi elds of color in block shapes, and usually choosing a color way of only two or three colors. I outline them to make them pop out and give depth, occasionally adding dots, a spiral, or some other detail. I continue this way until I feel the design has good balance with the piece. It’s what makes the process fun and adds just a little whimsy to my work.”

Richard Taylor’s untitled medium jar, 13 in. (33 cm) in height, with natural ash glaze, wood fi red, 2006; at Quirk Gallery, Richmond, Virginia.

seen as the result of a unique event: a specifi c fi ring in a specifi c kiln. During such an event, the raw material that has been care- fully shaped by the artist’s hand is transformed by fi re, heat and ash into something unpredictable and unexpected. By embracing this serendipity as an essential aspect of the creative process, instead of lamenting it, these artists are giving up something of their own egos; they are literally and symbolically opening themselves up to nature via the fi ring process. Instead of trying to control and dominate nature in the modernist manner, they are aligning themselves and Reena Kashyap’s “Cosmic Flow,” 7 in. (18 cm) in height, slab-built porcelain, with the creative process with nature. In this way the process becomes red iron oxide and rutile wash, black stain, wax resist, Malcolm’s Shino and black a means of revelation and discovery, one that has within it the matt glaze, fi red to Cone 10, $90 each.

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“Porcelain, Shino glaze, and the fi ring process have recently con- consistent interaction with other elements in nature is more like sumed my exploration in ceramics,” stated Reena Kashyap. “Why a whisper, and their short lives leave echoes that linger in the air Shino? I have been drawn to Shino and its astonishing, contempla- long after they are gone.” tive and unpredictable characteristics, ever since I encountered this glaze. Shino has a time honored place in ceramic history. Its origin Chris Gustin lies in Japan, but it is revered and used by potters the world over. In Works by South Dartmouth, Massachusetts, artist Chris Gustin my pots and tiles, I have overlapped several Shino glazes, and used will be on display at Sherrie Gallerie (www.sherriegallerie.com) in iron oxide and wax resist for making patterns, thereby evoking my Columbus, Ohio, December 1, 2006–January 14, 2007. roots from India. I am bridging two ancient cultures, in which I “I’ve always been much more intrigued by the cognitive than the straddle and from which I draw my inspiration.” rational,” said Gustin. “It’s how I approach working in clay, and, in turn, how I hope a viewer experiences my work. This exhibition Yoko Sekino-Bové A solo exhibition of works by Washington, Pennsylvania, artist Yoko Sekino-Bové will be on display through January 14 at the Sheetz Gallery in the Misciagna Family Center for Performing Arts (www.altoona.psu.edu/misciagna/) on the campus of Penn State University, Altoona. “My botanically themed work represents the integration of my collective emotions, curiosities, insights and fancies in the shape of plants,” said Sekino-Bové. “Instead of directly expressing emotions in human fi gures, I have chosen plants and wild fl owers to deliver subtle, quiet gestures that carry the emotions. Their passive yet

Chris Gustin’s large-scale vessel, 35 in. (89 cm) in height, stoneware, 2005; at Sherrie Gallerie, Columbus, Ohio.

explores the vessel form on a human scale, taking simple, historical pottery forms and jumping them up in scale as a vehicle for abstrac- tion. Though my work alludes to function through the context of the vessel, I am trying to make pots that speak to a ‘body’ refer- ence. I use the pot context because of its immense possibilities for abstraction. The skin of the clay holds the invisible interior of the vessel. How I manipulate my forms ‘around’ that air—constraining it, enclosing it or letting it expand and swell—can allow analogy and metaphor to enter into the work.”

Likeness: The Human Form in Clay “Likeness: The Human Form in Clay,” an invitational fi gurative ce-

Yoko Sekino-Bové’s “Spring Fern,” 10 in. (25 cm) in height, thrown porcelain, ramics exhibition, was on view at Xen Gallery (www.xengallery.com) fi red to Cone 6; at Sheetz Gallery, Penn State University, Altoona, Pennsylvania. in Saint Louis, Missouri, through October 15. Curated by Melody

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Ellis, the exhibition featured the work of twelve national and inter- national ceramics artists. “As an artist, I have found myself drawn again and again to the subject of the human fi gure,” said Ellis. “ In the role of guest cura- tor, I have had the opportunity to bring together a group of clay

Jason Briggs’ “Seed,” 9 in. (23 cm) in length, porcelain with stains and lusters, hair, rubber, stainless steel, 2005; at Tennessee Arts Commission Gallery, Nashville, Tennessee. sexual references, along with an extravagant, fetishlike attention to surface, can arouse a yearning to touch as powerful as the act itself. In this way a parallel can be drawn with pornography—my fi rst encounter with Playboy, for example. My emotional response, utter fascination, depended upon the compelling desire to touch fl esh. …When one views pornography, I would argue that one is thinking about touching—about how it would feel. I want my work to elicit a similar response: ‘What if I could touch it?’”

San Angelo National Ceramics Competition The sixteenth San Angelo National Ceramics Competition was held recently at the San Angelo Museum of Fine Arts (www.samfa.org) in San Angelo, Texas. Ann Lan- caster, executive director of the Houston Center for Contempo- rary Craft, was this year’s juror. The Tile Heritage Prix Primo, an award given to a tile maker whose work best refl ects the ceramic traditions

Jenny Mendes’ “Butterfl y Girl,” 18 in. (46 cm) in height, earthenware with of America, was given to underglazes and terra sigillata, 2006; at Xen Gallery, Saint Louis, Missouri. Idledale, Colorado, artist Bob Smith. “The experience of artists whose work has continually surprised and inspired me. The working with clay for a living, twelve artists featured in this exhibition each take the fi gure as their as with most mixed blessings, starting point, but end at twelve distinct destinations.” is a confounding one,” said Smith. “Unlike most jobs, it Jason Briggs can give the good feeling of self “Glimpse,” an exhibition featuring new work by Watertown, Ten- employment … the satisfaction nessee, artist Jason Briggs, was on view recently at the Tennessee Arts of beginning, carrying through Commission Gallery (www.arts.state.tn.us) in Nashville, Tennessee. and completing a project … “Though these objects contain strong visual references, I am periodically inferior supplies, more interested in the implied tactile ones; the things that stir in me over-fi red kilns … the prospect a compulsion to touch,” said Briggs. “Beyond other external inspira- of relative poverty. But it also tion lies this basic, primal impulse. I recognize—and act upon—a Bob Smith’s “Arid Torrent,” 42 in. (107 cm) offers the intangible: creating in height, slab-built raku clay, white crackle profound desire to push, poke, squeeze, stroke, caress and pinch. I glaze, ferric chloride, post-fi re reduction; at San something out of nothing … a intend for my pieces to invoke a similar sort of temptation. Obvious Angelo Museum of Fine Arts, San Angelo, Texas. connection (conscious or oth-

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erwise) with a past, a history so rich and varied, and so essential and human.”

Richard Nickel “Shaking the Baby Tree,” an exhibition of fi gurative sculpture by Norfolk, Virginia, artist Richard Nickel, was on view through No- vember 17 at Rawls Museum Arts (www.rawlsarts.com) in Courtland, Virginia. The exhibition featured more than fi fty works by Nickel. “Art helps us understand the human condition,” stated Nickel. “We see ourselves through characters in plays, and we hear our own voices in the songs of our favorite musicians. Each media has a specifi c purpose and each artist fi nds his or her way of interpreting his or her personal experiences. In my art, I explore the ability to Ceramics artist Hank Murrow and Bonsai artist John Naka.

interrelationship between ceramics and bonsai—one kind of art- work being formed of the earth, and the other springing from it. The second was to explore the ways in which old concepts and methods ebb and fl ow as arts evolve. The third was whether the traditional Japanese method of combining works to illustrate an idea or theme can work in a setting less structured and formal than a tokonoma (traditional art alcove).”

Beatrice Wood “Beatrice Wood: A Very Private View,” an exhibition that featured fi gurative and functional works by Wood, was on view through November 4 at Garth Clark Gallery (www.garthclark.com) in New York City. The exhibition, which takes the same name as the gallery’s inaugural exhibition held in 1983, celebrated Wood’s Richard Nickel’s “Possessed and Possessions,” 23 in. (58 cm) in height, (left) and achievements in the ceramic “Tree of My Life,” 32 in. (81 cm) in height, (right), both slab-built earthenware, with colored engobes and copper wash, 2006; at Rawls Museum Arts, Courtland, Virginia. arts, as well as the gallery’s 25th anniversary. laugh at myself by stepping back on that absurd seesaw of comedy “The colors, textures and tragedy.” and forms are at once vivid and subtle,” wrote Anaïs Traditions and Transitions Nin in a 1965 review of “Traditions and Transitions: Arts of the Earth” was held recently Wood’s work. “The deco- at the Pacifi c Rim Bonsai Collection at Weyerhaeuser Company rative ability is extended (www.weyerhaueser.com/bonsai) in Federal Way, Washington. The into portrayals of humor, exhibition featured trees from the Pacifi c Rim Collection alongside the euphoria or contempla- works of eight ceramics artists: Britt Dietrich, Damian Grava, Sequioa tion. Her colors are molded Miller, Hank Murrow, Peter Olsen, Reid Ozaki, Stephen Sullivan and with light. Some have tiny craters, as if formed by the Beatrice Wood’s chalice, 12 in. (30 cm) in Ben Waterman. height, thrown earthenware with luster glaze, “When I fi rst con- evolutions, contractions 1987; at Garth Clark Gallery, New York City. ceived the idea for and expansions of the earth Traditions and Tran- itself. Some seem made of shells or pearls, others are iridescent and sitions, I had three smoky like trailways left by satellites.” objectives in mind,” said David De Groot, Charity Davis-Woodard curator of the collec- A solo exhibition of new works by Charity Davis-Woodard was on tion. “The fi rst was to view through October 31 at the Red Lodge Clay Center Gallery explore the traditional (www.redlodgeclaycenter.com) in Red Lodge, Montana. “Utilitarian objects have the potential to transcend their in- Ceramics artist Sequoia Miller and Bonsai artist tended purpose by the power of their expressiveness, thereby of- Mary Corrington. fering unlimited pleasure and meaning,” said Davis-Woodard. “As

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a potter I feel privileged to be involved in work that can serve the comfort in spaces both sacred and secular. These spaces allow me to needs of both the body and the spirit. For the most part, I make slow down to see, as well as provide me with the peace and comfort functional pottery that can be held in the hand and experienced to live in the present. This is just the beginning of a life-long quest. through all of the senses. I believe in the primary importance of Many doors opened to me in the months of producing these pieces. form, the potential strength of detail and the power of suggestion. That gives me satisfaction for now and the impetus to continue.” Inspiration springs from a wide variety of sources. Most often, I am Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ state- ments and images in conjunction with exhibitions or other events of interest for publication. Images should be high-resolution digital on CD, or original (not duplicate) slides or transparencies. Mail to Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081.

click and collect pay a virtual visit to the galleries in this issue!

American Museum of Ceramic Art, Left: “Hand-Warming Cup,” 4 in. (10 cm) thrown and altered porcelain, wood fi red; Right: “Rocking Vase–Garment Series #1,” 5¹⁄₂ in. (14 cm) in height, Pomona, California thrown and altered porcelain with handbuilt additions, wood fi red, ni-chrome wire, www.ceramicmuseum.org $225; at Red Lodge Clay Center, Red Lodge, Montana. Clay Art Center, Port Chester, New York attracted to the subtle or understated qualities of a form or surface, www.clayartcenter.org whether it is an old tool, an architectural structure or a seed pod. Deland Museum of Art, Deland, Florida These observations in turn infl uence my own work. I try for basic www.delandmuseum.com simplicity in form and add complexity through surface and detail. Garth Clark Gallery, New York City Wood fi ring the pots tempers my tendency toward refi nement and www.garthclark.com contributes unique surface variations not otherwise attainable.” Pacifi c Rim Bonsai Collection, Steve Howell Federal Way, Washington Works in clay by Gainesville, Florida, artist Steve Howell were on view www.weyerhaueser.com/bonsai recently at the DeLand Museum of Art (www.delandmuseum.com) Pucker Gallery, Boston Massachusetts in DeLand, Florida. www.puckergallery.com “These wall pieces are impressions and refl ections of my travels in Europe,” Howell explained. “In Europe I fi nd a sense of sanctuary and Quirk Gallery, Richmond, Virginia www.quirkgallery.com Rawls Museum Arts, Courtland, Virginia www.rawlsarts.com Red Lodge Clay Center Gallery, Red Lodge, Montana www.redlodgeclaycenter.com San Angelo Museum of Art, San Angelo, Texas www.samfa.org Sheetz Gallery, Penn State University, Altoona, Pennsylvania www.altoona.psu.edu/misciagna Sherrie Gallerie, Columbus, Ohio www.sherriegallerie.com Tennessee Arts Commission Gallery, Nashville, Tennessee www.arts.state.tn.us Xen Gallery, Saint Louis, Missouri www.xengallery.com Steve Howell’s “Sun and Moon,” 14 in. (35 cm) square, red earthenware with orange underglaze and red glaze; at DeLand Museum of Art, DeLand, Florida.

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Dec_06_022_033.indd 33 11/9/06 4:52:38 PM Soda, Clay and Fire

After years of research, one of the foremost practitioners of soda glazing shares her expertise in a new book.

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The following are excerpts from the book Soda, Clay and by Gail Nichols Fire, by Gail Nichols, published by the American Ceramic Society. For sample sections and full bibliographical data, see www.ceramics.org/publications/soda.

Soda glazing was once hailed as an alternative to salt glazing, but has proven to be much more than that. The choice of vapor glazing is now primarily one of aesthetics, with soda’s potential extending far beyond that of imitation salt. A contemporary challenge is to explore what soda has to offer in its own right, and to set aesthetic directions for this new ceramic process.

What is Soda?

Soda, or sodium oxide (Na2O), is an active ceramic fl ux known for its bright color response in glazes. It is chemically related

to two other alkaline oxides: potassia (K2O) and lithia (Li2O). Soda becomes unstable above 2192°F (1200°C), making it impractical as the sole fl ux in high temperature glazes, unless introduced in feldspathic form. However, its ability to vola- tilize at high temperature makes soda highly suited to vapor glazing. When sodium chloride or carbonates are introduced into a kiln at high temperature, they produce sodium oxide in vapor form. Where that vapor comes in contact with clay surfaces, it produces a glaze with a very simple composition: soda, alumina, silica. Common sources of soda for vapor glazing include sodium chloride (salt) and sodium carbonates (soda ash, sodium bicar- bonate), although sodium hydroxide (NaOH) has also been

used. Borax (Na2B4O7•10H2O) is often used as a supplementary source of soda. The use of salt in vapor glazing was developed in Germany during the twelfth to fi fteenth centuries. Through its long history and widespread industrial use, the term “salt glazing” became nearly synonymous with vapor glazing. Industrial salt glazing declined in the mid-twentieth century, in favor of more effi cient, economical and environmentally acceptable produc- tion methods. But the aesthetic merits of salt glazing continued to be valued and pursued by studio potters. During the 1970s, many potters seeking chloride-free alternatives to salt glazing began experimenting with sodium carbonates. For lack of a better name, this new form of vapor glazing became known as “soda glazing.” Technically, both salt and soda glaze are formed by clay materials being exposed to soda vapor.

How Is Soda Introduced to a Kiln? At Alfred University in 1973–74, Jeff Zamek investigated three methods of sodium carbonate introduction: 1. Dry sodium carbonate/bicarbonate can be dropped into the fi rebox using a piece of steel angle. Frequent introduction of small amounts of material, dropped from the highest point Bowl, 6 in. (16 cm) in height, high-alumina body containing 10% red clay, soda glazed at above the fi rebox, gives the best results. This allows time for Cone 9–10, reduction cooled, 2003. the soda compound to vaporize during its fall before landing

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Dec_06_034_043.indd 35 11/8/06 4:33:16 PM alkaline carbonates in a sizeable quantity of calcium carbonate (Behrens 1974, 44). Separating the soda particles in such a nonreactive medium prevents them from melting together and promotes volatilization. It also enables soda introduction as a solid mixture, rather than as a sprayed solution. Using Behrens’ proposal to increase the effi ciency of vaporization, I tried introducing a dry mixture of sodium carbonate, sodium bicarbonate and calcium carbonate into the fi reboxes [burner ports] of my gas-fi red kiln. The soda did vaporize, but failed to disperse through the kiln chamber. Pots nearest the fi reboxes were over- endowed with runny glassy glaze, while the rest of the pots remained dry and unglazed. The discovery of my current soda introduction method occurred in 1992, a fortuitous accident that occurred while I was fi ring the soda kiln in my back- yard studio in Sydney, Australia. I mistakenly spilled a quart of water into a container of dry calcium/sodium mix, and watched the unexpected setting process take place. After a few minutes, I was left with a bucketful of a hard white substance that looked like plaster. Faced with the question of what to do with it, I decided to try introducing pieces of it into the hot kiln. It went into the fi reboxes quietly, no obvious drama taking place, but the draw rings began to show glaze buildup, so I repeated the process. The real moment of discovery occurred a Red Jar, 12¹⁄₂ in. (32 cm) in height, 2002. Dolomite wadding and heavily reduced cooling were used to create this dark outlined pattern of red fl ashing. few days later when I opened the cooled kiln. Acceptable quantities of glaze had formed on nearly all the pots, and there were some exciting fl ashing marks where pots had on the fi rebox fl oor. Zamek noted that the fi rebox must be designed been packed closely together. Following many months of effort, this to cope with a buildup of molten soda. was my fi rst soda fi ring that could be deemed a success. It was indeed 2. Sodium carbonates can be introduced to the kiln through a a dandy fi ring, and even the need to clean kiln shelves was cause for burner-blower unit. This proved to be a highly effi cient method of dispersing sodium carbonate vapor, but Zamek noted some dark patches on white clay bodies, which he blamed on corrosion of the burner/blower unit. 3. Sodium carbonate can be dissolved in water and sprayed into the fi rebox. This spray method proved to have good results, but excess sodium carbonate in the solution would cause the spray nozzle to clog up. A solution of 6 lb. of sodium carbonate to 12 quarts (.24 kg/L) of water was satisfactory (Zamek 1974, 2–3; 1999, 166–171). In Rhode Island, U.S.A., Jay Lacouture developed a portable soda/sawdust injector that would introduce both materials to the kiln simultaneously. He claimed, “I could now be an urban wood/salt potter without using either material and be politically correct at the same time!” (Lacouture 1993, 29). In Montana, Rick Pope mixed rock salt with soda to make it volatilize faster. He wrote, “This combination reacts nicely in the kiln and creates a much softer and less obviously salt-glazed surface Bowl, 12 in. (30 cm) in diameter, 2000. This bowl shows the characteristic than straight sodium chloride” (Pope 1993, 29). marks of water effects: pronounced bands of red, yellow and black relate In yet another approach, Richard Behrens suggested dispersing to the vapor patterns around the piece.

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celebration. Here was a new and simple solution to the problem of formation on heavily exposed areas while causing colorful fl ashing soda introduction and glaze distribution. It opened my eyes to soda’s in lightly glazed areas (see Basic Soda Slip below). unexplored potential, and set the stage for further discoveries. The importance of the clay body in soda glazing cannot be overstated. In the absence of an applied glaze or slip, the clay body Clay provides two of the major glaze components: silica and alumina (and Soda tends to deposit large quantities of glaze on the pots it strikes to a lesser degree, some fl ux material). Understanding the roles of clay fi rst, leaving others unglazed or lightly fl ashed. A clay body that re- body components and their responses to soda vapor is fundamental acts with soda vapor too readily will result in runny, glassy, colorless to vapor-glaze work. glazes, particularly along the path of the fl ame where soda attacks Using commercial bodies along with applied slips and glazes is the clay surfaces most heavily. a simple, practical approach to starting out with soda glazing, as it Coating pots with high-alumina kaolin slips to give them a more allows time and energy to be focused on mastering the mechanics of soda resistant surface proved a workable solution. Such slips act as the fi ring process. Most potters who prepare their own clays for soda effective barriers between the clay body and soda vapor, limiting glaze glazing also apply glazes and/or slips to the surfaces of their work. recipes

BASIC SODA SLIP Nepheline Syenite ...... 10 bicarbonate and calcium carbonate will Kaolin ...... 80 not set; neither will a mixture using dense Silica (Flint) ...... 10 soda ash. Sodium bicarbonate is not an 100 % essential part of the soda source, but it Add: Bentonite ...... 5 % makes the wet mixture less caustic. Sodium Blue: Cobalt Carbonate ...... 0.25–1 % bicarbonate is also inexpensive and readily Red/Brown: Iron oxide ...... 1–5 % available in the supermarket or from a Purple/Black: Manganese Dioxide . . . 1–5 % bakers’ supplier. Gold: Rutile ...... 1–5 % Turquoise/Green/Red: Copper Carb. . . 2–10 % As this mixture breaks down in the heat Commercial Stains ...... 5–15 % of the fl ame, water vapor is released along with the vaporizing soda. Water vapor helps The choice of kaolin used in this slip to carry the soda through the kiln chamber, largely determines the color of the fi red enabling good glaze distribution and surface. Soda glaze quality is highly evidence of fl ame movement on the work. reliant on materials used, especially clay. Water vapor also appears to assist with soda It is important to become familiar with dissociation and glaze formation. locally available clays and their responses to soda vapor. Developing and working with slips is a good place to start with Health and Safety Precautions such research. Soda ash dust is an irritant to the nose, throat, and lungs. In combination with GAIL NICHOLS SODA MIX lime, it will form sodium hydroxide Light Soda Ash ...... 20 (caustic soda), which can cause alkaline Sodium Bicarbonate (baking soda) . . . 30 burns. Wear impervious rubber gloves Calcium Carbonate ...... 50 and a NIOSH (National Institutes for 100 % Occupational Safety and Health) Add 9 U.S. fl . oz. of water per 1 lb. (600 approved respirator mask. Chemical ml of water per 1 kg) of dry mix. Wearing safety goggles are recommended for eye gloves, mix the dry ingredients thoroughly, protection, and long sleeves and trousers should be worn. These precautions apply then add the water all at once. Stir until to all preparation and handling stages the mixture begins to set, then break it for the calcium/sodium mix, including into small pieces. handling the fi rebox residue, which is Vase, 13 in. (33 cm) in height, 2001. Dolomite wadding was Light soda ash is required for the high in sodium hydroxide. used to set this vase in the kiln. The form has softened and setting process. A wet mixture of sodium distorted during the fi ring.

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Dec_06_034_043.indd 37 11/9/06 12:59:17 PM Why Wood?

On October 11, 2006, more than 400 people representing thirteen different countries and 23 states across the U.S. came together for “20 + 1 Years of the Tozan Kilns, An International Wood-Fire Conference” in Flagstaff, Arizona. Sponsored by Northern Ari- zona University (NAU), this event not only celebrated 21 years of NAU’s two Tozan kilns, the noborigama and anagama, but also served as a platform for the continued dialog about the wood-fi ring process and ceramic art making. A series of panel discussions and lectures were held over the course of four days. During the week preceding the conference, all seven of the wood kilns on the NAU campus were fi red. In total, there were twelve kiln fi rings, which consumed some 43 cords of wood. A catalog of the exhibitions and a compendium of all of the lectures at the conference will be available in March of 2007. Conference presenters were asked the following ques- tions: What is the value of fi ring with wood in this day and age? Is it important to you that people purchasing your work understand what the wood fi ring process means to your work? Why? If you could no longer fi re with wood, what would you do in order to continue creating satisfying work? What is the most useful thing you have learned through wood fi ring, in contrast to other methods of fi ring? Excerpts from their answers are presented here, with their full responses available at www.ceramicsmonthly.org.

Tara Wilson Fairhaven, Massachusetts

For me, the value of wood fi ring lies in the process, and the interaction with the pots as they are transformed. I also think the wide variety of surfaces that can be achieved by this process, from very subtle fl ashing to extremely dramatic, runny juiciness, make it valuable. The most useful thing I’ve learned from wood fi ring is how to ask for help. I hope that I’ll always be able to fi re with wood, but I think soda fi ring would be my second choice. Basket, 14 in. (36 cm) in height, thrown and altered stoneware, fi red in an anagama.

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David Smith Stoughton, Wisconsin

It is not really important to me that people under- stand what the process of wood fi ring means to my work, aside from the interest that some people express in knowing more about the process. In a society of right click and left click, I fi nd that many people are in awe of the fact that someone tends the kiln around the clock for seven days, or that I’m will- ing to expend so much physical and mental energy in creating an interesting surface on clay. As long as the image is strong, I don’t think the fi ring method is that important to many serious collectors.

The Fundamental Series, which consists of fi gurative pieces, refl ects the tenuous balance between humans and the environment.

Stephen Mickey Brush Prairie, Washington

When I had my fi rst exhibition in my studio for regular clients, I sent a newsletter to them describing the nature of the wood fi re and what I was looking for. My regulars streamed in, swept through the pots armed with their new knowledge, and bought far more of those pots than my gas-fi red pots. I think it is important to educate our public about what we do and why. When they un- derstand the one-sided nature of the fi ring event, they begin to look for subtleties in the pots that they will not fi nd in the gas-fi red work. It also helps that they know how labor intensive fi ring with wood is and how that affects the prices. If I could no longer fi re with wood, I would fi re with soda in a cross-draft kiln to continue to have the one-sided effect of a We fi re for brightness and color. We are looking for a thorough melt of ash on fl ame sweeping through a kiln, leaving its the ware, and we use a lot of porcelain. Our best fi rings seem to happen when we use a lot of fruit wood the fi rst 24 hours and lay down that base of ash. We trace of memory. fi nish off with fi r and don’t do any stirring or fl uffi ng for the last twelve hours. We continue to rod the ash pile to allow air to consume the coals.

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Dec_06_034_043.indd 39 11/8/06 4:36:03 PM Dan Murphy The contemporary ceramics artist has a wide range of Logan, Utah fi ring processes and techniques: electricity, oil, gas and almost anything that will combust, including wood. I choose to fi re my pieces in wood-burning kilns because I fi nd endless possibilities—and huge challenges. After fi ring wood-burning kilns for twenty years, I feel that I am just beginning to understand how much I still have to learn about this process. The value is an internal desire to investigate; I am inspired to continue to learn. I’m not necessarily concerned with people understand- ing all of the details about wood fi ring. However, I am concerned with people understanding clarity of intent, whether or not the piece is successful because the surface and form are unifi ed and work together. The same goes for any atmospheric fi ring process.

Jar, 17 in. (43 cm) in height, porcelaineous clay, with stone inclusions and natural ash glaze, 2006.

Daphne Roehr Hatcher I fi nd that most people purchasing my work are interested in the whole process, not just the Pine Mills, Texas fi ring. I am happy to explain it to interested individuals, because it gives them a deeper appreciation and connectedness to the work. When they take their pot home and it becomes a part of their life, perhaps in daily use or as a visual element of their space, they remember that it was handmade by a human being in a manner that has been used for centuries, and I believe it gives them a sense of being part of an unbroken chain of civilization. I know that sounds grandiose, but I believe that humans crave symbolism and ritual in their lives. The pot they choose to bring into their life symbol- izes something to them: a remembrance of a pleasant drive out to the pottery studio in the country, a connection to a life that contrasts with their own, a reminder of their place within humanity. Having their morning cup of tea in a handmade cup may very well be the only meditative ritual in their busy day. That is important, and on some level, people sense this.

Platter (Light and Shadow Series), 18 in. (46 cm) in diameter, stoneware with temmoku and chartreuse glaze.

Ceramics Monthly December 2006 40

Dec_06_034_043.indd 40 11/8/06 4:36:34 PM focus atmospheric fi ring Eva Kwong Kent, Ohio

I am attracted to wood-fi ring because of what I have termed the “radiant blush.” The sun is the source of heat and light for all organic life. We respond to the direction and intensity of the sun in our daily lives. When we pick up an apple or other fruits or vegetable, we can see by the fruit blush which side of the apple faced the sun and which side faced away from the sun. This fruit blush registers the impression of heat and light from the sun upon the surface of the fruit. It documents the direction the fruit was grow- ing in relationship to the sun. Wood-fi ring does the same thing. The wood ash and fl ame patterns are burnt onto the surfaces of our pots and sculptures. When we view these

pieces later, the sense of the fi re becomes vivid again. “Ruby Spotted Peach,” 7 in. (18 cm) in height, thrown and altered stoneware, wood-fi red in an anagama, with lusters.

Steven Schaeffer Flagstaff, Arizona

I think in this age of digital information and technology it is important that ceram- ics artists keep producing work that, in theory, cannot be reproduced. Mass cul- ture has assimilated to Pier 1 and Target for their dinnerware and collectables. Wood fi ring has taught me more about myself as an individual than any other ceramic process. It involves tremendous determination and self will. It also requires the ability to let go of your work and surrender it to the kiln. Often high percentages of work are lost in the fi ring. But the ones we receive in gratitude are irreplaceable.

“Collection,” 24 in. (61 cm) wide, slipcast porcelain, black clay, fi red in an anagama. Ben Richardson The value of wood fi ring today is that it offers ceramic surfaces that present an alternative to the uniform surfaces of globalized designer ceramics. It affords Tasmania, Australia a chance to create surfaces and textures that suggest the range of variegated surfaces in nature in an increasingly artifi cial world. As a teacher as well as a maker, I appreciate that it offers the chance for students to benefi t from collective creative activity rather than isolated, individual creative effort. Wood fi ring has helped me to develop a deeper aesthetic insight and judgement. The necessity of deciding whether the ash deposit, stacking marks and vapor marking have been successful, has been a vital and important part of my making development.

Stack foliage vase, 8 in. (20 cm) in height, unglazed stoneware, fi red on the edge of the fi rebox.

Ceramics Monthly December 2006 41

Dec_06_034_043.indd 41 11/8/06 4:37:00 PM Kirk Mangus Kent, Ohio

I was in a foreign country, shoveling clay with a friend, preparing to make and fi re some things. A rich and famous artist, who also wood fi res, came to visit. “Why do you work so hard?” he asked, “Are you crazy?” Wood fi ring is relatively inexpensive and it works with all ways of fi ring; high or low, oxidation or reduction, fast or slow. It is good exercise. It offers a sense of commitment and self-worth. An artist does not have to be a slave to the rest of the world in order to make work. Neither Euphronios nor George Ohr had the tools we have in the 21st century. They did, however, have a solid understanding of their materials and considered nature with respect and intelligence; not with callous expectations. I deal with one of the oldest technologies and art forms. My competition is thousands of years old. Much of human civilization, its beauty, misery and cultural directions are directly related to someone making a pot, pipe or a brick around a wood fi re.

”Baroque Bug Jar,” 16 in. (41 cm) in height, thrown stoneware, wood-fi red in an anagama.

Gary Hatcher Other than ash surfaces, one of the main benefi ts wood provides is the fl uctuation Pine Mills, Texas between reduction and oxidation every fi ve or ten minutes. It’s impossible to simulate with any other type of fuel. I always explain the process to those in- terested, since I feel it is my responsibility to help educate others about ceramic art. I am happy to go into detail about the wood-fi ring process, although most people are primarily interested in the fi nished piece, not the mak- ing process. It is important that a ceramics artist not get caught in the trap of thinking that some intrinsic value is added to a piece just because of the way it was fi red, or because the process of making or fi ring was diffi cult. There is no magic in materials, making or fi ring pro- cesses. The magic is in having an exceptional fi nished piece. Only the results achieved are important. I often remind my students that it is immaterial how hard they worked on a piece. If it walks like a dog and barks like a dog, you need to call it a dog. Firing in a wood kiln for a week cannot transform a dog into a diamond. But wood fi ring may make a good piece even better.

“Still Life,” to 14 in. (36 cm) in height, stoneware with glazes.

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Dec_06_034_043.indd 42 11/9/06 1:14:57 PM focus atmospheric fi ring Marc Lancet Vacaville, California

It is important to me that people understand the form, the surface, the visual choices, the methods and the meanings of a given work. If I have done my work well, this will take some time of living with the work. While it is important to understand the visual role that wood fi ring plays in my work, it’s not more or less important than other aspects of the work. Art is a required nutrient for human existence, like vitamin C. Do without it and you get scurvy. Without art, the human spirit withers, becoming smaller, feeling less, seeing less, ex- periencing less. Without art, the human spirit fails to achieve its potential. As with many maladies stemming from nutrition defi ciencies, the effects are subtle, slow, incremental and dif- “To praise is to praise how one surrenders to the emptiness,” fi cult to notice as the human spirit diminishes. Fortunately art 44 in. (1.1 m) in height, textured and stretched stoneware slabs, and artists abound and the cure is everywhere. Have you had with fl ashing slip and sodium silicate on the surface, fi red for seven your recommended daily dosage of inspiration? days to Cone 13 in the second chamber of a double chambered kiln. Marc Lancet is co-author of Japanese Wood-Fired Ceramics. The fi rst chamber is an anagama-style chamber and the second chamber, where this piece was fi red, is a noborigama-style chamber.

Richard Hotchkiss Nevada City, California

All of the things that can go wrong will go wrong in wood fi r- ing if you do not cover the bases before the match is lit. Firing with wood makes you a better fi ring technician, because the balance between success and failure must justify the massive expenditure of energy necessary to proceed. Wood fi ring is a lot of work, and it can become a cult situation. How many cords did you burn? What was the air temperature? What was the barometric pressure? What kind of wood do you use? For me, all that is bull. When we look at a piece, we cannot know any of those things. It is either good or not so good. It must stand by itself. In essence, I feel the method of fi ring is not important to anyone other than myself. If the piece has been kissed by the process and that increases the aesthetic value, then great. Firing with wood should not be an avenue to pretentiousness. The piece should stand by itself without reference to the methods used to produce it. The person or the process that created it is really not an important factor. Wood creates heat; heat creates closure to the process of creating with clay.

Bud Vase, local stoneware with dolomite glaze and ash, fi red to Cone 12 in a noborigama, 2006.

Ceramics Monthly December 2006 43

Dec_06_034_043.indd 43 11/9/06 1:15:46 PM IMMERSION SERIES by Kathy Venter

“Immersion 13,” 6 ft. 5 in. (1.95 m) in length, handbuilt terra cotta, with polychrome layers of Hydro-Stone and engobes applied after fi ring, 2005.

Over the past four years I have asked my daughters, son and friends water were akin to the sheltered and transient beginnings of life in to join me at the public pool. With each person dressed in everyday the womb, as well as baptism. This confi rmed the appropriate choice clothing, I began the fi rst stages of the eighteen life-size terra-cotta of the word “immersion” for my new series of work. sculptures in the “Immersion Series.” I had been pondering our periods of transition, those moments I conducted the initial photo sessions by diving to the depths of when we experience two sets of circumstances at the same time, the pool and, with goggles and an underwater camera, I took pho- very often with one superimposed over the other. What is happen- tographs of the subjects jumping into, swimming, rising or fl oating ing? Which is stronger? Which is reality? The mind is immersed in through the water. I could observe, where the force of gravity was a book in the Italian landscape, while the body is on the subway. diminished, the unrestricted movement of their limbs and the pres- The shift of the center when the understanding is renewed; a time sure of the surrounding water on their clothing, hair and faces. The of revelation and conviction. After this moment, both psyche and pleasure and surprise of this exercise came from observing legs above circumstance are forever altered. The baby is born into the world; heads, clothing up over faces, arms used for balance as they swam, the baptized is now a neophyte; the reader has visited Italy; and dove or rolled in the water. Although we are out of our element the diver returns to the surface and responds once more to the underwater, when we are immersed we fi nd a freedom of physical force of gravity. expression, wonder and intimacy. My family and friends also modeled for months in the studio These movements included unencumbered playfulness, serene as I handbuilt each sculpture in compositions gleaned from the surrender, breathless inward focus, closed eyes, pursed lips. These photographs. I was faced with the challenge of fl uidity versus solid- compositions are all far removed from the norm where the model is ity—modeling underwater poses in the studio—the polarities of posed in the studio. The silence, light and grace of movement in the volume and weight versus suspension and diminished gravity. At the

Ceramics Monthly December 2006 44

Dec_06_044_059.indd 44 11/9/06 1:17:45 PM same time, I wanted to lose nothing of the personal and individual molding or life casting would have been unsuitable for achieving the infl uence of the model on the piece. I learned that no movement can scale where the viewer is relative to that of the sculpture. be created apart from the specifi c, personal and genetic structure of After fi ring, polychrome layers of Hydro-Stone and engobes were the form from which it is generated. Every gesture is as different and applied and, in some cases, the pieces were refi red. The surfaces of the complex as the model him or herself. Tanagra fi gures of the Mycenaean period are my inspiration. These These works were to be independent, not only of the pedestal, sculptures are encrusted and worn from centuries of burial revealing but also of the constraints of traditional sculpture, such as form, the detailed clay body underneath, as though shedding a skin. mass and weight. They are not sitting or resting on anything and I This alternating process of thick, impasto covered layers and soft needed to work with the sculptures in a suspended state throughout clay body serves to juxtapose textures and colors on an abraded sur- construction. I developed a system of external, movable armatures face. This unites form, bridging detailed areas and drawing them back for this purpose. Freedom and discipline became the pivotal points into the whole. This technique describes the force and movement of of this series of sculptures. water on the surface of the form—the infl uences during immersion; On completion they could be viewed from any angle, including those of erosion, light and pressure, movement and distortion—yet underneath, and the seamless state of suspension would be convinc- the underlying form remains true. ing. They could also be suspended at variable heights on installation, While the sculptures were still leather hard, I judged the weight including above eye level. and balance of each piece as it would be in the position I envisioned, They were constructed in the extended pinch method, allowing and made the appropriate holes for the cables through the clay body. areas to stiffen to support those above. To accommodate shrinkage, From my experience with the strength of the clay body and tech- I built them approximately 13% larger than life-size. Molding, press nique used in constructing the sculptures, fi ne, stainless steel aircraft

Ceramics Monthly December 2006 45

Dec_06_044_059.indd 45 11/8/06 4:50:46 PM cables were inserted into these holes after fi ring and sandblasting. The sculptures could then be raised into position and viewed from all angles while suspended from the ceiling.

PHOTOS: DAVID BORROWMAN DAVID PHOTOS: During my studies in fi ne art sculpture, I found molding and casting methods (the stock and trade of traditional sculpture) cumbersome, and I passionately wanted to stay with the clay original. I preferred all the markings and soft surface textures to remain true in their original material. In order to maintain the sense of presence in large fi gurative work, I needed to research and formulate a technique for building and fi ring life-size fi gurative pieces. The initial inspiration for this was the excavation of the Chinese Emperor Qin’s life-size terra-cotta army. From photographs of the broken pieces I could calculate how they were made, and from this point I developed the technique to include the extended pinch and coil methods. This method of building on a life-size scale was es- tablished during my masters program in South Africa. It began as a means for handbuilding simple standing fi gures. I modifi ed it for each consecutive sculpture to accomplish the technically demanding structures that they became. Through this development, I was always surprised at how far and how easily this method could be adapted to serve the technical requirements. Together with my artist husband, Deon Venter, we built a wood-fi ring kiln and fi red the sculptures in one piece. This was the method used for the next seven years, until our immigration to Canada. They are now fi red in three or four sections in an electric kiln before the fi nal fi nish is applied. As a student in South Africa I was infl uenced by the renowned South African ceramist, Hylton Nel, who opened my understanding to the early ceramic sculpture of China, England, Greece and Italy. I return to these sources daily with the utmost respect. The quiet intensity and inward gaze of the Etruscan and Greek fi gures, and the simplicity and straightforward innocence of Staffordshire, have been the foundation for my fi gurative work. The more detailed rendition of the fi gure in my recent work comes from years of unwavering, level-eyed observation of the model in the studio. I have only a basic knowledge of anatomy—my understanding of the fi gure is purely visual—which makes each work as different and individual as our own genetic structure. This knowledge is then fi ltered through and interpreted by my own artistic vision, further separating the sculptures from life-cast forms on the one hand or generic formulae on the other. The whole person interests me, not only blood and bone Left: “Immersion 15,” 5 ft. (1.5 m) in height, handbuilt terra cotta, with polychrome layers of but the inner thought expressed in an infi nite variety Hydro-Stone and engobes applied after fi ring, 2005. of subtle outer gestures or attitudes.

C eramics M onthl y December 2006 46

Dec_06_044_059.indd 46 11/8/06 4:51:14 PM “Immersion 17,” 6 ft. (1.8 m) in height, handbuilt terra cotta, with polychrome layers of Hydro-Stone and engobes applied after fi ring, 2005, by Kathy Venter, Saltspring Island, British Columbia, Canada.

C eramics M onthl y December 2006 47

Dec_06_044_059.indd 47 11/8/06 4:51:57 PM Looking at Schulman by Don Pilcher

“The Poker Game,” 14 in. (36 cm) in diameter, with engobes, salt glaze. Collection of Marilyn and Josh Shubin.

This is a story of artistic commitment and human generosity. It [and] in various conditions of tension, conflict, deterioration [and] is told through the life of Norm Schulman. It is illustrated by his compression.” That is a good deal more than many of us ask of our recent retrospective exhibition, “Master Potter, Master Teacher: A work or of ourselves. Life of Influence,” presented by the North Carolina Pottery Center My own description of his work is less elegant but easily under- in Seagrove. This collection was curated by Denny Mecham and stood. Schulman’s “qualitative experience” is like the quirky kid in presented 67 pieces of work; the earliest from 1963, and the latest your high-school class who doesn’t just march to his own drummer. taken from the kiln just two weeks before the opening. His is a different parade, on a different street, on a different day. What What we are shown is something not given to everyone: a life- follows is my own assessment of his work and his teaching. My obser- time of sustained curiosity in search of a personal vision, a singular vations and conclusions do not necessarily speak for Schulman. But voice. If you are one who appreciates pottery through the window I have known him since 1965 when he was my graduate instructor. of beauty you will be left out. The same is true if you understand The reader may question my objectivity, but I claim personal knowl- pottery primarily through its function, though much of this work edge and decades of perspective, so I make no apologies. is functional. No, in this case we must enter by way of an opening As a youngster during the Depression and a military veteran of marked “serious intent.” In Schulman’s own words, “. . . I seek to WWII, Schulman has lived through and is shaped by the quintes- develop a strong, qualitative experience . . . formally incomplete sential events of the American century. He is a member of what Tom

Ceramics Monthly December 2006 48

Dec_06_044_059.indd 48 11/8/06 4:52:45 PM Brokaw calls “the Greatest Generation.” In 1958, he received his M.F.A. from the New York State College of Ceramics at Alfred University. As a student there, he was heir to the great tradition of phenomenal glaze and clay formulas that began with Binns and Harder. He made his own contributions to that collection and over the years has extended its range to include some unusual, even off-beat, applications for Cone 3 and colorful terra sigillata. Cone 3? It seems to me that his problem solving methods often take him down sel- dom-trod paths. And even when working in a more popular vein, as he now does with wood firing, his kiln is a “babygama,” designed to be fired alone by an eighty-year-old man over several days, banking it at night to allow for sufficient rest—as if he couldn’t find plenty of help firing a kiln in Penland, North Carolina. But it is Schulman to never assume that help, and to accept it when it is offered with honest surprise and gratitude. Pictured from the exhibition are four of his works from very early to very recent. The careful viewer will notice that, without excep- tion, Schulman’s forms are chosen and made to serve the pictorial arrangements which come later. The proportions are ample, easily accommodating the figures and patterns. The transitions between various parts of the form, say from the bottom of a charger to its flange, are expressed at a walking pace. These transitions and their planes do not fly from the center to the edge as they would in a Babu; nor do they devolve into unconsciousness as they would in Iga ware. Instead the pace is leisurely, having an identity and integrity of its own—and perfectly matched to the molded, drawn or painted im- ages which they carry. What of the images? Consider “Viking,” a covered jar from 1976 (see page 50). By choosing three horns, Schulman avoids simple symbolism in favor of mystery or myth. The choice of shell stamps to express facial features locates the figures on the sea and simultane- ously exhibits both full face and profiles, all circumnavigating the entire form. Such integration of idea, function and tradition seems like the least he seeks. Turning to “The Poker Game,” a large salt-glazed bowl with colored engobes, we are shown compositional devices that are both primitively simple and subtlety complex. Of the first, see the alternat- ing quarter division of the ground, each framing a single player sitting at the card table, the bottom of the form. Of the latter, see the sides of the form rise to elevate the players so they face each other, head down, eyes hidden by hats, a haberdashers “poker face.” While each figure is male, each carries a different skin tone, sug- gesting different tribes playing the same game—a zero sum game at that. And how ironic the color choices—orange, pink, green and pale blue—for a game in which I can only win as much as you lose. Finally, let us consider a vessel (meaning it is huge and hollow and has a hole in the top) entitled “Grand Wizard of the Great Blue Horn and His Apprentices” from 1982. Note the severe occlusion as the forward figures render the distant figures to a near halo, especially

as they are almost eclipsed by the dominant black background. The “Grand Wizard of the Great Blue Horn and His Apprentices,” 47 resulting figure/ground ambiguity only accelerates the mysterious in. (119 cm) in height, engobes and clear glaze, fi red to Cone 3, nature of the apprentices—if we accept the whole form, in its entirety, 1982. Collection of Dudley and Lisa Anderson.

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Dec_06_044_059.indd 49 11/9/06 1:18:44 PM as the wizard. Finally, as the organic facial features move from the middle of the form to the extremes, they become rectilinear; from literal to abstract and from complex to simple. Is it generally known that these transitions are actually descriptive revelations of character and context? It should be written somewhere that Grand Wizards and Blue Horns require this thoughtful treatment. Where do artists come up with such ideas? I am going to argue that, in Schulman’s case, this is a matter of having what Dan Hughes calls a coherent personal narrative. This narra- tive explains you to yourself: where you came from, who you are and why you make what you make. This coherence allows one to embrace mystery and to find the unusual potential in pottery. Without this knowledge, you can only make what others have made, whether you know it or not. The second, smaller part of this exhibition included the work of eight of Schulman’s students: Stanley Andersen, Steven Branfman, Don Davis, Richard Hensley, Chuck Hindes, Charles Malin, Ken Sedberry and this writer. Each wrote a short statement or essay on Schulman as a teacher. In truth, they are repetitive in their appreciation and respect—with good reason. Schulman, as mentor and friend, does not gush. But he has long since come to treating all of us as peers, sometimes even more. His generosity of thought and action toward us is all the more remarkable because Schulman is not an easy man. He holds himself, and others, to high standards. He makes careful observations and he measures his words. His conclusions rest on this story, then that story, followed by their lesson. His expression is often dour, but not from an absence of joy. Most often, he is simply consumed by thought. Ideas reside comfortably in his mind, and they stay there long enough to be reflected upon over and over. Because Schulman has a musician’s ear, he hears more than do some others. What all this leads to is a broadly informed man with lots of experience and the ability to make keen judgments. For example, as head of the Ceramics Program at the Rhode Island School of Design he hired both Jun Kaneko and Wayne Higby before they were Jun Kaneko and Wayne Higby. Schulman explains this as simply a matter of good fortune and is quick to distance himself from the success of others. He claims he doesn’t—and never Vase, 19¹⁄₂ in. (50 cm) in height. Collection of Marilyn did—know anything about teach- and Josh Shubin. ing. I see this as his preference to consider content before method because, by his actions, he is a committed teacher. Whatever the case, as I have ob- served it, this is the Schulman method: his critical eye is decisive but his suggestions are always at a deeper level, attempting to address antecedent assumptions. For ex- ample, rather than suggest a different lip or profile, he’ll ask when you last considered the anthropomorphic life of a pot. He once summarized an entire weekend of my production with this, “So much pottery, so little poetry.” One might consider that comment for a lifetime. The value of this kind of teaching is that it empowers the student to understand the unalterable foundations of the creative process. Its bones are desire and knowledge; without them, it’s all just craft. Perhaps this most remarkable feature about his teaching is revealed in the student part of the exhibition. There is no “Schulman” to be seen in the work. His passion for the unique and his commitment to character would not allow for that—have your own parade on your own street! One final point must be made. It is not possible to explain this man and his work

without mention of Gloria, his wife of 57 years. Her intellectual contributions, her “Viking,” lidded jar, 18 in. (46 cm) in height, porcelain, passion for life, her commitment and service to ideas bigger than any one of us—all shell stamps, copper-clad lid and feldspathic gaze, 1976, of these things are an inseparable part of his life and his work. by Norm Schulman, Penland, North Carolina.

Ceramics Monthly December 2006 50

Dec_06_044_059.indd 50 11/8/06 4:54:05 PM Opened Earth: The Beauty Within by Eric Serritella

I asked Ah Leon, “What’s next for me?” Bluntly, and with wisdom and honesty, he said, “Make better pots.”

Yixing-style tea set, 7¹⁄₂ in. (19 cm) in height, thrown stoneware, burnished and fi red to Cone 6 in oxidation. Eric Serritella became interested in Yixing teapots during a residency program in Yingge, Taiwan, in 2004.

“Opened Earth: The Beauty Within” is a growing body of work like many, had reached a point of dissatisfaction after years of the that reflects a culmination of experiences and philosophies. It is a corporate grind. And so I began life as a potter. celebration of clay and an appreciation of the earth. I was able to survive my first two years selling at art festivals and The events that led me here began the first time my hands maintaining some wholesale accounts. Change was in the air dur- plunged into the middle of a newly centered ball of clay on the wheel. ing the winter of 2003, when I first met teapot maker and master I knew then that I was at an unexpected intersection. It was 1996, of trompe l’oeil, Ah Leon. He was teaching a semester at Cornell and I was taking a pottery class with local potter Lloyd Fitzsimmons University. His instruction on the technique and aesthetics of teapots to help ease the stress of a demanding career. By mid 2001, I had captured and motivated me. By the end I was feeling good about my left my job as the vice president of a marketing communications accomplishments and my new pieces. firm and was making pots full time. I’ll admit it was hard to leave One evening, as we talked together over traditional Taiwanese the security of a paycheck, company car and health benefits. But I, tea, I asked him, “What’s next for me?” Bluntly, and with wisdom

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Dec_06_044_059.indd 51 11/8/06 4:55:12 PM durability and fragility—strong, yet easily destroyed if disrespected. There is a strong tradition of wood firing in Tai- wan. Many private kilns exist as well as numerous PHOTOS: ANDREW PHOTOS: GILLIS group kilns organized and fired by local pottery clubs and guilds. Particularly memorable is the 31.8-meter- long (104-foot) snake kiln at Shui-Li, which is only fired a few times each year. I was fortunate to be able to fire in this kiln. This was a privilege that provided lifetime souvenirs and reminders of an incredibly friendly, open and welcoming ceramics community. I returned to the U.S., bringing with me myriad reminders and lessons, both tangible and intangible. Here, I faced the challenge of weaving together the techniques, skills and aesthetics I learned in Taiwan with my own preferences, designs and desires. How would I integrate all I had learned, focus on that which resounded most, and not end up with a pot full of random, incompatible components? I have learned that making a good pot is not just taking pieces from others and attaching them together. Certainly, the influences of my teachers and Chinese aesthetics are evident in Opened Earth. But as one finds their own voice, components of what they’ve accumulated over the years become deftly applied where they are appropriate. Adding them to one’s own invention, vision and soul is what “Opened Earth Teabowl,” 3¹⁄₂ in. (9 cm) in height, thrown, with crevices made from impressed patterns, distinguishes plagiarism from using the teachings to then wood fi red to Cone 10 forming natural ash deposits. discover the entrance of one’s own pathway. It took time and experimentation with different clay bodies, and honesty, he said, “Make better pots.” To this day, I remember but eventually a new voice rang out: my own. those words each time I sit at the wheel. Each pot begins as a pliant, willing conversationalist. Then, as I After further discussions with him, numerous arrangements, and apply heat to the exterior, the clay dries and develops more of its own with the help of a New York Foundation for the Arts (NYFA) grant, character. As I coax it into a form, its personality dictates much of my wife and I headed to Taiwan in early 2004. For almost fi ve months, what occurs. Often we agree on direction, and many times, we do not. I immersed myself in an individually tailored residency program, Where on the pot the clay will split, how deep, and how wide, can learning and creating from within a rich heritage of Chinese art. never be fully controlled or accurately predicted. Nor can the exact We rented a room in the historical pottery community of Yingge shape of the pot, since the unevenly expanding crevices ultimately and lived surrounded by 200 years of local ceramics tradition. From determine where and how far the form can be manipulated. there we traveled throughout the country, meeting artists, and sharing Opened Earth pieces call for the natural embellishment that ideas and techniques. Being able to sit and brew tea with 70-year-old comes from wood kilns, and I fire most of my work in a friend’s two- masters one day and Taiwan’s premier young ceramics artists the next, chambered climbing kiln. In contrast to the ceramics that reflect our brought the art, the history and the culture to life. While in Yingge, I energetic lifestyles—full of luster, bright colors and abstract patterns was able to practice and create at the studio of Lin Hsio Yu. My lack (beautiful in their own right)—Opened Earth vessels offer a gentle of fluency in the Chinese language made nonverbal communication reprieve from stimulation. and sign language a must. I spent time without words, literally in When firing oxidation in my electric kilns, I try to maintain that the hands of several masters. appreciation for the beautiful earthiness that is revealed from within. What resonated with me most was the overall appreciation of Sometimes I make stains and washes that provide the matt, earthy clay, frequently glorified by unglazed pots. Organic in form, often feel of a relic. Or I might coat the pots with terra sigillata, fire them rough in texture, it was an aesthetic that isn’t as prevalent in the to between Cones 010 and 06, and then pit fire or blacken them in U.S. The voices of these pots brought me back to the core of why a can of wood shavings. Each treatment is an attempt to emphasize I connected to clay in the first place. I have always been inspired and highlight the irregularities, fissures and crusts; to recognize and by the purity of nature. I appreciate how pottery reflects the earth’s uncover the hidden core from which all ceramic arts are made: the

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Dec_06_044_059.indd 52 11/8/06 4:56:00 PM Earth. And each outcome invites illumina- tion, as the hollows, plateaus and sands become a stage for light and shadow. THE LOOK OF PARCHED EARTH Many works begin with a vision, and I sketch out ideas and evolve the details over Opened Earth vessels are created by throwing a thick-walled cylinder with time. Yet, in the end, the whole process is as little water as possible. I use some water on the inside to help raise the largely spontaneous. Each piece is a relation- sides, but try to use little to no water on the outside to keep it as dry as ship. This is where the clay, the fire and I possible. If necessary, I use a small amount of throwing slip on the outside breathe aspects of ourselves and our rela- as it is not absorbed as easily as water. Once a cylinder is made, I use a tionship into the final form. The end result metal rib to remove any water or slip from the outside wall. bears evidence of the various influences, The outside wall is then heated so it starts to dry. I generally use a components of our philosophies, parts of our propane torch, but a hair dryer, a heat gun, or even the sun will work. beings, all subtly blended into a cohesive, The objective is to get the outside dry enough so that as the form is

unique individual with a life all its own. stretched into shape from the moist inside out, the outer walls will crack MONTHLY METHODS open to reveal the beautiful natural texture within. The outside cannot For step-by-step illustration of how Eric Ser- be touched at this stage, so forming and shaping is done with one hand. ritella achieves his cracked surfaces, see the Sep- I sometimes apply dried clay or sand on the outside prior to heating for tember/October 2006 issue of Pottery Making additional texture and effect. The cylinder also can be scored to varying Illustrated or go to www.potterymaking.org. depths before heating to encourage opening. Heating time depends on many factors: the method of heating, thickness the author Eric Serritella is a ceramics of the wall, the moisture level of the clay and the depth of the openings artist working outside of Ithaca, New York. desired. Testing and experimenting are a rewarding must. Ideally the For further information on him and his work, outside is dried enough to start to delaminate once stretched, but not so see www.muddypawspottery.com. dry that it just splits the side of the pot open. The desired effect, from a deep crevice to a subtle surface texture, can be discovered by experimenting with the initial wall thickness of the cylinder, as well as how far different clay bodies can be pushed until they break apart. A completed pot will have varied wall thickness, because of the maze of canyons that have opened up. Because of this, slow firing is best so that the pot will expand and contract evenly as the temperature rises and falls.

“Unearthed II,” 9¹⁄₂ in. (24 cm) in diameter, thrown red stoneware with sand, natural crevices made from a blow torch, fi red to Cone 6 in oxidation, by Eric Serritella, Newfi eld, New York.

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Dec_06_044_059.indd 53 11/9/06 1:19:39 PM BROTHER THOMAS

There is a tradition in Japan for the country’s most impor- tant artists to be accorded the title of Living National Trea- sure, usually when they have reached an advanced age, and after a lifetime of achievement. The designation is given to a very few men and women in various disciplines—includ- ing pottery, which in Japan is considered as important an art form as any other—and invariably pushes the artist’s prices to extraordinary levels. In the United States, there is no Living National Treasure equivalent, but if there were, the title would surely go to a potter named Brother Thomas Bezanson, widely recognized as one of the major ceramics artists of his time anywhere in the world, whose pieces sell for up to $60,000. The 76-year-old Brother Thomas—a former Bene- dictine monk who lived for a quarter century in a rural Vermont monastery and now works out of Erie, Pennsylva- nia—has been making pottery for half a century. Today his exquisite porcelain pieces have achieved universal recogni- tion (including in Japan where he periodically exhibits) and can be found in dozens of private collections and those of over seventy major museums including the Metropolitan Museum of Art in New York City, Victoria and Albert Museum in London, Boston Museum of Fine Arts, Art Institute of Chicago, and the Smithsonian Institution in Washington, D.C. The story of Brother Thomas’ ascendancy as an artist is one of a remarkable journey marked by a series of chance encounters, life-changing events, deep conflicts, critical interventions from friends and acquaintances, and even a brush with death when, in a bout with depression follow- ing his departure from the monastery after 25 years, he came perilously close to taking his own life. Thomas was then in his early fifties and for years had struggled with an inherent conflict that pitted the necessary restrictions of

“One does not go into the studio and decide that today I will do great work. Rather, one just goes in and works. The best works come on their own,” says Brother Thomas, seen here working in his studio.

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Dec_06_044_059.indd 54 11/8/06 4:56:37 PM A Long and Winding Road to Artistic Success by Richard Busch

Large Vase,” 12¹⁄₄ in. (31 cm) in height, thrown porcelain, with blue koke glaze, $30,000.

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Dec_06_044_059.indd 55 11/8/06 4:58:12 PM Brother Thomas’ journey began in Nova Scotia where he was born Charles Bezanson (his name was changed to Thomas when he entered the monastery) in 1929. As a youngster, he showed an aptitude for drawing, which his parents en- couraged. After college, while working in PHOTOS: COURTESY OF PUCKER GALLERY COURTESY PHOTOS: the economic research department of the Nova Scotia government, he volunteered weekends at the local handcrafts center, where he discovered clay and had his first experience throwing pots on the wheel. “The government job was just that,” he recalls, “a job, with little satisfaction. One day a friend was listening to my frus- trations and suggested that I quit and go to Europe, ‘while you’re still young,’ she said, ‘while it’s still there.’” And so, in 1958, he went. It proved to be a life-altering decision. He spent a couple of months in Italy, absorbing the art and culture, then traveled to Spain and Portugal, then London, where a chance encounter steered him in a whole new direction. Bezanson had spent most of his money and had no clear idea what to do next. One autumn day while sitting on a park bench in London, watching a fellow on a soapbox railing against the monar- chy, he got to talking with a middle-aged man in a black suit sitting at the other end of the bench, who seemed to sense that “Flask Form Vase with Cut Rim,” 14 in. (36 cm) in height, porcelain, with iron yellow glaze, $28,000. Bezanson was at loose ends. They got into a conversation and after a while the man opened a paperback book the monastic community against the fledgling artist’s need for the by Thomas Merton, a Cistercian monk, and read a short passage freedom to pursue his art. about a new monastic movement in the United States, a return to Years later he would write about the growth of the artist whose the original nonclerical concept of monasticism. quiet inner voice cannot be denied, where limitations and constraints “He passed me the book,” Bezanson remembers. “In it, I found inevitably give way to a higher awareness: the name Weston Priory, in Vermont. I got absorbed, my thoughts “In the Japanese language there is a word that resonates with a now turning to possibilities. I moved to pass him back his book. common experience in the lives of artists. The word is shoshin. It He was gone. Poof! Then and there I felt an awakening. I wrote to means ‘beginners mind,’ a primal state of openness. In the growth Weston Priory. Within a fortnight an answer arrived: ‘Come….’” of the artist’s awareness, this beginner’s mind emerges first without “…the beginner’s mind is open to all that is,” Bezanson has reflection upon itself, hence there is no consciousness of inner source written.“ It is a wise Zen master within us. Life is always a willing- or inner purpose. There is a shell covering the chick. It moves at this ness to begin again…. In the end, it is not the worker at all who point towards acquiring skills to express an intuitive response to shapes the work, or even the work that shapes the worker. It is the something wonderful. For years the artist’s work is focused exclusively search shaping the searcher.” on technique. But gradually, or perhaps suddenly, the chick must On a cold Christmas Eve in 1959, thirty-year-old Bezanson, soon grow out of its shell. Practical things begin to fall like the barriers to take on the moniker of Brother Thomas, came to the little snow- they are. There is movement into a place of spirit in art. It is here covered town of Weston, in the southern part of the state, and found that the person becomes truly aware that art is not something ‘I do,’ the place that would be his home for the next 25 years. The priory, but has become something ‘I am.’” then just four years old, occupied an old white farmhouse that sat on

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Dec_06_044_059.indd 56 11/8/06 4:58:54 PM the crest of a hill, next to a small white chapel. There was a moonlit “My leap from the monastery was like a jump from the top floor sky, he remembers, and a backdrop of woods and mountains. of a burning building,” he remembers vividly. “It was a crushing blow. He took a short trip back to Nova Scotia for immigration papers, Death seemed preferable to life. I have some inkling why people take then returned to Weston to begin his new life as an American citizen that last step into terminal darkness. But I do know why I did not. and Benedictine monk—a life of Gregorian chant; of rising at 4 A.M. Hope is the last to die.” for prayers; of study; of work in the gardens; of tending chickens and Bezanson talks about angels as metaphors for the people who other tasks, including his role as monastery treasurer. He found the have played critical roles in shaping his life. Two such angels are a small community of young monks a talented and compatible lot, and couple named Fred and Edith Bloom, who had been collecting his remembers his early years there as “blessedly happy.” pottery for several years while he was at the monastery. One day the As luck would have it, barely three weeks after settling in at the Blooms were walking along Newbury Street in Boston and one of priory, a crate mysteriously arrived with a small electric kiln. Sud- them—he doesn’t remember which—found themselves in dire need denly a new outlet emerged for the pottery skills he had learned at of a bathroom. They popped into the Pucker Gallery, met owners the handcraft center in Nova Scotia. Bernie and Sue Pucker, got into a conversation, and told them about He started making things again—mugs, bowls, ashtrays, whatever Brother Thomas. The upshot was an association that has lasted more would sell—contributing to the community’s income. Though not than 25 years and has brought Bezanson worldwide recognition. particularly stimulating work, his skills improved rapidly. But as the “Had the Blooms not needed a bathroom on Newbury Street years passed, his focus began to shift from these mundane objects to that afternoon, I would not be talking about angels today,” he says. the more individual, one-of-a-kind pieces—predominantly vases and “For who accomplishes anything without the angels in our life? They plates—that he especially enjoyed making and which have become need to be remembered, if not always in words, then always in our the hallmark of his life as a potter. His reputation grew, and serious hearts. I do.” collectors started acquiring his work. But while Bezanson was grateful for that initial Pucker connec- But despite this taste of success, something important was lack- tion, his depression persisted for lack of a place to work. And then ing. “The personal work was acquiring a dynamic of its own,” he again, as if by some mysterious intervention, came a letter from the explains. “Something was happening that took me another decade to Benedictine Sisters of Erie, Pennsylvania. As it happened, sister Joan fully understand. The ancient immiscibility between the individual Chittister, the prioress, knew of Brother Thomas’ work and of his and the group had begun.” need for a studio. She offered him a place—a former storage building The conflict grew following a trip to Japan in 1978. The highlight that the sisters had recently acquired. was the chance to meet six of Japan’s most-revered potters, all Living And so, in May of 1985, he moved his equipment to Erie. Within National Treasures. He had brought along pictures of his work, as three months he had set up his studio, made dozens of pots and had well as small teabowls as gifts. The potters were impressed. his first firing. His spirits soared. “One of them, Kakiemon the 15th, from the town of Arita, was especially responsive,” he recalls. “I expressed to him the frustration that many potters in the West feel about the difficulty of getting pottery accepted as art the way it is in the East. He gave me his full atten- tion, nodding sympathetically from time to time. After a while, he looked at me intensely and said simply, ‘you just work.’Just work. It was a call to be faithful to the process. It was a classic Zen response.” The effect was profound. Bezanson returned from Japan with an affirmation that the path he was on was the right one, that pottery-as-art was what he was meant to do. With unquench- able energy he began taking every available spare minute to make pottery for himself. “I demanded more time for my work, even if it generated a ‘me against them’ conflict between my unique force and the common life of the monastery. I rapidly became the odd man out, the marginal monk.” He felt excluded, angry, lost. He had to leave. He was 53 years old. Teabowl, 3¹⁄₂ in. (9 cm) in height, thrown porcelain, with iron yellow glaze, $2000.

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Dec_06_044_059.indd 57 11/8/06 4:59:20 PM For the last twenty years, Brother Thomas Bezanson has lived At first glance the studio looks cluttered, but there is clearly and worked productively in his Erie studio, having a major show at order beneath the façade. Pots in various stages of completion sit on the Pucker Gallery every other year, and seeing his pottery develop shelves. An adjacent room serves as his office; another is for storage and find its way into an ever-growing number of collections, public of completed pots. He negotiates the space with the ease of someone and private. He works mostly with traditional forms—vases, plates, who could do it blindfolded. Lifting heavy lumps of clay and 50- cups—and there is a dazzling precision in their execution. He has pound bags of glaze materials for half a century has kept him lean chosen to work with porcelain for the way it reveals his glazes with and strong. Though 76 years old, he could easily pass for someone a clarity and brilliance. dozen years younger. Tousled gray hair and a medium-length beard His studio sits across a courtyard from a residential building add an extra dose of personality to a handsome face that is already where he maintains a small room on a floor that he shares with full of character. His conversations exude energy, warmth and a several sisters from the monastery. His room is spare—a desk, a sharp sense of humor. Cycles of work last a year or more—time to produce enough pieces that meet with his satisfaction and can be sent off to Pucker for the next show. It is a period of creation, of allowing the work to emerge from within, of collaboration with the fire. Though failures are common, some results strike him as so stunning in their beauty that they defy even his own understanding of how they happened. “They do not even seem like pieces I myself have made,” he says. “I can sit and look at them for hours.” But reveries over his own work don’t last long. The imperative is the constant flow of creativity—the need to keep working. On a scrap of paper on the wall next to Bezanson’s wheel, he has written the words spoken to him years before by the Japanese potter Kakiemon, where he can see them every day: Just work. It is the process that matters, not the end result. It is the beginner’s mind. “I believe that all creatively conscious persons share this intuition—that they are always in process, always at the beginning.” Beyond the obvious joy that his creative endeavors bring him, Brother Thomas also speaks of the healing power of forgiveness that he was able to find long after leaving the monastery. For many years he had harbored an unshakable anger and sense of betrayal for having to “Large Moon Vase, 16¹⁄₄ in. (41 cm) in height, porcelain, with Kairagi glaze, $28,000, leave the happy, sheltered life of the community. It took by Brother Thomas Bezanson, Erie, Pennsylvania. years of therapy and self-examination before he began to let it go. Forgiveness has allowed him to put the past chair, a bed, some clothes in the closet. There is a common space behind him, find peace and reconnect with the prior at the Weston and a kitchen. The sisters cook dinner. He takes a tray. He watches Monastery from whom he had become so estranged. Today, the two the evening news, maybe a show, reads, then it’s early to bed. While men correspond and share a mutual respect and bond. sitting in his studio one recent day he points to the building “The monastic life made me aware and created the time and across the way: “I spend little time there. It’s where I sleep. means for me to grow into the artist that I was born to be,” says This,” he says, gesturing to the sprawling studio space around Bezanson. “Whatever pain and suffering I endured was an authentic him, “is where I live.” means to a truth of the soul. Can one look back and be grateful for Brother Thomas comes here six mornings a week at 5:30 and suffering? I can. I do.” spends a couple of hours at prayer, reading, and having a light break- Brother Thomas is represented by Pucker Gallery in Boston, Mas- fast. He then starts work around 9 A.M. His studio is a quiet place sachussetts. For further information, see www.puckergallery.com. where he allows things to happen without planning or agendas. A lump of porcelain on the wheel begins to rise and take shape. It may the author Richard Busch operates Glenfiddich Farm Pottery in turn out to be a vase, or a plate, or some other form. “I don’t know Leesburg, Virginia. For information about him and his work, see what I’m making until I make it,” he explains. www.glenfarmpottery.com.

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Dec_06_044_059.indd 58 11/8/06 4:59:53 PM VIDEO WORKSHOPS FOR POTTERS Form and Function Ceramic Aesthetics and Design 1. Elements of Form 2. Lids and Terminations 3. Spouts and Handles 4. Pots for Eating and Drinking 5. Pots for Cooking and Serving I give these tapes my highest recommendation for anyone interested in learning about form and structure . . . . Bill Hunt, Ceramics Monthly Editor, 1982-94 Now On DVD Videos with Visit PotteryVideos.com Robin Hopper

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Dec_06_044_059.indd 59 11/8/06 5:00:44 PM Juried from digital (preferred) or slides. Fee: call for entries $45 for 1–3 images, $5 for each additional Deadlines for Exhibitions, Fairs and Festivals image, up to 16. Application available for See call for entries online at www.ceramicsmonthly.org download at www.rhondaschallerchelsea.com. Contact Rhonda Schaller Studio, 547 West 27th Street, Ste 529, New York 10001; International Exhibitions [email protected]. Texas, Beaumont “45th Annual BAL Nation- December 1 entry deadline al” (May 5–31, 2007). Juried from slides. $35 Canada, Ontario, Toronto “Fresh Ground new for up to 3 entries. Mail slides, fee and SASE to works”, commission call open to Canadian Beaumont Art League, 2675 Gulf Street, Beau- artists. Contact Harbourfront Centre, 235 mont 77703; www.beaumontartleague.org; Queens Quay West, Toronto, Ontario M5J 2G8; [email protected]; tel. (409) www.harbourfrontcentre.com/callforsubmissions; 833-4179. (416) 952-3565. Texas, Denton “Visual Arts Society of Texas, December 5 entry deadline 39th Annual Visual Arts Exhibition” (April Florida, Miami “Peace by Piece, 3rd Annual 18–June 1, 2007), open to 2D/3D media; no Juried Mosaic Exhibition” (February 2–March installations. Juried from 3 slides or digital. Juror: 2, 2007). Fee: $20 for three entries. Contact Karen Kunc, printmaking instructor, University the Atelier, 3863 Shipping Ave., Miami 33146; of Nebraska-Lincoln. Fee: $35; members, $30. www.mosaictools.com/gallery/exhibitions. For prospectus, send SASE to VAST, PO Box December 15 entry deadline 1281, Denton 76202; www.vastarts.org; New York, Brooklyn “Black USA 2007” (940) 387-7559 (January 17–March 10, 2007), exhibition December 20 entry deadline commemorating Black History Month, open Colorado, Carbondale “Empty Spaces: Bowls” to all artists. Juried from digital and slides. (February 1–28, 2007). Juried from slides Fee: $35 for up to 3 entries. For prospectus, or digital. Juror: Peg Malloy. Fee: $20. For send SASE to Gloria Kennedy Gallery, 111 prospectus, send SASE to Carbondale Clay Front St., Gallery 222, Brooklyn 11201; Center, 135 Main St., Carbondale 81623; www.gkgart.com/prospectus/blackusa.pdf; www.carbondaleclay.org; (970) 963-2529. (718) 858-5254. January 8, 2007, entry deadline January 1, 2007, entry deadline Connecticut, New Haven “Ceramic Abstrac- Kentucky , Louisville “By the Ounce” (March tion: Exploration & Evidence, A National 12–16), open to functional or sculptural ceramic Exhibition” (March 23–May 4, 2007). Juried shot glasses. Juried from digital. Juror: John from slides. Juror: Paula Winokur. Awards: 2 Neely. Fee: $15 for up to 4 images. Awards: winners get 2008 joint exhibition. Fee: $25 1st place, $800; 2nd $500; 3rd $300. Contact for up to 3 entries. For prospectus, send Lindsay Oesterritter, [email protected]; SASE to Gallery Committee, Creative Arts (502) 533-9299. Workshop, 80 Audubon St., New Haven January 3, 2007, entry deadline 06510; www.creativeartsworshop.org; (203) Virginia, Alexandria “Roots and Branches” 562-4927. (March 24–April 29, 2007). Juried from Massachusetts, Lexington “The State of digital or slides. Juror: Dr. Gwendolyn Everett, Clay” (April 1–29, 2007), open to current and Professor of Art History at Howard University former residents of Massachusetts. Juried from and the Corcoran College of Art and Design. digital. Juror: Chris Gustin. Fee: $30 for up 3 Fee: $30. For prospectus send SASE to Target entries. Cash awards. Contact Lexington Arts Gallery, 105 N. Union St., Alexandria 22314; & Crafts Society, 130 Waltham St., Lexington www.torpedofactory.org. 02421; www.lexingtonma.org/LACS; (781) February 9, 2007, entry deadline 862-9696. California, Lincoln “Feats of Clay XX” (April January 10, 2007, entry deadline Kansas, Wichita “Art Show at the Dog Show” 28–May 27, 2007). Juried from slides. Juror: (March 2–April 4, 2007), open to all media. Ju- Sherman Hall, Ceramics Monthly editor. Fee: ried from slides. Fee: $40 for up to four entries. $15 for one entry; $25 for two; $30 for three. Awards: $10,000. Contact Art Show at the Dog Awards: $21,000. For prospectus send #10 Show, Pat Deshler, 7520 Oak Tree Lane, Kechi, SASE to Lincoln Arts, 540 F St., Lincoln 95648; KS 67067; www.artshowatthedogshow.com; www.lincolnarts.org. [email protected]; (316) 744-0057. February 14, 2007, entry deadline January 15, 2007, entry deadline Florida, Tallahassee “Combined Talents 22nd North Carolina, Durham “Vessels 2007” Annual Juried Competition” (August 27–Sep- (February 13–April 2, 2007). Juried from digi- tember 23, 2007). Juried from digital and tal and slides. Fee: $25 for up to 2 works; $5 slides. Fee: $20 for 2 images. Awards: $1,000 each additional work up to 6. For prospectus and $500. Contact FSU Museum of Fine Arts, and application, visit www.claymakers.com; 530 W Call St./250 FAB, Tallahassee 32306; or contact Jenny Buelin at Claymakers; (919) www.mofa.fsu.edu/combinedtalents.html; 530-8355; [email protected]. (850) 644–3906. January 26, 2007, entry deadline May 1, 2007, entry deadline Connecticut, Guilford “2007 Biennial Exhibi- Canada, Ontario, Toronto “The Distill Cup 2007” tion of North American (Functional) Clay” (June 12–24, 2007), open to Canadian artists. (May 4–June 17, 2007). Juried from slides. Juried from digital and slides. Fee: $20. For Juror: Val Cushing. Fee: $25 for up to 3 prospectus visit www.distillgallery.com. Contact entries. Awards: $1000. Contact Guilford Distill, 55 Mill St., #56, Toronto, Ontario M5A Art Center, 411 Church St., Guilford 06437; 3C4; [email protected]; (416) 304-0033. www.guilfordartcenter.org/calltoartists.html; (203) 453-5947. United States Exhibitions Missouri, St. Louis “Silent Conversations” (March 16–May 6, 2007). Juried from digital December 1 entry deadline and slides. Fee: $25 for two entries. Contact New York, New York “Live Free or Die” Craft Alliance, 6640 Delmar, St. Louis 63130; (March 1–31, 2007), open to all media. www.craftalliance.org; (314) 725-1177. Ceramics Monthly December 2006 60

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Dec_06_060_065.indd 61 11/10/06 9:23:49 AM February 15, 2007, entry deadline University, 900 Viterbo Dr., La Crosse 54601; call for entries Arkansas, Monticello “Second Annual National [email protected]; (608) 796-3757. Juried Cup Show” (April 6–May 11, 2007). Ju- March 10, 2007, entry deadline ror: Matt Long. Fee: $20. For prospectus, send Georgia, Watkinsville “12th Annual SOUTH- Texas, Corpus Christi “41st Annual National SASE to Scott Lykens, Cup Show, c/o University WORKS 2007 National Juried Art Exhibition” Drawing and Small Sculpture Show” (March of Arkansas Monticello Ceramics Department, (May 8–June 9, 2007), open to all media. Juried 30–April 27, 2007 ). Juried from slides. Fee: PO Box 3460, Monticello 71656; www.uamont. from slides. Juror: Dr. Dorothy Joiner, art history $20 for up to 2 entries. For prospectus and edu/Arts_and_Humanities/SAHcalender.html. professor, La Grange College. Fee: $35; mem- entry form, visit www.delmar.edu/art/show07. Texas, Houston “Second Annual ClayHous- bers, $25. Awards: $10,000. Application avail- Contact Del Mar College, 101 Baldwin Blvd., ton Festival” (June 23–24, 2007). Juried from able for download at www.ocaf.com. Contact Corpus Christi 78404; (361) 698-1216 slides. Fee: $20. Juror: Dennis Smith, head Oconee Cultural Arts Foundation, 34 School St., February 3, 2007, entry deadline of ceramics, Southwest School of Art and Watkinsville 30677; (706) 769-4565. Illinois, Chicago “18th Annual Teapot Show” Craft. Contact ClayHouston, PO Box 667401, March 24, 2007, entry deadline (April 1–May 13, 2007), open to functional, fun Houston 77266; www.clayhouston.com; Ohio, Kent “Seventh Annual National Juried or funky teapots in all dimensions and media. [email protected]. Cup Show” (May 2–June 9, 2007). Juror: Bill Juried from slides. Fee: $25 for up to 2 entries. Wisconsin, La Crosse Open call for Jones, Pottery Making Illustrated editor. Fee: For prospectus, send SASE to Joan Houlehen, 2007–2008 gallery calendar. Juried from $20. For more information contact Anderson A. Houberbocken, Inc., P.O. 196, Cudahy, WI digital and slides. Awards: up to $1000 hono- Turner at [email protected]; or (330) 672- 53110; fax (414) 481-4000. rarium. Send SASE to Gerard Ferreri, Viterbo 1369 or (330) 672-7853. March 31, 2007, entry deadline New Jersey, Loveladies “National Juried Craft Gallery” (May 20–October 15, 2007). Juried from digital or slides. For prospectus e-mail [email protected]. Contact Long Beach Island Foundation of the Arts and Sciences, 120 Long Beach Boulevard, Love- ladies 08008; www.lbiffoundation.org; (609) 494-1241. Regional Exhibitions

February 5, 2007, entry deadline Illinois, St Charles “Divine Dirt” (April 16–May 23, 2007), open to Midwest potters. Juried from digital or slides. Fee: $25 for up to 4 entries. For prospectus, send SASE to Fine Line Creative Arts Center, 6N158 Crane Rd., St Charles 60175; www.fi nelineca.org; (630) 584-9443. Fairs and Festivals

January 5, 2007, entry deadline Connecticut, Guilford “Guilford Craft Expo” (July 12–14, 2007). Juried from digital and slides. For full fee and deadline schedule, visit www.artrider.com; or contact Artrider Produc- tions Inc., PO Box 28, Woodstock, NY 12498; (845) 331-7900. New Jersey, Morristown “Spring Crafts at Morristown” (March 16–18, 2007); “Holiday Crafts at Morristown” (December 7–9, 2007). Juried from digital and slides. For full fee and deadline schedule, visit www.artrider.com; or contact Artrider Productions Inc., PO Box 28, Woodstock, NY 12498; (845) 331-7900. New York, New York “Crafts Park Avenue” (November 29–December 2, 2007). Juried from digital and slides. For full fee and deadline schedule, visit www.artrider.com; or contact Artrider Productions Inc., PO Box 28, Wood- stock, NY 12498; (845) 331-7900. New York, Tarrytown “Spring Crafts at Lyndhurst” (May 18–20, 2007); “Fall Crafts at Lyndhurst” (September 14–16, 2007). Juried from digital and slides. For full fee and deadline schedule, visit www.artrider.com; or contact Artrider Productions Inc., PO Box 28, Woodstock, NY 12498; (845) 331-7900. February 3, 2007, entry deadline Pennsylvania, Pittsburgh “48th Annual Three Rivers Arts Festival” (June 1–17, 2007), open to all handcrafted work. Juried from slides. Fee: $20; booth fee, $380. Award: $10,000. For prospectus, e-mail [email protected]; or contact Three Rivers Arts Festival, 937 Liberty Avenue, Pittsburgh 15222; www.artsfestival.net; (412) 281-8723. Ceramics Monthly December 2006 62

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Ceramics Monthly December 2006 63

Dec_06_060_065.indd 63 11/10/06 9:24:38 AM call for entries

March 11, 2007, entry deadline Georgia, Watkinsville “OCAF’s SOUTHWORKS 2007 Juried Artist Market” (May 26–27, 2007). Juried from slides of work; 1 of booth. Applica- tion fee: $10. Booth fee: $130; members, $90. Contact Oconee Cultural Arts Foundation, 34 School St., Watkinsville 30677; www.ocaf.com; (706) 769-4565. May 1, 2007, entry deadline New Jersey, Verona “Fine Art and Crafts Show at Verona Park” (May 19–20, 2007), open to all handcrafted work. Juried from slides/photos of work; 1 of booth. Booth fee: $310 for 10X12- foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; www.rosesquared.com; (908) 874-5247. May 15, 2007, entry deadline New Jersey, Cranford “Spring Nomahegan Park Fine Art and Crafts Show” (June 2–3, 2007), open to all handcrafted work. Juried from slides/photos of work; 1 of booth. Booth fee: $310 for 10X12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hill- sborough, NJ 08844; www.rosesquared.com; (908) 874-5247. May 30, 2007, entry deadline New Jersey, Layton “37th Annual Peters Valley Craft Fair” (September 15–16, 2007) open to all handcrafted work. Juried from digital and slides. Application fee: $25. Contact Peters Val- ley Craft Center, 19 Kuhn Rd., Layton 07851; www.petersvalley.org; (973) 948-5200. June 1, 2007, entry deadline New Jersey, Montclair “Spring Brookdale Park Fine Art and Crafts Show” (June 16–17, 2007), open to all handcrafted work. Juried from slides/photos of work; 1 of booth. Booth fee: $310 for 10X12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hill- sborough, NJ 08844; www.rosesquared.com; (908) 874-5247. September 1, 2007, entry deadline New Jersey, Upper Montclair “Fine Art and Crafts Show at Anderson Park” (Septem- ber 15–16, 2007), open to all handcrafted work. Juried from slides/photos of work; 1 of booth. Booth fee: $310 for 10X12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; www.rosesquared.com; (908) 874-5247. September 10, 2007, entry deadline New Jersey, Cranford “Fall Nomahegan Park Fine Art and Crafts Show” (October 20–21, 2007), open to all handcrafted work. Juried from slides/photos of work; 1 of booth. Booth fee: $310 for 10X12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hill- sborough, NJ 08844; www.rosesquared.com; (908) 874-5247. October 1, 2007, entry deadline New Jersey, Montclair “Fall Brookdale Park Fine Art and Crafts Show” (October 13–14, 2007), open to all handcrafted work. Juried from slides/photos of work; 1 of booth. Booth fee: $310 for 10X12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hill- sborough, NJ 08844; www.rosesquared.com; (908) 874-5247. For a free call for entries listing, submit information on juried events at least four months before the entry deadline. Add one month for listings in July, and one month for listings in September. Regional exhibitions must be open to more than one state. Submit online at www.ceramicsmonthly.org; mail to Call for Entries, Ceramics Monthly, 735 Ceramic Pl., Suite 100, West er ville, OH 43081; e-mail [email protected]; or fax (614) 891-8960. Ceramics Monthly December 2006 64

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Dec_06_060_065.indd 65 11/10/06 9:25:19 AM new books

The Yixing Effect Echoes of the Chinese Scholar by Marvin Sweet In this well-illustrated book, Marvin Sweet examines how the Yixing teapot has captured the imagination of contemporary American ceramics artists and why it has become a compelling source of inspiration. Since Yixing ware arrived in Europe more than 350 years ago, the teapot (which was invented in Yixing) has been used as a model for Western ce- ramics. Sweet concludes that the reason for this link between Western potters and Yixing was the same infl u- ence that inspired the Yixing potters: the Chinese Scholars. “A teapot is the most complex composi- tion of all pottery forms because of all of its component parts: the base, the body, the rim opening, the spout, handle, lid and knob on the lid … but this is not a catalog of teapots,” explains Sweet. “When I selected artists who I felt followed the Yixing tradition, I never used the teapot as my sole criterion. What I tried to recognize in each artist’s work was the presence of the Yixing tradition or the underlying spirit of Chinese scholar art, work that had appropriated that piece of culture, departed from it and transformed it into something new.” The book gives a brief history of Yix- ing ware that addresses the collaboration between Yixing potters and Chinese scholars, including their philosophies and aesthetics. It also presents an overview of Sweet’s extensive collection of Yixing ware. The book concludes with a discus- sion of the infl uence Yixing ware has had on contemporary American ceramic art, which includes examples of work by 59 American ceramists. 206 pages includ- ing afterword, artist statements, index of images and contemporary artists, bibliography, photo credits, author biog- Ceramics Monthly December 2006 66

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raphies and notes to the text. 150 color photographs. $45. ISBN 7-119-04277-7. Published by Foreign Language Press, 24 Baiwanzhuang Rd., Beijing 100044 China; www.fl p.com.cn; sales@fl p.com.cn. Distrib- uted by China International Book Trading Corporation, 35 Chegongzhuang Xilu, Beijing 100044 China.

Image Transfer on Clay Screen, Relief, Decal and Monoprint Techniques by Paul Andrew Wandless Think you have to be an expert print- maker to apply typography, lettering, draw- ings or photographs to clay? Well, think again. This beautifully illustrated, com- prehensive book covers a wide variety of ways that printmaking techniques can be easily applied to clay surfaces. “My goal is to put all of the information you need to get start- ed here in one resource, and that it be both easy to understand and simple to execute,” explains Wandless. “I hope you become as excited as I am about what is creatively possible once you’ve been introduced to image transfer techniques for clay.” After a brief look at the history of printing on clay, Wandless dives into the step-by-step instructional portion of the book. Beginning with screenprinting, he describes in detail the materials required for the process and where to fi nd them. Full color photographs take readers through each step, from making the screen to using it for a multi-color process. A sec- tion on monoprinting techniques covers making monoprints from plaster slabs or newspaper with equally detailed instruc- tion and easy-to-follow, step-by-step illustrations for each process. Wandless also covers a variety of direct printing processes such as linocuts, woodcuts and relief block printing.Throughout the text are excellent examples of fi nished work by more than 70 contemporary artists using transfer techniques. 111 pages including Ceramics Monthly December 2006 68

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slip, engobe and clay recipes for transfer processes, cone charts, guidelines for using Diazo screen emulsion, guidelines for mixing plaster, acknowledgements and list of gallery contributors. 325 color photographs. $24.95. Published by Lark Books, 67 Broadway, Asheville, NC 28801; www.larkbooks.com; (800) 284-3388.

The Remarkable Potters of Seagrove The Folk Pottery of a Legendary North Carolina Community by Charlotte Brown For more than a century, the small town of Seagrove, North Carolina, has been highly regarded as a hotbed of traditional ceramics production. In this well-illustrat- ed book, Charlotte Brown, director of the Gallery of Art and Design at North Carolina State Univer- sity, presents the fascinating sto- ries of many of Seagrove’s best- known potters, tracing the his- tory of the area through cycles of economic hardship and renewal, war and social upheaval. Brown begins the tale with the settlers who brought pottery making to the area and closes by profi ling thirteen well- known Seagrove potters today. Going back 150 years, she traces the conten- www.ceramicsmonthly.org tious relationships between Seagrove’s best-known artisans, reveals their culture and methods, and provides descriptive analyses of outstanding examples of the potters’ art. In addition to full-color photographs of work, the book features CHARLOTTE, NC historical photographs of the people and places around Seagrove. An appendix Setting up a studio? Your full-service pottery supplier entitled “90 Potters, 15 Miles” lists con- featuring clays by Standard, Highwater and Laguna; tact information for potteries in the area kilns, glazes, chemicals and equipment. today. 144 pages including appendix, School orders welcome! bibliography and index. 187 color and 47 black-and-white photographs. $19.95. CAROLINA CLAY ISBN 1-57990-634-4. Published by Lark CONNECTION Books, 67 Broadway, Asheville, NC 28801; 704/376-7221 e-mail: [email protected] www.larkbooks.com; (800) 284-3388. Ceramics Monthly December 2006 70

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Dec_06_066_071.indd 71 11/10/06 9:18:54 AM Colorado, Denver January 5–28, 2007 Chris Faller, Modest Proposal”; at Garth Clark Gallery, 24 West calendar “A Body of Water”; at Fireworks Clay Studio, 657 57 St., Suite 305. Conferences, Exhibitions, Workshops, Fairs Santa Fe Drive. through January 31, 2007 “Clément Massier: Florida, St. Augustine through January 15, 2007 Master of Iridescence”; at Jason Jacques Gallery, 29 See calendar online at www.ceramicsmonthly.org “Phil Ward Revisited: Landscapes in Clay”; at the Aviles E. 73rd St., #1. Street Gallery, 11-C Aviles St. January 18–March 3, 2007 Albert Pfarr; at Jane Illinois, Chicago through December 20 Tyler Lotz, Hartsook Gallery, 16 Jones St. Conferences “cultivar ‘Artifi cial’”; at Dubhe Carreño Gallery, 1841 New York, Port Chester January 6–27, 2007 Leigh S. Haltsted St. Taylor Mickelson, “Pollinia”; at the Clay Art Center, Alabama, Florence February 2–4, 2007 “22nd Maryland, Baltimore through December 22 “Fire 40 Beech St. Alabama Clay Conference,” includes lectures, exhibi- Poetry: New Works by Sarah Barnes”; at Meredith Ohio, Columbus December 2, 2006–January 31, tions and demos by Linda Arbuckle, Sandra Blain, Bill Gallery, 805 N. Charles St. 2007 Chris Gustin; at Sherrie Gallerie, 694 N. High St. van Gilder and Lisa Orr at University of North Alabama. Massachusetts, Boston January 6–February 5, 2007 Oklahoma, Tulsa February 2–March 3, 2007 Vir- Fee: $110; onsite, $135; students, $45, students onsite, Phil Rogers; at Pucker Gallery, 171 Newbury St. ginia Scotchie; at the University of Tulsa School of Art $55. Contact M.C. and Jim Jerkins, 1809 N. Wood Ave., Missouri, Saint Louis December 1, 2006–January Alexandre Hogue Gallery, 600 S. College Ave. Florence 35630; www.alclayconference.org. 27, 2007 “Rudy Autio”; at Duane Reed Gallery, 7513 Oregon, Portland through December 28 Darlene North Carolina, Asheboro March 2–4, 2007 “The Forsyth Blvd. Schaper, “Little Things 6”; at Guardino Gallery, 2939 20th Annual North Carolina Potters Conference: Seek- Missouri, Sedalia through January 14, 2007 “Ruth NE Alberta. ing Personal Esthetics,” includes demos and lectures by Borgenicht—Articulated Spaces”; at Daum Museum of Pennsylvania, Erie through June 1, 2007 Eva Zeisel; Malcolm Davis, Gail Kendall and Chris Staley. Contact Contemporary Art, 3201 West 16th St. at the Erie Art Museum, 411 State St. Philip Shore, Randolph Arts Guild, 123 Sunset Ave., Montana, Red Lodge January 5–February 23, 2007 Pennsylvania, Philadelphia January 5–28, 2007 Asheboro 27203; www.randolphartsguild.com; (336) “New Ceramic Work by Sue Tirrell”; at Red Lodge Clay “Harin Lee: New Work.” “Neil Patterson: New Work”; 629-0399. Center Gallery, 123 S. Broadway. at the Clay Studio, 139 N. Second St. Nebraska, Lincoln December 1–30 Tracy Shell, Texas, Houston January 13–February 10, 2007 Maria Solo Exhibitions “Porcelain Ceramics”; at the Folsom Gallery, Lux Center Ziegler; at Goldesberry Gallery, 2625 Colquitt. for the Arts, 2601 N. 48th St. Texas, Irving through January 28, 2007 Danville Arizona, Scottsdale December 2–16 “Polychrome New Jersey, Cranford through December 21 Elaine Chadbourne; at Irving Arts Center, 3333 N. MacAr- Menagerie”; at King Galleries of Scottsdale, 7100 Lorenz, “Counter Balance”; at Tomasulo Gallery, Union thur Blvd. Main St. #1. County College, 1033 Springfi eld Avenue. Wisconsin, Racine through March 18, 2007 Akio December 7–30 “Kathleen Holmes—Teapot Fig- New Mexico, Santa Fe through December 2 Michael Takamori, “Between Clouds and Memory”; at Racine ures”; at Cervini Haas Gallery, 4222 N. Marshall Way. Prokos, “Sculptural Ceramics.” December 22–January Art Museum, 441 Main St. California, Los Angeles through December 15 6, 2007 “Modern Nefs: Ceramic Vessels for Food and Wisconsin, Sheboygen through December 31 “Otto Natzler at 98: Honoring a Master Artist”; at the Drink”; at Robert Nichols Gallery, 419 Canyon Rd. Anders Ruhwald, “Friction”; at John Michael Kohler Jewish Federation, 6505 Wilshire Blvd. New York, Alfred through December 8 Satoru Arts Center, 608 New York Ave. California, Pasadena through December 23 Tomás Hoshino, “Beginning Form—Spiral”; at The Schein- Owen, “This Sensuous Earth”; at Xiem Gallery, 1563 Joseph International Museum of Ceramic Art, NY State Group Ceramics Exhibitions N. Lake Ave. College of Ceramics at Alfred University. California, San Francisco January 3–February 3, New York, New York through December 23 Alice Arizona, Scottsdale January 4–25, 2007 “The 2007 Jun Kaneko; at Braunstein/Quay Gallery, 430 Federico; at George Billis Gallery, 511 West 25th St. Old World Joins the Contemporary World”; at LKG Clementina. through December 30 Beth Cavener Stichter, “A Contemporary, 7171 Main St.

Ceramics Monthly December 2006 72

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Ceramics Monthly December 2006 73

Dec_06_072_085.indd 73 11/10/06 12:01:37 PM cal end ar group exhibitions

California, Pomona through January 6, 2007 “ Raku: Florida, Melbourne through December 31 “ 24th Iowa, Iowa City through December 7 Origins, Impact and Contemporary E xpression” ; at Annual Holiday Designer Craft Show” ; at Fifth Avenue “ 30(artists)x5(pots)” ; at Akar, 257 E . Iowa Ave. AMOCA, 340 S. G arey Ave. Art G allery, 1470 Highland Ave. Kentucky, Berea February 3–April 30, 2007 “ Hand- California, San Francisco through December 2 “ Fir- Florida, St. Petersburg through December 31 built” ; at the K entucky Artisan Center, 975 Walnut ings,” Lu Bin, Susannah Israel, Alfred McCloud, Cybele “ From the Fire: Contemporary K orean Ceramics” ; at Meadow Rd. Rowe, John Toki and K athy Venter; at Sculpturesite G al- the Museum of Fine Arts, 255 Beach Dr. NE . Kentucky, Paducah through December 30 lery, Convention Center Plaza, 201 Third St., Suite 102. Illinois, Chicago through December 22 “ Ukhamba: “ BLUE grassCLAY national” ; at Y eiser Art Center, 200 D.C., Washington through December 15 “ Architects Masterworks of Z ulu Potters” ; at Douglas Dawson Broadway St. Fired: Functional and Sculptural Ceramic Work by DC’s G allery, 400 N. Morgan. Maryland, Baltimore through December 24 Hottest Architects” ; at cross mackenzie ceramic arts, through January 4, 2007 “ At Y our Service” ; at “ Winterfest 2006.” January 13–February 25, 2007 1054 31st St. Jailhouse Potters, 103 N. Johnson St. “ 100 Teapots 3” ; at Baltimore Clayworks, 5707 through January 1, 2007 “ Freer and Tea: Raku, December 2, 2006–January 8, 2007 “ Annual Holiday Smith Ave. Hagi, K aratsu.” through November 4, 2007 “ Parades: Show” ; at Lillstreet Art Center, 4401 N. Ravenswood Ave. Massachusetts, Beverly December 2, 2006–January Freer Ceramics,” Installed by G wen Hanssen Pigott; at Indiana, Ft. Wayne December 2, 2006–January 6, 12, 2007 “ Redbrick Art Center Annual Whimsical Pottery Freer G allery of Art, Smithsonian Institution, Jefferson 2007 “ Cup: The Intimate Obj ect V” ; at Charlie Cum- E xhibit” ; at Redbrick Art Center, 95 Rantoul St. Dr. at 12th St., SW. mings Clay Studio & G allery, 4130 S. Clinton St. Massachusetts, Boston through January 31, 2007 “ Our Cups Runneth Over” ; at Society of Arts and Crafts, 175 Newbury St. Massachusetts, Concord through December 3 “ Pots with Purpose,” Robert Briscoe, Linda Christianson, Jan Johnston, Warren MacK enzie, Michael McCarthy, Ron Meyers, Sequoia Miller, Rob Sutherland and Diana Thomas. January 20–February 8, 2007 “ Contemporary Ceramics from the Collections of William Hull” ; at Lacoste G allery, 25 Main St.

Zulu beer fermentation vessel, at Douglas Dawson Gallery, Chicago, Illinois.

Massachusetts, Stockbridge through December 8, “ Schoolwide Student E xhibition” ; at IS183 Art School of the Berkshires, 13 Willard Hill Rd. Michigan, Chelsea through December 17 “ Clay 10” ; at River G allery Fine Art, 120 S. Main. Michigan, Detroit through December 31 “ E arthy Treasures Holiday Show.” through February 28, 2007 100th anniversary exhibition; at Pewabic Pottery, 10125 E . Jefferson. Minnesota, Minneapolis through December 30 Ayumi Horie and K leinReid. January 12–February 25, 2007 “ Four Jerome Artists” ; at Northern Clay Center, 2424 Franklin Ave., E . Missouri, Kansas City January 4–27, 2007 “ Rising Stars Show” ; at Red Star Studios Ceramic Center, 821 West 17th. St. Montana, Helena through December 23 “ The Bray Holiday E xhibition and Sale” ; at Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave. Montana, Missoula December 1–21 “ Holiday Show” ; at Clay Studio of Missoula, 910 Dickens St. Montana, Red Lodge December 1–31 “ Holi- day E xhibition” ; at Red Lodge Clay Center, 123 S. Broadway. New Jersey, Glen Gardner through December 31 “ Claybash” ; at G allery 31 North, Rte. 31 and Hunt Pl. New Jersey, Oceanville through January 14, 2007 “ Working It: A Collaboration with the Cumberland County Clay College” ; at Noyes Museum of Art, 733 Lily Lake Rd. C eramics M onthl y December 2006 7 4

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New Mexico, Santa Fe through December 30 “ Tell North Carolina, Raleigh through December 21 “ Sid Wisconsin, Milwaukee through January 1, 2007 Me a Story.” January 5–February 3, 2007 “ Tea” ; at Santa Oakley— Artist, Mentor, Friend” ; at North Carolina State “ Biedermeier: The Invention of Simplicity” ; at Milwaukee Fe Clay, 1615 Paseo de Peralta. University, G allery of Art & Design. Art Museum, 700 N. Art Museum Dr. New York, Corning December 8, 2006–February 1, North Carolina, Seagrove through February 24, 2007 “ Ceramics Invitational 2006” ; at the Atrium G allery, 2007 “ The North State Legacy: From the WD Morton C eramics in M u l timed ia Corning Community College, 1 Academic Dr. Jr. Collection of the NC Pottery Center.” December E x hib itions New York, New York through December 22 “ An- 1, 2006–March 24, 2007 “ Potters of the Roan,” nual Faculty E xhibition” ; at G reenwich House Pottery, including works by 14 potters located in Bakersville, Alaska, Anchorage through May 15, 2007 16 Jones St. North Carolina; at North Carolina Pottery Center, “ Z oom— Planes, Trains & Automobiles,” including through December 24 “ New Work by Margot Har- 250 E ast Ave. ceramics by Clive Tucker; at Anchorage Museum of wood, Regina Wiockham and Outi Putkonen” ; at the Ohio, Kettering through December 15 “ E arth History and Art, 121 W. Seventh Ave. Mugi Studio, 993 Amsterdam Ave. in Balance 2006, A Regional Clay Competition” ; at Arizona, Scottsdale January 4–27, 2007 “ Spotlight through January 14, 2007 “ Simply Droog” ; at Mu- Rosewood G allery, 2655 Olson Dr. on Arizona Artists” ; at Cervini Haas G allery, 4222 N. seum of Arts and Design, 40 West 53rd St. Ohio, Toledo January 8–February 2, 2007 “ Ohio Marshall Way. through January 21, 2007 “ Contemporary Clay: Undergraduate Ceramics E xhibition” ; at the Univer- California, Ojai through December 30 “ Small Japanese Ceramics for the New Century” ; at the Japan sity of Toledo Center for the Visual Arts G allery, 620 Works” ; at Beatrice Wood Center for the Arts, 8560 Society, 333 E . 47th St. G rove Place. Oj ai-Santa Paul Rd. New York, Pomona through January 28, 2007 Pennsylvania, Carnegie December 1, 2006–January California, San Francisco through December 31 “ Handbuilt Pottery by Nancy Abramson and Ian Borsook” ; 27, 2007 “ 40 Over 40” ; at the Clay Place, 1 Walnut St. “ Hidden Meanings: Symbolism in Chinese Art” ; at at the Pomona Cultural Arts Center, 584 Route 306. Pennsylvania, Meadville through December 6 Asian Art Museum, 200 Larkin St. New York, Port Chester through December 20 “Asian Infl uences in Contemporary Ceramics” ; at through January 14, 2007 “ An America Vision: “ Members’ Annual E xhibition and Holiday Sale” ; at Allegheny College Art G allery, Doane Hall of Art, 520 H.F. du Pont’s Winterthur” ; at de Y oung Museum, 50 the Clay Art Center, 40 Beech St. N. Main St. Hagiwara Tea G arden Dr., G olden G ate Park. New York, Troy through December 31 “ Circular Pennsylvania, Philadelphia through December 31 California, Santa Monica through December 30 Reasoning, Regional Ceramics E xhibition.” “ Slipped “ G ifted: The Clay Studio’s Annual Holiday E xhibition.” “ Sculpture from the Sixties” ; at the Frank Lloyd G allery, Away: The Story of Albany Slip Clay and 19th-Century January 5–28, 2007 “ Abstract Sculpture: A G roup E xhibi- 2525 Michigan Avenue, B5b. Stoneware of the Capital District” ; at the Arts Center tion” ; at the Clay Studio, 139 N. Second St. Colorado, Denver through August 19, 2007 of the Capital Region, 265 River St. Texas, Houston through December 31 “ Annual “ Breaking the Mold: The Virginia Mattern Collection North Carolina, Charlotte through December 10 Holiday Show.” January 4–31, 2007 “ Texas Teapot of Contemporary Native American Art.” through July “ G ifts from the Delhom Service League and the Mint Tournament” ; at the Houston Potters G uild, 2433 31, 2007 “ Japanese Art from the Colorado Collection Museum Auxiliary.” through April 29, 2007 “ Mirth and Rice Blvd. of K imiko and John Powers” ; at Denver Art Museum, Mayhem: Staffordshire Figures 1810–1835” ; at Mint Virginia, Alexandria through December 3 “ Obj ect 100 W. 14 Ave. Pkwy. Museum of Art, 2730 Randolph Rd. d’Art.” December 4–31 “ Wrap it Up” ; at Scope G allery, through January 31 “ Best of Colorado Artists” with North Carolina, Durham through December Torpedo Factory, 105 N. Union St. ceramics by Annette Roberts-G ray; at Denver Interna- 23 “ Claymakers’ Holiday G ift Show” December 12, Washington, Seattle through December 30 “ 8th tional Airport, 8500 Peñ a Boulevard. 2006–January 6, 2007 “ New Works from Claymakers Annual Pottery Invitational” ; at G lenn Richards Asian D.C., Washington through January 1, 2007 “ Fre- Studios” ; at Claymakers, 705 Foster St. Furniture and Antiques, 964 Denny Way. er— A Taste for Japanese Art” ; at Freer G allery of Art, “Performance of our Paragon Viking kiln is flawless.” —Jonathan Kaplan “Paragon kilns have consistently large, well ventilated and accessible proved and demonstrated their de- switch box is totally user friendly. pendability over many years for us,” “Paragon’s new Sentry electronic says Jonathan Kaplan of Ceramic De- controller provides a high degree of so- sign Group in Steamboat Springs, Col- phistication yet is totally easy to pro- orado. gram. 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C eramics M onthl y December 2006 7 6

Dec_06_072_085.indd 76 11/10/06 12:01:56 PM Smithsonian Institution, Jefferson Dr. at 12th St., SW. of the Berkshires, 13 Willard Hill Rd. Game Show.” “Handmade for the Holidays”; at Florida, Tallahassee December 1, 2006–January 17, Minnesota, Bloomington December 8–January 5, Contemporary Crafts Museum & Gallery, 3934 SW 2007 “Myth, Attraction, and Anatomy,” two-person 2007 “Impossible Buildings,” two-person exhibition Corbett Ave. exhibition including ceramics by Barbara Balzer; at with ceramics by Aldo Moroni; at Bloomington Art Pennsylvania, Philadelphia through December 31 Thomas Eads Fine Art, 1122 Thomasville Rd., Ste 8. Center, 1800 W. Old Shakopee Rd. “Treasures/Tesoros/Tesouros: The Arts in Latin America, Florida, West Palm Beach December 7, 2006–Janu- Minnesota, Duluth through January 7, 2007 “Across 1492–1820”; at Philadelphia Museum of Art, 26th St. ary 13, 2007 “20/20 Juried Exhibition.” January 25–March Space, Time and Meaning”; at Tweed Museum of Art, and the Benjamin Franklin Pkwy. 3, 2007 “Artist in Residence Showcase 2007,” with ce- University of Minnesota Duluth, 1201 Ordean Ct. Pennsylvania, Pittsburgh through March ramics by Stephen Futej and Brian Sommerville; at Armory Minnesota, Minneapolis January 12–February 25, 24, 2007 “Bridge 9,” including ceramics by Patti Art Center, Greenfi eld Gallery, 1700 Parker Ave. 2007 “Common Denominators: Pre-historic Ceramics Warashina; at the Society for Contemporary Craft, Florida, Winter Park through December 22 “Show- of the Neolithic and Metal Ages”; at Northern Clay 2100 Smallman St. alter Hughes Community Gallery—Fourth Annual Center, 2424 Franklin Ave., E. Pennsylvania, Wayne December 1, 2006–January Crealdé Faculty Holiday Exhibition”; at Crealdé School Minnesota, St. Paul January 12–April 15, 2007 24, 2007 “Craftforms 2006”; at the Wayne Art Center, of Art, 600 St. Andrews Blvd. “Open and Closed”includes work by contemporary 413 Maplewood Ave. Georgia, Atlanta December 14–January 27, 2007 potters; at American Association of Woodturners Gal- Texas, Houston through January 7, 2007 “Crafting two-person exhibition including ceramics by Sharon lery, 2nd Fl., Landmark Center, 75 W. Fifth St. a Collection,” including ceramics by Robert Arneson, Engelstein; at Romo Gallery, 309 Peters St. SW. New Mexico, Santa Fe through October 7, 2007 Bodil Manz and Peter Voulkos; at Museum of Fine Arts, Hawai’i, Honolulu January 6–February 3, 2007 “Secrets of Casas Grandes: Pre-Columbian Art & Caroline Wiess Law Bldg., 1001 Bissonnet St. “Kloe Kang and Suzanne Wolf: Recent Works”; at the Archaeology of Northern Mexico”; at the Museum of Virginia, Alexandria December 6–January 14, 2007 Honolulu Academy of Arts, 900 S. Beretania St. Indian Arts and Culture, 725 Camino Lejo. “Mixed Messages”; at Torpedo Factory Art Center, 105 Illinois, Chicago through January 1, 2007 “Tutank- New York, Brooklyn through December 31 “Beauty N. Union St. hamun and the Golden Age of Pharaohs”; at the Field Beyond Words: Calligraphy in Asian Traditions”; at Wisconsin, Milwaukee through January 1, 2007 Museum, 1400 S. Lake Shore Dr. Brooklyn Museum of Arts, 200 Eastern Pkwy. “Biedermeier: The Invention of Simplicity”; at Milwau- through January 15, 2007 “A Holiday Happening”; at December 14, 2006–January 13, 2007 “Func Art”; at kee Art Museum, 700 N. Art Museum Dr. Chiaroscuro Galleries, 700 N. Michigan Ave., 4th. fl . Gloria Kennedy Gallery, 111 Front St. Gallery 222. Wisconsin, Sheboygen through December 31 Louisiana, New Orleans through February 4, 2007 New York, Buffalo through January 7, 2007 “Craft “Fresh,” including ceramics by Kim Dickey, Amy Heskins, “Echoes of the Ancient World: Ancient Egyptian, Art Western New York 2006”; at Burchfi eld-Penney Art John Rais, Valeta Vancza and Bernard Williams; at John Greek and Roman Art from the Permanent Collec- Center, Buffalo State College, 1300 Elmwood Ave. Michael Kohler Arts Center, 608 New York Ave. tion”; at the New Orleans Museum of Art, 1 Collins North Carolina, Charlotte December 9, 2006–May C. Diboll Circle. 27, 2007 “Twisted!”; at Mint Museum of Art, 2730 Fairs, Festivals and Sales Massachusetts, Cambridge through June 30, 2007 Randolph Rd. “The Moche of Ancient Peru: Media and Messages.” through January 31, 2007 two-person exhibition Arkansas, Little Rock December 1–3 “28th Annual through June 30, 2007 “Imazighen! Beauty and Arti- with ceramics by Greg Scott; Transamerica Building, Arkansas Craft Guild Christmas Showcase”; at State- sanship in Everyday Berber Life”; at Peabody Museum, 7th St. house Convention Center, 1 Statehouse Plaza. Harvard University, 11 Divinity Ave. North Carolina, Penland through December 3 “Core California, LaQuinta January 20, 2007 “Art Under Massachusetts, Stockbridge through December 8 Show 2006”; at Penland School of Crafts, PO Box 37. the Umbrellas”; at Old Town La Quinta. “Schoolwide Student Exhibition”; at IS183 Art School Oregon, Portland through January 7, 2007 “The California, San Francisco December 2–3 “28th New: Sculpture “long firing time”program

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Ceramics Monthly December 2006 77

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Annual The Women’s Building Celebration of Crafts- Connecticut, Middletown through December Hawai‘i, Honolulu through December 10 “Art women”; at Herbst Pavilion, Fort Mason Center, 16 “Wesleyan Potters 51st Annual Exhibition & Center Benefi t Ceramics Sale.” through December Buchanan St. and Marina Blvd. Sale—Metamorphosis”; at Wesleyan Potters, 350 10 “25th Annual World Art Bazaar”; at Academy Art California, Ventura December 9–10 “Ventura S. Main St. Center, 1111 Victoria St. Count Potter’s Guild Sale”; at the Bell Arts Factory, Connecticut, South Windsor December 2–3 and Illinois, Oak Park December 3–20 “20th Century 423 N. Ventura Ave. 9–10 “Greenleaf Pottery 31st Holiday Open Studio”; Art and Design Auction”; John Toomey Gallery, 818 Colorado, Denver December 1–16 “Frantic Pur- at Greenleaf Pottery, 240 Chapel Rd. North Blvd. chases: A Holiday Show”; at Fireworks Clay Studio, Florida, West Palm Beach December 1–3 “Armory Indiana, Goshen through December 31 “Extended 657 Santa Fe Drive. Art Center’s Affaire d’Arte”; at Armory Art Center, Hands: A Show of Support,” benefi t exhibition for Dick Connecticut, Brookfi eld through December 31 1700 Parker Ave. Lehman; at Lehman Gallery, 1100 Chicago Ave. “31st Annual Holiday Exhibition & Sale”; at Brookfi eld Georgia, Athens December 7–9 “Woodhill Holiday Maine, Portland December 15–21 “16th Annual Craft Center, 286 Whisconier Rd. Sale”; at the Lyndon House Arts Center, 293 Hoyt St. Portland Pottery Holiday Sale”; at Portland Pottery, Connecticut, Guilford through January 7, 2007 Georgia, Roswell December 1–3 “Works in Clay 118 Washington Ave. “Artistry Annual Holiday Sale of Fine American Craft”; Holiday Show and Sale”; at Roswell Art Center West, Massachusetts, Beverly December 2 “Redbrick at Guilford Art Center, 411 Church St. 1355 Woodstock Rd. Art Center Annual Holiday Open Studios Event”; at Redbrick Art Center, 95 Rantoul St. Massachusetts, Boston December 1–3 “Crafts at the Castle 2006”; at Hynes Convention Center, 900 Boylston St. December 14–17 “Holiday Show and Sale”; at the Offi ce for the Arts at Harvard, Ceramic Program, 219 Western Avenue. Massachusetts, Stockbridge December 2 “Holiday Fine Art and Craft Sale”; at IS183 Art School of the Berkshires, 13 Willard Hill Rd. Minnesota, Minneapolis through December 30 “2006 Holiday Exhibition and Sale”; at Northern Clay Center, 2424 Franklin Ave. E. Missouri, Kansas City December 1–3 “Annual Holiday Sale”; at Red Star Studios Ceramic Center, 821 W. 17th St. Montana, Billings December 1–2 “Holiday Exhi- bition and Sale”; at the Bill McIntosh Gallery, 2507 Montana Ave. Montana, Bozeman December 8–9 “Holiday Exhibition and Sale”; at the Emerson Center for Arts and Culture, 111 S. Grand. Montana, Helena through December 23 “Bray Holiday Exhibition and Sale”; at the Bray Gallery, 2915 Country Club Ave. Montana, Missoula December 2–3 “Holiday Sale”; at Clay Studio of Missoula, 910 Dickens St. New Jersey, Demarest December 1–3 “32nd An- nual Pottery Show and Sale”; at the Art School at Old Church, 561 Piermont Rd. New York, New York December 7–9 “15th Annual Holiday Pottery Show and Sale”; at the West Side YMCA, 5 West 63rd St. January 17–21, 2007 “New York Ceramic Fair”; at the National Academy, 1083 Fifth Avenue. New York, Port Chester December 1–29 “Mem- bers Annual Show & Sale”; at Clay Art Center, 40 Beech St. New York, Water Mill through December 17 “Holiday Pottery Sale”; at Celadon Gallery, 41 Old Mill Rd. North Carolina, Marion December 2 “Appalachian Potters Market”; at McDowell High School, 600 Mc- Dowell High Dr. Ohio, Columbus through December 22 “Hand- crafted Gifts for the Holiday Season”; The Ohio Craft Museum, 1665 West Fifth Ave. through December 3 “Winterfair”; at Ohio Exposition Center, Ohio State Fairgrounds. Pennsylvania, Philadelphia December 1–31 “Gifted Too: Annual Holiday Exhibition”; at the Clay Studio, 139 North Second St. Virginia, Chantilly December 8–10 “Sugarloaf Craft Festival”; at Dulles Expo Center, 4320 Chantilly Place Ctr. Workshops

California, Mendocino December 11–15 “Tile Mak- ing & Mosaics” with Margaret Paul. Fee: $165. January 25–March 15, 2007, Thursdays “Discovering Handbuilt Ceramics” with Darrin Ekern. Fee: $175. Contact Linn Bottorf, Mendocino Art Center, 45200 Little Lake St.,

Ceramics Monthly December 2006 78

Dec_06_072_085.indd 78 11/10/06 9:43:41 AM CHARLOTTE, NC

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Ceramics Monthly December 2006 79

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Mendocino 95460; www.mendocinoartcenter.org; Florida, St. Petersburg February 24–25, 2007 Indiana, Mount St. Francis March 9–13, 2007 (707) 937-5818. Workshop with Tom and Elaine Coleman. Fee: $225; Workshop with Donovan Palmquist and Jack Troy. Fee: California, Sunnyvale January 27–28, 2007 “The students, $195; bring ware to carve. Contact Jennifer $550. Contact Mary Anderson Center, 101 St. Francis Dr., Raku Process: Forming, Surface, Glazing and Firing” Lachtara, St. Petersburg Clay Company, 420 22nd Mount St. Francis 47146; www.maryandersoncenter.org; with Steve Branfman. Fee: non-members, $140; OV- St. S, St. Petersburg 33712; www.stpeteclay.com; (812) 923-8602. CAG, ACGA, MECAC members, $130; hands on raku (727) 896-2529. Maine, Portland January 13, 2007 “Clay Projects participation, $25. Contact Samantha Kell, Mother Georgia, Atlanta January 13–14, 2007 “Tile: for School Teachers” with Ann Hedgecock and Karen Earth Clay Art Center & Foundation, 790 Lucerne Making, Decorating, Marketing” with Paul Lewing. DiCenso. Fee: $60. Contact Portland Pottery, 118 Wash- Dr., Sunnyvale 94085; www.mamasclay.org; (408) Fee: $110. Contact Callanwolde Fine Art Center, 980 ington Ave., Portland 04101; www.portlandpottery.com; 245-6262. Briarcliff Rd. NE, Atlanta 30306; [email protected]; (207) 772-4334. Connecticut, Middletown March 23–25, 2007 (404) 872-5338, ext. 230. Maryland, Baltimore January 20–21, 2007 “Clay as Medium for Expression” with Mikhail Zakin. Georgia, Roswell January 27–28, 2007 “Working Workshop with Malcolm Davis. Fee: $150; members Fee: $390. Contact Wesleyan Potters, 350 S. Main with Nature: Organic Sculptural Forms” with Alice Ballard $100. March 3, 2007 “Mastering Glazes” with John St., Middletown 06457; www.wesleyanpotters.com; Munn. Contact Debra Fritts, Roswell Art Center West, Hesselberth. Fee: $80; members, $65. Contact Potters (860) 347-5925. 38 Hill St. Ste. 100, Roswell 30075; (770) 641-3990. Guild of Baltimore, 3600 Clipper Mill Rd., Baltimore 21211; www.pottersguild.org; [email protected]; (410) 415-5526. Maryland, Frederick January 6–7, 2007 “Eastern Coil” with Joyce Michaud. Fee: $170. January 13–14, 2007 “Electric Kilns” with Phil Berneburg. Fee: $170. January 20–21, 2007 “Plates & Platters” with Joyce Michaud. Fee: $170. February 8–11, 2007 “Master’s Throwing” with Joyce Michaud. Fee: $250. February 10–11, 2007 “Brushmaking” with Susan Nayfi eld Kahn. Fee: $170. February 2,4,23,25, April 13,15,27,29, May 11, 2007 “Ceramic History” guest lecturers. Fee: $200; per session, $20. February 3, 24, March 24, April 14, 28, May 12, 2007 “Clay & Glaze Chemistry, Theory & Practice” with Phil Berneburg. Fee: $700. Contact Hood College, Ceramics Program, 401 Rosemont Ave., Frederick 21701; www.hood.edu/academic/art; (301) 696-3456. Massachusetts, Beverly December 5 and 12 “Handbuilt Platters.” Fee: $75; members, $65. Contact Redbrick Art Center, 95 Rantoul St., Beverly 01915; www.redbrickarts.com; (978) 927-5615. Minnesota, Minneapolis January 28, 2007 “McKnight Fellowship Artist’ Workshop” with Robert Briscoe and Mika Negishi Laidlaw. February 10, March 3, 2007 “Winter Art Educator Clay History Workshop” with Kelly Connole. Fee: $30. February 17, 24, 2007 “Blackware Tiles–A Two-Part Workshop” with Laura McCaul. Fee: $110; members, $100. Contact Northern Clay Center, 2424 Franklin Ave., E., Minneapolis 55406; www.northernclaycenter.org; (612) 339-8007. Missouri, Kansas City February 3–4, 2007 Work- shop with Ron Meyers. Contact Red Star Studios Ceramic Center, 821 W. 17th St., Kansas City 64108; www.redstarstudios.org; (816) 474-7316. Nevada, Henderson February 2–4, 2007 “China Painting with Water-Soluble Mediums” with Paul Lewing. Fee: $160; members, $140. Contact Ne- vada Clay Guild, 534 Apostle Dr., Nevada 89002; [email protected]; (702) 566-4100. New Jersey, Clinton December 8 “Claybash! Day Trip.” Fee: $35; member, $25. December 17 “Clay Holiday Workshop.” Fee: $35; members, $25. Contact Hunterdon Museum of Art, 7 Lower Center St., Clinton 08809; www.hunterdonartmuseum.org; (908) 735-8415. New Jersey, Lincroft January 3–February 14, 2007 “Repetitive Tile Designing.” January 5–February 16, 2007 “Advanced Pottery with Alternative Firing.” Contact Thompson Park Creative Arts Center, Mon- mouth County Park System, 805 Newman Springs Rd., Lincroft 07738; www.monmouthcountyparks.com; (732) 460-1167. New Mexico, Santa Fe December 2 and 9 “Holiday Gift Making,” ages 4 and up with Greta Ruiz. Fee: $50, includes materials and fi ring. Contact Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe 87501; www.santafeclay.com; (505) 984-1122. New York, New York December 1–3 PMC Connec- tion Artisan Certifi cation. Fee: $550, includes book, tools, fi ring, silver and PMC Guild membership. December 2–3 “Techniques in Precious Metal Clay.” Fee: $285, includes materials, tools and fi ring. Instructor/session: Vera Light- stone. Contact Vera Lightstone, 347 W. 39th St., New York 10018; www.silverclay.com; (212) 947-6879. Ceramics Monthly December 2006 80

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New York, Oakdale March 31–April 1, 2007 “Al- North Carolina, Charlotte February 24–25, Ohio, Wooster April 17–20, 2007 “Functional tering Forms for Functional Pots” with Susan Beecher. 2007 Workshop with Suze Lindsay. Fee: $115. Ceramics Workshop” with Jim Connell, Doug Dacey Fee/session: $185, includes lab fee. All skill levels. Contact Greg Goodall, Carolina Clay Matters Pot- and Ann Tubbs. Fee: $175; students, $95. Contact Contact Patricia Hubbard-Ragette, Dowling Institute/ tery Guild, 5008 Glenbrier Dr., Charlotte 28212; the Wayne Center for the Arts, 237 S. Walnut St., Dowling College, Idlehour Blvd., Oakdale 11769; www.carolinaclaymatters.org; (704) 393-2529. Wooster 44691; www.wayneartscenter.org; (330) [email protected]; (631) 244-3420. North Carolina, Durham January 3–6, 2007 “Mak- 345-7576. New York, Port Chester February 3, 2007 Workshop ing and Thinking About Pots” with Julia Galloway. Fee: Texas, Austin January 26–28, 2007 Workshop with with Chris Staley. Contact Clay Art Center, 40 Beech $350, due December 12. Limit of 15. Contact Leonora Suze Lindsay. Fee: $150. Contact Kit Adams, Clayways St., Port Chester 10573; (914) 937-2047. Coleman, Claymakers, 705 Foster St., Durham 27701; Pottery Studio and Gallery, 5442 Burnett Rd., Austin North Carolina, Brasstown through December 2 www.claymakers.com; (919) 530-8355. 78756; www.clayways.com; (512) 459-6445. “The Magic of Mosaics” with Pam Brewer. December North Carolina, Raleigh March 3–4, 2007 “Form Texas, Denton February 22–25, 2007 “Wood Fire 3–9 “Throw Pots in One Day” with Mike Lalone. Fee: & Surface: A Sculptural Approach” with Tom Ker- Workshop” with Bede Clarke and Tim Rowan. Fee: $125; $412. Contact John C. Campbell Folk School, One Folk rigan. Fee: $195; registration fee, $10. Contact: Lia register by January 15, 2007. Contact Brenda Lichman- School Rd., Brasstown 28902; www.folkschool.org; Newman, Artspace, 201 E. Davie St., Raleigh 27601; Barber, University of North Texas; [email protected]; (828) 837-2775. www.artspacenc.org; (919) 821-2787. www.myspace.com/untclayguild; (940) 369-6509. Texas, Houston January 27, 2007 Raku Slide Lecture with Nick DeVries. Contact Houston Potters Guild Clay Arts Museum and Organization, University of Houston–Clear Lake, 2700 Bay Area Blvd. Vermont, Bennington January 31–February 4, 2007 “Handbuilding Clay Workshop: Structure and Concept” with Paula Winokur and “Wheel Workshop: Porcelain Tableware” with Silvie Granatelli. Contact North Country Studio Workshops, PO Box 186, Deerfi eld, NH 03037; www.northcountrystudioworkshops.org; (603) 463-7562. Virginia, Alexandria December 2–3 “Functional Formations” with Jeff Oestreich. Fee: $180. Contact the Art League School, 305 Madison St., Alexandria 22314; www.theartleague.org; (703) 683-2323. Virginia, Appomattox April 28–29, 2007 Workshop with Ron Meyers. Contact Cub Creek Foundation for the Ceramic Arts, Rt. 1, Box 483, Appomattox 24522; www.cubcreek.org; (434) 248-5074. Washington, Seattle March 16–17, 2007 “Business of Crafts Workshop” with Pam Corwin and Manya Schilperoort. Fee: $160; after January 15, 2007, $190. To register e-mail [email protected]; or (360) 357-3480 or (800) 969-0869.

International Events

Canada, Alberta, Calgary through December 31, 2007 “Telling Tales: A Celebration of the Nar- rative in Contemporary Studio Ceramics, Glass and Sculpture”; at Dashwood Galleries, 100 Seventh Ave., SW #203. Canada, Alberta, Red Deer May 24–27, 2007 “The Constancy of Purpose: International Ceramics Conference,” includes lectures by Milon Townsend, Penny Smith, Fergus Stewart, Sandra Alfoldy, Les Manning and Carol Epp. Contact Lani Ledingham, Red Deer College, 100 College Blvd., PO Box 5005, Red Deer T4N 5H5; www.rdc.ab.ca/continuingeducation; (403) 342-3218. Canada, British Columbia, Nanaimo January 12–February 10, 2007 Brendan Tang “Through the Gilded Looking Glass”; at Nanaimo Art Gallery, 900 Fifth St. Canada, Ontario, Toronto through January 7, 2007 “Italian Arts & Design: The 20th Century”; at the Royal Ontario Museum, 100 Queen’s Park. through December 31 Mary Beth Marmoreo, “Out of Habit”; at Harbourfront Centre, York Quay Centre, 235 Queen’s Quay W. December 8–10 “Woodlawn Pottery Studio 2006 Annual Show & Sale”; at Gladstone Hotel, 1214 Queen Street W. through January 15, 2007 “Paul Day: Battle of Britain.” January 31–April 22, 2007 “On the Table: 100 Years of Functional Ceramics in Canada”; at the Gardiner Museum, 111 Queen’s Park. Canada, Ontario, Waterloo January 14–April 14, 2007 Shary Boyle; at the Canadian Clay and Glass Gallery, 25 Caroling St. N. Canada, Quebec, Gatineau through August 5, 2007 “Unique! 30 Years of Outstanding Crafts”; at the Canadian Museum of Civilization, 100 Laurier St. Ceramics Monthly December 2006 82

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Ceramics Monthly December 2006 83

Dec_06_072_085.indd 83 11/10/06 9:45:26 AM calendar international events

Chile, Santiago January 6–19, 2007 “Wood Kiln England, Bowness-on-Windermere, Cumbria February 8–12, 2007 “Collect Craft Fair”; at the Building Workshop” with Doug Casebeer and Marilu through December 29 “Simon Carroll: Suggestion and Victoria and Albert Museum, Cromwell Rd. Pelusa Rosenthal. Fee: US$1500, includes transporta- Statement”; at Blackwell, The Arts & Crafts House. France, Giroussens through January 14, 2007 tion in Chile, lodging, meals, materials and fi ring. England, Leeds through January 13, 2007 Tony “Autour de la Table”; at Maison de la Ceramique Contact Marilu Pelusa Rosenthal, Curaumilla Arts Sugden; at the Craft Centre & Design Gallery, City Art Contemporaine Giroussens, Place Lucie Bouniol. Center, www.chileanceramicworkshop.com; tel 56 Gallery, The Headrow. France, Nançay through December 10 Three-person 2 321 6886. England, London through December 22 “The exhibition including ceramics by Christine Fabre; at Denmark, Copenhagen through December 30 Ming Vase: Deconstructing an Icon.” through Galerie Capazza, Grenier de Villâtre. Ceramics by Nina Hole; at Galleri Nørby, Vester- December 24 “Ming Colors: Polychrome Porcelain France, Saint-Quentin-la-Poterie through Janu- gade 8. from Jingdezhen”; at Percival David Foundation of ary 7, 2007 “Pichets Extraordinaires.” December 3, through December 17 Nordic Ceramic Symposium Exhi- Chinese Art, School of Oriental and African Studies, 2006–January 7, 2007 “Refl ections of Fire: Tony bition; at Gallery P, Paludan Bogcafé, Fiolstraade 10-12. 53 Gordon Sq. Laverick.” “Rêves Catalans: Teresa Girones”; at Terra England, Bovey Tracey, Devon through January 8, through April 8, 2007 “The Triumph of Eros: Art and Viva Galerie, rue de la Fontaine. 2007 “Designer Crafts for Christmas”; at Devon Guild Seduction in 18th Century France”; at the Hermitage France, Sèvres through January 8, 2007 “Sèvres of Craftsmen, Riverside Mill. Rooms, Somerset House, Strand. 1756”; at the Musée national de Céramique, Place de la Manufacture. Japan, Koka City, Shiga Pref. through December 17 “History of Ohmi Pottery”; at the Museum of Contemporary Ceramic Art, 2188-7 Shigarakicho- Chokushi. Korea, Seoul, Jongro-gu December 3–12 “East & West Ceramic Artists’ Association Exhibition”; at Korean Craft Promotion Foundation Gallery, 182-2 Gwanhun-dong. Laos, Luang Prabang and Cambodia, Angkor Wat January 27–February 14, 2007 “Village Pottery Experience,” working and fi ring with village potters, boat excursions and tours with Denys James. Limit of 12. Fee: CAN$4795 (US$4270), includes airfare, breakfast, 2 dinners, transportation and lodging; without airfare, CAN$3169 (US$2822). Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; www.denysjames.com; (250) 537-4906. Netherlands, Amsterdam December 16–January 20, 2007 Alexandra Engelfriet; at Galerie Carla Koch, Prisengracht 510. Netherlands, Deventer through December 30 Jordi Serra, “The Crowning of a Ceramics-Dynasty”; at Loes & Reiner International Ceramics, Korte Assenstraat 15. Netherlands, Hilversum through December 31 “Castle in the Air?”; at the Museum Hilversum, Kerkbrink 6. Netherlands, Leeuwarden through January 28, 2007 Marja Hooft, “A Life’s Work.” through March 3, 2007 “Collection of Holland Art Nouveau Ceramics from Utrecht”; at Princessehof Leeuwarden, Grote Kerkstraat 11. Netherlands, ‘s-Hertogenbosch through January 7, 2007 “Avec Plaisir: Ceramics by Pablo Picasso”; at Sm’s - Stedelijk ‘s-Hertogenbosch, Magistratenlaan 100. Spain, Valencia through February 4, 2007 “La Ce- ramica Española Y Su Integración En El Arte”; at Museo Nacional de Cerámica y Artes Suntuarias González Martí, C/ Poeta Querol, 2. Switzerland, Geneva through March 12, 2007 “Ital- ian Faience”; at Musée Ariana, 10 ave. de la Paix. Turkey, Istanbul, Cappadocia, Ankara September 15–October 4, 2007 “Turkey 2007 Ceramics Excursion,” hands-on workshop including handbuilding, colored porcelain and decals with Mehmet Kutlu, then hands- on workshop with Erdogan Gulec, tours, and studio visits. September 17–21 Mehmet Kutlu workshop only. Limit/session of 12. Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; www.denysjames.com; (250) 537-4906. Wales, Cardiff, Rhiwbina through December 24 Multi-media Christmas exhibition; at Victoria Fearn Gallery, 6B Heol y Deri.

For a free listing, submit announcements at least two months before the month of opening. Add one month for listings in July and one month for listings in September. Submit listings online at www.ceramicsmonthly.org; mail to Calendar, Ceramics Monthly, 735 Ceramic Pl., Suite 100, Wester ville, OH 43081; e-mail [email protected]; or fax (614) 891-8960. Ceramics Monthly December 2006 84

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Dec_06_072_085.indd 85 11/10/06 9:45:53 AM classified advertising

Ceramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events, Opportunities, Person- July of 2007. Submit up to 3 works in any 3-D medium als, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted advertisements will be inserted into the first in JPEG format that expresses these qualities. They will available print issue, and posted on our website (www.ceramicsmonthly.org) for 30 days at no additional charge! See be juried for possible use in a PowerPoint presentation www.ceramicsmonthly.org/classifieds.asp for details. given at the symposium in conjunction with The Armory International Art Fair. Include artist statement, résumé, SASE to: Anne-Bridget Gary, Dept. of Art & Design, buy/sell business, education, medicine, and science. More in- University of Wisconsin, Stevens Point, WI 54481. formation about Berea College and the art department [email protected]. Deadline: January 8, 2007. For sale: Leach treadle wheel. Mahogany frame, is available at http://www.berea.edu. Berea College, in Potter’s retreat. Tucson, Arizona. Furnished cottages copper-lined tray, exceptional quality. $2500. Contact light of its mission in the tradition of impartial love and for rent on a private estate. Share a large ceramics J. Oestreich (651) 583-2532. social equality, welcomes all people of the earth to learn and work here. studio, kilns, pool and spa. The Hummingbird House. For sale. Past issues of Ceramics Monthly (October Call (520) 742-3969; or toll free (877) HUMMING; 1992–present), $400. Studio Potter (1989–present), Production potters: full-time, year-round positions www.hummingbirdhouse.com. $400. OBO, plus assorted older issues. S&H extra. for skilled potters who are serious about throwing Wholesale pottery business for sale. Handmade [email protected]; (707) 576-7824. salt-glazed production ware. Benefits. Send résumé to Salmon Falls Stoneware, PO Box 452, Dover, NH unique line of pottery. Established accounts. No whole- Looking for a good de-airing pugmill. Close prox- 03821-0452; or [email protected]. We’re located sale shows.100k plus annually. Can be moved anywhere imity to Charlotte, North Carolina, a plus. Contact 90 minutes north of Boston. in the USA. Been in business for 30 years. Retiring. [email protected]; or (704) 913-4088. Inquiries contact me at [email protected]. events For sale: Alpine EF-40 (cubit foot) electric front loading Study with master potter Tom Turner in a one- kiln, 3 phase, 240 V, 154 amps, 64 KW, with 11 x 28 to-one teaching and learning experience. Informa- Tom Coleman Workshop—Potter’s Gathering at Cedar shelves. As is, $3000 OBO. Chemist de-airing pug mill: tion is available at www.tomturnerporcelain.com; Lakes Crafts Center. “Working with Porcelain,” February 5 HP, 3 phase, 240 V, 375 lb/hr, $1500 OBO. Both in stor- e-mail [email protected]; phone (828) 16–18, 2007. Tuition: $125. Contact Gloria Gregorich age at Great Lakes Clay, Carpentersville, Illinois. Contact 689-9430. (304) 372-7860; [email protected]; (269) 982-7025; or [email protected]. www.cedarlakes.com. The Kent State University, School of Art, Downtown For sale: Ceramics Monthly magazines, some in Gallery, Seventh Annual National Juried Cup Show. Donovan Palmquist and Jack Troy, 5-day, pre-NCECA indexed folders. Excellent condition—1970–2004. All May 2–June 9, 2007. Juror: Bill Jones, editor, Pottery workshop at the Mary Anderson Center in beautiful offers considered. [email protected]. Making Illustrated. Application deadline: March 24, 2007 southern Indiana, 15 minutes from downtown Louis- (postmarked deadline). Application fee: $20. For more Are you interested in selling your collection? I am ville. View details at www.maryandersoncenter.org. To information, e-mail [email protected]; or call (330) interested in purchasing collections of contemporary register, call (812) 923-8602. 672-1369 or (330) 672-7853. American and/or British studio pottery. Individual pieces Business of Crafts Weekend Workshop, Pratt Fine Arts are fi ne as well. E-mail [email protected]. Center, Seattle, Washington, March 17 and 18. Two-day publications/videos workshop for craftspeople new to selling their work or employment New Release: Get A Handle ON IT! New instructional who are ready to take their business to the next level. In- DVD by Tony Clennell. Learn a variety of handle-making cludes retailing, wholesaling, display, pricing and more. Notice of Vacancy. Berea College, Art Department. techniques that will take your work into a new realm! www.businessofcrafts.com; [email protected]; Position: Ceramicist/Ceramic Apprenticeship Program Handles are pulled, thrown, handbuilt, altered and (800) 969-0869. Director; Full time-tenure appointment beginning Fall discussed. $39.95 plus S/H. To order: (905) 563-9382 or 2007; Enter as Assistant Professor. Required Qualifi ca- Pottery course Spain: Seth Cardew and Simon Leach [email protected]. Also available: How to tions: MFA with College Teaching Experience Preferred; team up to teach from the wheel. Great Spanish experi- Make Handmade Cane Handles and Taking the Macho Exhibition record. Application Deadline: February 9, ence! Also at the pottery, a fully furnished 4-bedroom house out of BIGWARE. 2007. Responsibilities: Teach four levels of clay, Teach is available to rent by the week. www.cardew-spain.com; Design, Direct the Ceramic Apprenticeship Program, Tom Turner 2-day workshop and 34 years of his best or e-mail [email protected] for details. Advising and committee responsibilities. Salary: pots on a four-disc dvd set available this fall. Information Based upon qualifi cations and experience. Application “The Constancy of Purpose,” International Ceramics is at www.tomturnerporcelain.com. procedure: Send letter of application, vita, transcripts, Conference. Red Deer College, Alberta, Canada, May Overview the book (Tips and Time Travel from a slide/CD portfolio, Exhibition record, and three letters 24–27, 2007. Presenters include Milon Townsend, Vernacular Potter), an irreverent point of view by Marek of recommendation, to: Dr. Robert Boyce, Chair, Art USA; Penny Smith & Fergus Stewart, Australia; Drzazga-Donaldson at WWW.KERAMIX.COM. Department, CPO 2162, Berea College, Berea, KY Sandra Alfoldy, Les Manning, Carol Epp, Canada. 40404. Application Deadline Date: February 9, 2007. www.rdc.ab.ca/continuingeducation. EXTRUDE IT! Getting the Most From Your Clay We seek candidates who are interested in an under- Extruder, new instructional videos by David Hendley. graduate liberal arts setting and who are prepared to miscellaneous Volume I—extrusions as handles, feet and additions; teach in an integrated studio/art history department Volume II—two-part dies for hollow extrusions; Volume where students have the option of four curricula leading Soft hands! Great Stocking Stuffer! Every potter’s III—the expansion box and extrusions as building to the BA. We are a department of six full-time faculty dream. Olive oil and beeswax in a bar. Rub it on, components. $43 each or $105 for the set (more than who teach students with fi nancial need but who show rub it in. Softens heels, cuticles, lips. Hand crafted. four hours of video). Shipping costs included. (903) great academic promise. In the student labor program, www.BeeZolio.com. 795-3779; www.farmpots.com. all students work no less than ten hours a week for the College, and all CAP student workers assist in fulfi lling opportunities Books for sale: Works by Ceramic Artists from Around production quotas for the student craft industry. The the World (item number BK 18, $80 sale price) and applicant must be committed to superior teaching and Raphael Prize for works in glass: $5000 prize, International Ceramic Art Exhibition, Yixing, China 2005 quality craft production on a campus of 1500 students catalogue, show; jurors: Hank Adams, Sibylle (item number BK 20, $24). Worldwide distribution by nestled in the foothills of southern Appalachia. Minority Peretti; deadline 2/16/07. Society for Contempo- The Chinese Clay Art, USA. For details, please see candidates are encouraged to apply. Although Berea rary Craft, 2100 Smallman, Pittsburgh, PA 15222. www.chineseclayart.com/mall/c110/s25729/store_books.asp. College students often are the fi rst in their families to Entry form: www.contemporarycraft.org; or e-mail attend college, they excel in Berea’s rigorous, nation- [email protected]. real estate ally-recognized academic environment. Berea College has been ranked as the best in its category by U.S. Call for submissions: International Symposium for Pottery studio and home in Hawaii. Rare 2-acre end News and World Report repeatedly (12 times), and Arts in Society, NYU. Feb. 22-25, 2007. Presentation: lot near ocean. Two-story 4-2.5 custom house and Berea ranks among the leading colleges in the South “Visual Art Vulnerability: Tactile Senses, Fragile Words: 64’’x 40’’ fully equiped pottery studio with two large in graduating students who go on to earn the Ph.D. Clay, Fibers and Language.” This will also be offered gas kilns. Spectacular views. Completely landscaped. Our graduates distinguish themselves in many fi elds, at the “International Conference on New Directions in Abundant water supply from well. $650,000. See link including ministry, social service, government, the arts, the Humanities” at the American University in Paris in at moonroadtile.com. Call (808) 982-8332. Ceramics Monthly December 2006 86

Dec_06_086_088.indd 86 11/10/06 10:05:48 AM Potter’s fully loaded Arizona studio for sale. Complete companies and hobby ceramics. Contact Reach Molds, 20 Morocco, Burma, India, Central Asia. Small, personalized working studio and home outside Tucson. 2-bedroom, Camp Rd. 41, Ogdensburg, NY 13669; (315) 393-6065. groups. Craft World Tours, 6776CM Warboys, Byron, NY 2-bath manufactured home with front and rear decks 14422; (585) 548-2667; www.craftworldtours.com and over 40 trees on one acre. 20x30-foot studio with Custom websites for artists and small business. We design 10-foot ceilings, separate glaze room, tool shed, wood and build. Use our content management system to update. Overseas ceramics workshops and tours—Turkey, storage. All shelving, work tables, slab roller, pugmill, References available. www.dotgarden.com/pottery.html; Istanbul and Cappadocia: September 13–October 4, wedging tables included with electric, gas, and raku (415) 558-0620; or [email protected]. 2007, workshops with Mehmet Kutlu and Erdogan Gulec. Laos & Angkor Wat: January 26–February 7, 2007, vil- kilns. Turnkey operation. $133,000. Call Elen or e-mail Ceramics Consulting Services offers technical informa- lage pottery. Mexico, Oaxaca: Day of the Dead, pottery, for pictures. Licensed realtor and potter, (520) 742-3969; tion and practical advice on clay/glaze/kiln faults and [email protected]. photography, history 10/20–11/07/2007. Small, culturally corrections, slip casting, clay body/glaze formulas, salt sensitive groups using local translators and experts. Dis- Gorgeous Rocky Mountain ranch on beautifully fenced glazing, product design. Call or write for details. Jeff Zamek, covery Art Travel, Denys James, Canada; (250) 537-4906; 40 acres. Personal/corporate retreat near world-class 6 Glendale Woods Dr., Southampton, MA 01073; (413) 527- www.denysjames.com; [email protected]. ski resort town. Multiuse property currently home of 7337; e-mail fi[email protected]; or www.fixpots.com. internationally known art school. Charming home—large, Master Kiln Builders. Twenty-one years experience Ceramics residency in Ghana. Learn indigenous tech- sunny, energy-effi cient studio; several guest quarters; niques. Fee of $2350 includes equipped studio, materials, spa facilities; outbuildings, barns, outdoor riding arena. designing and building beautiful, safe, custom kilns for tours, lodging and meals for 3 weeks (airfare additional). Great equestrian property. Sale of turnkey business universities, colleges, high schools, art centers and private www.studiomateceramics.com. negotiable with all equipment (wheels, 10 kilns, slab clients. 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Ceramics Monthly December 2006 87

Dec_06_086_088.indd 87 11/10/06 3:51:37 PM Comment on the tail of a dragon by Sebastian Blackie It was with a mixture of excitement and which allowed preheating by suspending The kilns do work conventionally as tools to trepidation that I accepted an invitation this the kiln over embers. The raw porcelain fi re products but are at their most effective as past October to demonstrate paper kilns in pots were surrounded by wood, which was a creative/educational performance. China’s China. I was the guest of the Pottery Work- covered in magazine paper pasted together spiraling industrial demand for energy rein- shop Experimental Factory in Jingdezhen. I with porcelain slip. At home, I normally use forced my concern not to gratuitously add to felt a little insecure; how would paper kilns low-fi ring ball clay and was uncertain whether the mountain of stuff that characterizes our be received in China, with her great histori- porcelain would work. Although the slip and consumer society; the paper kilns, I think, cal ceramic achievements and contemporary China’s high humidity presented problems, gently subvert such materialistic values. rampant capitalism and totalitarian govern- the kiln became hot enough to deform one During my stay in China, we visited a ment? Paper kilns are subversive. Might I get of the pots. We made two other kilns entirely massive working dragon kiln way out in the arrested for the political act of burning state from rolled newspaper. The raw pots all suc- country. The kiln was just one of many ex- controlled news? cessfully became ceramic, but due to the amples of communal activity in China. Fami- Jingdezhen porcelain is better known in collapse of the paper/slip-coated cardboard lies harvesting rice are a common sight, as the West as Nanking, the port from which cover, the target of 2100°F (1150°C) was are women collectively washing cloths at the the wares were exported. It has manufactured not achieved. riverside (along side the washing of food and porcelain for the last 1000 years, but the The fi rings attracted media coverage and the use of the river for personal hygiene). It is huge state-controlled factories of the Mao era invitations to return to China. As elsewhere in undoubtedly a very hard life, but I was struck have closed; the buildings now occupied by a the world, the paper fi rings provoked thought by how much Western technology appears to mass of small workshops where quality craft both on process and intention. Many were isolate. Might the collaboration required in skills sustain an industry dedicated to Ming amazed at the energy produced by what they such an unlikely enterprise as making paper Dynasty designs or contemporary kitsch. The perceived as such a small quantity of fuel. kilns refl ect a desire for community? experimental factory was established by the Some recognized the potential of kiln as art. I received an invitation to return and visionary Carolyn Cheng and is make kilns from rice straw. The directed by British potter Takeshi utilization of local resources is en- Yasuda. They offer residencies and tirely in keeping with the original support projects that indicate how paper-kiln concept, which was de- the city’s wealth of ceramic knowl- signed as an urban kiln built from edge might be utilized for a more materials available in cities. By sustainable future. adapting this principle, I anticipate The city’s industry is based on that in China rice straw kilns can China stone originally mined at be made to work. Yaoli, from which we get the word It has been my long-term dream kaolin. Yaoli means clay mountain, to make kilns that fl y by exploit- and it is estimated that 1,880,000 ing the weight and waste heat of tons were extracted by hand dur- paper kilns. Combining the skill of ing the Ming and Qing dynasties Chinese paper-lantern makers and and carried on men’s backs via a the technology of rice-straw rope, steep path to the wharfs at Dongbu I hope to make a paper hot air bal- before the mountain fi nally col- loon powered by burning rice straw lapsed, literally undermined. When and make real this fl ight of fancy. A processed, it produces a plastic fl ying, fi re breathing, straw dragon and remarkably tolerant natural kiln to celebrate and challenge porcelain. The rock, to this day, China’s past and future. is crushed by wooden hammers in mills, some of which are still the author Sebastian Blackie is a powered by water. The powder is British ceramics artist and a profes- levigated in water, the fi ne slip then sor at the University of Derby. He is run off to stiffen. author of Dear Mr. Leach, in which With the help of students from paper kilns are described in detail. the Jingdezhen Institute (with over 2000 students, the largest ceramic For an expanded account of Mr. program in the world) I made two Blackie’s experiences in Jingdezhen, types of paper kiln. One was built One paper kiln sat on a “raft” of green bamboo. The bamboo enabled China, as well as his future projects, on a raft made of green bamboo, preheating by suspending the kiln over smoldering embers. see www.ceramicsmonthly.org.

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Dec_06_086_088.indd 88 11/10/06 10:06:17 AM Dec_06_Covers.indd 3 11/9/06 3:01:44 PM Dec_06_Covers.indd 4 11/9/06 3:02:25 PM