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FEBRUARY 197S 80c: ig Wl,leels The Shimpo-West ® R K-2 Basic Potter's Wheel wouldn't be what it is today if it weren't for its distributors. They're the real driving force behind the wheel.

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ARIZONA Stewarts of California MICHIGAN PENNSYLVANIA 16055 Heron Ave. Charmer Ceramics La Mirada, CA 90636 Rovin Ceramics 2126 N. Stone Blakely Ceramics 6912 Schaefer Rd. 1500 Evergreen Ave. Tuscon, AZ 85705 Stoneware Designs Dearborn, MI 4B126 Pittsburgh, PA 15209 Franklin Gallery 3215 Pico 105 N. Beaver Santa Monica, CA 90405 MINNESOTA Potlatch Pottery 722 W. Erie Ave. .Flagstaff, AZ 66001 Way Craft Ceramics Minnesota Clay Co. Philadelphia, PA 19140 Hill Brothers 394 Delaware 8001 Grand Ave. 4450 N. 42nd St. Imperial Beach, CA 92032 Bloomington, MN 55420 TENNESSEE Phoenix, AZ 85019 COLORADO Paramount Ceramics Gallery Marion Ceramic Shop III 220 N. State St. 115-A Stadium 3418 N. 24th St. Van Howe Ceramic Dr. Supply Eairmont, MN 56031 Hendersonville, TN 37075 Phoenix, AZ 85016 11975 E. 40th St. Denver, CO 60239 MISSISSIPPI Payson Art Center The Potters Mark P.O. Rt. 1, Buckhorn Rd. Box 879 DELAWARE Ford Pottery Payson, AZ Gatlinburg, TN 37738 85541 4653 Maurey Rd. A.K.G. HandcraftedJewelry Jackson, MS 39211 TEXAS Shop of Art 1114 Greentree Rd. 26 E. University Dr. Newark, DE 19711 MISSOURI Tempe, AZ 85281 Avery's Art Studio 8607 N. New 6raunfels FLORIDA L & R Specialties CALIFORNIA San Antonio, TX 78217 101 W. Mt. Vernon Helen Bennett P.O. Box 309 Bateman AarcJvark Stoneware Ceramic Supply Pottery Nixa, MO 65714 718 Pierce St. 1400 Pomona St. 940 Lancaster Dr. Dallas, TX 75211 Santa Ana, CA 92705 Orlando, FL 32806 MONTANA CreativeCeramicSupplyCo. Ceramic Supply Paul Stromgren Clarice's Studio 2552 C Albatross 706 Richmond Ave. Way 4708 Distribution Dr. 803 W. Park St. Sacramento, Houston, TX 77006 CA95615 Tampa, F L 33619 Butte, MT 59701 Fire Arts Desert Ceramics GEORGIA 1991 Cypress Dr. NEBRASKA 300 Augusta St. San Antonio, TX 78205 El Centro, CA 92243 Bug Town Clay ProfessionalCeramicSupply 75 J. Mendel Dr. S.W. 1113 Farnam St. Hilda Smith Art Studio Eurekan Gallery of Atlanta, GA 30336 Omaha, Fine Arts NE 66102 3006 Cole Ave. Waco, TX 329 76707 "E" St. Kickwheel Pottery&Supply NEW JERSEY Eureka, CA 95501 2934 Jason Ct. Houston Arts & Crafts Martin Chodos Marietta, GA Supplies Supplies 2049 Marshall 260 Woodbridge Center Houston, TX 77006 913 W. Fern Or. HAWAII Futlerton, CA 92633 Woodbridge, NJ 87107 Marshu Ceramics Ceramics Hawaii Pupick Pottery Supply 7042 Alameda The Crackpot 629 C Cooke St. 365 Edgewood Ave. El Paso, TX 79940 540 E. Main St. Honolulu, HI 96613 Venture. CA 93001 Teaneck, NJ 07666 Susan Pope IDAHO Salem Craftsmens Duncan Ceramics Guild 3031 Southland Blvd. 3 Alvin Place San Angelo, TX 5673 E. Shields 76901 Lakeside Gallery Upper Montclair, NJ 07043 Fresno, CA 93727 611 Lakeside Wet)co Supply mm Coeur Co. d' Arlene, I D 83814 Thunder Ridge Pottery 829 Lindsleyland O Industrial Mineral Co. 725 Juralamon St. , Apt. 78 Tyler. TX 75715 7275 Reese Rd. ILLINOIS Florin, CA 95828 Belleville, NJ 07109 UTAH Dick Blick NEW MEXICO Leisure Craft P.O. Box 1267 P.O. Box 61 Capital Ceramics E. Marie St. Galesburg, II- 61401 Van Howeof AIt)erquerque Compton, CA 90221 2174 S. Main St. 4810 Pan Amer. Frwy. N E Salt Lake City, UT 84115 The Clay People AIt)erquerque, Leslie Ceramics 3345 N. Heisted NM 88719 VIRGINIA 1212 San Pat)lo Berkeley, CA 94706 Chicago, IL 60657 NORTH CAROLINA Earthworks 3422 Central Art Supply Graham Hawthorne McGee Designs P.O. Box Ceramics Richmond, VA 23222 408 Main St. P 1319 Central Ave. Yuba City, CA 95991 29 W. 555 Batavia Rd. P.O. Box 12462 Warrenville, MC Studio IL 60555 Charlotte, NC 28205 4115 Hopkins The Mudslingers Rd. 778 Higuera Richmond, No. 13 KANSAS NORTH DAKOTA VA 23234 San LuisObispo, CA 93401 Evans Ceramic Supply Northwest Ceramic Supply WASHINGTON Old Adot)e Ceramics 1518 S. Washington P.O. Box 1175 16461 Los GelDS Wichita, KS 67211 Fargo, ND 58102 Spencer Pottery 4861 S. 144th St. Los Gatos, CA 95030 KENTUCKY OKLAHOMA Seattle, WA 98168 Our Pottery Shop 231 S. Valvez WISCONSIN Dr. Owl Creek Pottery Janey Crain Studio Brea, CA 92621 P.O. Box 23163 1501 NW 25th St. The Pottery Anchorage, KY 40223 Oklahoma City, OK 73106 Pot Farm 2029 Parmenter St. Middleton, WI. 53562 2909 Santa ionica Bird. MARYLAND OREGON Santa ionica,CA 90404 Sex Arts & Crafts Pot Gallery Eagle Ceramics Art Pak Products 2994 207 N. Milwaukee St. Thousand Oaks 12264 Wilkins Ave. P.O. Box 17356 Thousand Oaks, Milwaukee, Wl 53202 CA 91360 Rockville, ME) 20852 8106 N. Denver Ave. Portland, OR 97217 The Potters Studio Mac Millian Arts & Crafts 2105 Pontius Ave. 9520 Baltimore Ave. W. Los Angeles, CA 90025 College Park, MD 20740 lu- 0

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February 1975 3 Pottery 'neels

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353 CORAL CIRCLE EL SEGUNDO, CALIF. 90245 AREA CODE 1213) 322-2430 / 772-2557 / 772-25511 4 Ceramics Monthly M 0 N T H I. Y REACH Volume 23, Number 2 February 1975 FOR THE BOTTOM Letters to the Editor ...... 6 Itinerary ...... 8 Answers to Questions ...... 10 Suggestions from Our Readers ...... 14 Tyler School of Art of Tempte University by Roger D. Bonham ...... 16 Clay Attitudes ...... 20 0 The perfect tool for reaching A Talk With Nicholas Wood by Penny Smith ...... 21 the bottom of that vase, jug or The Ann Arbor Potters Guild by Joyce Macrorie __ ~'~ pitcher. Designed to clean in areas which are otherwise im- Marietta College Crafts National '74 ...... 30 possible to reach. Ceramic Paintings by Janie Gould ...... 32 This new Kemper tool is constructed from durable hard- Firing With Diesel Fuel by Howard Axner ...... 34 wood, 13" long and 1/2" in Basic Throwing, Part VIII by William Hunt ...... 36 diameter. Includes threaded Pennsylvania '74 ...... 39 i screw for strong attachment of sponge, for quick easy clean- Zinc Glazes by Richard Behrens ...... 42 up. Code Name SPG. Another CeramActivities ...... 53 innovation by Kemper tools to better serve our clients in the Index to Advertisers ...... 62 pottery and ceramic market. Remember, never accept a substitute or similar code name, On Our Cover only Kemper tools makes the "Light Gatherers," translucent porcelain by Rudolf Staffel. statement, "Tools That Craft The artist is chairman of the ceramics area at Tyler School The Hand". of Art of Temple University, the host institution for the Write for complete catalog, en- 1975 meeting of the National Council on Education for the closing 50¢ for handling, or Ceramic Arts (NCEGA). The Tyler School of Art is the contact your nearest dealer. subject of a feature article beginning on page 16 of this issue. Photo: Pennsylvania Historical and Museum Commission.

Publisher and Acting Editor: SPENCER L. DAWS Assistant Editors: WZLLZAM C. HUNT FRANCES SAWYER Copy Editor: DONNA WOLFINBAROER Art Director: ROBERT L. CREAOER Circulation Manager: MARX" RUSHLEY Advertising Manager: CONNIE BELCHER Editorial, Advertising, and Circulation O]]ices: 1609 Northwest Blvd., P.O. Box 4548, Columbus, Ohio 43212. (614)488-8236. West Coast Advertising Representative: Joseph Mervish Asso- ciates, 4-721 Laurel Canyon, Suite 211, North Hollywood, (sponge not included) California 91607. (213)877-7556 Copyright 1975 Pro[essional Publications, Inc.

Ceramics Monthly February 1975. VoI. 23 -- No. 2. Published monthly except July and August by Professional Publications, Inc. -- S. L. Davis, Pres., P. S. Emery, Sec.; 1609 Northwest Blvd., Columbus, Ohio 43212. Correspondence concerning subscriptions, renewals, and change of address should be addressed to the Circulation Department, Ceramics Monthly, Box 4548, Columbus, Ohio 43212. Second Class postage paid at Athens, Ohio, U.S.A. Subscriptions: one year $8: Two years $14; Three years $19. Copyright 1975. All rights reserved. KEMPER MFG.,INC. The articles in each issue of Ceramics Monthly are indexed in the Art Index and the Readers' Guide to Periodical Literature. Microfilm copies P.O. BOX 545, CHINO,CALIF. are available to subscribers from University Microfilms, 300 N. Zesb Rd., Ann Arbor, Michigan 48106. Manuscripts and illustrations dealing with ceramic art activities are welcome and will be considered for publication. A booklet is available without cost to potential authors, describing 17141627-6191 procedures for the preparation and submission of a manuscript. Send manuscripts and correspondence about them to the Editor, Ceramics Monthly, Box 4548, Columbus, Ohio 43212.

February 1975 5 LETTERS

PASSPORT TO PUBLICITY zines and I, as one, feel that there were shock value has again provided a passport In the ten years of my subscription to too many urinal-sculptures around in two to publicity in our leading craft magazines CERA.~ICS MO.~THLV, this January issue is consequent months. While I found Robert as it so often does. I wonder how much the best I have ever seen. You certainly Arneson's sinks and toilets of the mid- attention Earl and LaDousa would have have matured from a hobby magazine to a sixties original and highly personal state- received had they chosen to work in one serious professional one. Not only is your ments, this obvious repetition of that theme of the many factories producing some other choice of subjects first rate, the photo- --even though a different technique was type of industrial ceramics. Daisy Brand graphs are exquisite as well .... used under the banner of cooperation be- Newton Highlands, Mass. An exception to this, however, is your tween artists and industry--becomes an DERIVATION OF GROG cover story: "The Kohler Experiment." opportunistic clich6. Besides the story of Could someone tell me the derivation of Unfortunately, it coincides with a more the location and the not-so-new techniques the term "grog" as applied to ceramics-- extended version of the same article in the used in making the sculpture, the work how did it come to be used as the term for December issue of Craft Horizons. A large should speak for itself. In my opinion it crushed high-fired clay? H.C. Robjohns doesn't, but the seemingly foolproof use of number of potters subscribe to both maga- Marryatville, S. Australia If any o/ our readers can answer this question, we would be pleased to hear [rom them. Please send your replies to: The Meet three of our most Editor, CERAMICS MONTHLY, Box 4548, Well, maybe "Charlie" isn't a Columbus, Ohio 43212 valuable' eople(' person, but he's certainly one of our hardest workers. Both Betty WE NEED COMMUNICATION I hesitated until now to renew my sub- Mickelsen, our Customer Relations and Mar- scription because I felt too many of your keting director, and Chuck Nelson, who conducts issues were without sufficient worthwhile our Kiln Service Schools, need the time-saving content for the advanced and professional flexibility that our company plane gives them. potter. Betty realizes the importance of personal I would like to see less of those "How contact with Skutt distributors. When you see to Make a Pinch Pot" type articles which her at shows, or in your office, you can be sure can be found in hobby-oriented books at she enjoys talking-and listening-to you. any library; more extensive coverage of shows (why only four or five photos from Chuck is busy creating an industry "first". a major exhibit of 400 or more pieces?); He's not only "Charlie's" pilot, but traveling more interviews with individual ceramists director of our new service schools program, (past articles of this Wpe have been quite building a nationwide network of qualified and good); and more pictures of their recently certified Skutt Kiln Service Centers. produced work--these would make CE- But even more than valuable "people", these RAMICS MONTHLY valuable to me. are three more ways we can say "Thank You" Your last issue (December 1974) was and "We Care" to all our valued customers. commendable. Good strategy, in my case, since it convinced me to renew. But will future issues be so interesting and informative ? I hope so, for we in ceramics need Skutt Ceramic Products, Inc. communication; we need to know more 2618 S.E. Steele Street Portland, Oregon 97202 about what is going on in our craft and in our art. L. Barth San Francisco, Calif.

READERS' REMARKS Make up your mind--do you want to be a magazine for rinky-dink elementary school teachers, or a magazine for potters? 8451"( Peter Matthews Long Beach, N.Y. i I like your "Dear Dr. Anthony" column to help nitwits like me. Dagmar Merna Duxbury, Mass.

ENDORSEMENT FOR EEHRENS'S GLAZES Recently I tested some of the Cone 6 glaze recipes from Richard Behrens's article in the March 1974 issue of CM and was especially pleased with Glaze XII which I fired at Cone 7. May I heartily endorse it for anyone who is looking for a beautiful matt white. It has become my favorite. Roger Hartjes Green Bay, Wis.

Share your thoughts with other C~14 readers--be they quip, query, comment, or advice. All letters must be signed, but names will be withheld on request. Address: The Editor, CERAMICS MONTHLY, Box 4548, Columbus, Ohio 43212.

6 Ceramics Monthly ~t ¸¸

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Dealer Inquiries Invited ITINERARY

Send your show announcements earl),: California artists. Jurors: Jack Hopkins siGnal categories. Over $1,000 in purchase "Where to Show," three months ahead of and Tom Fricano. Entry fee; Awards. En- awards and prizes. Entries due March 25- entry date; "Where to Go," at least six tries due April 28-May 2. For information, 30. Juror: Sheldon Kaganoff. For informa- weeks before opening. Direct in/ormation to write: Diane Divelbess, Chairman, Art tion, write: Roger Bailey, Art Dept., Cali- Itinerary, CERAMICS MONTHLY, Box 4548, Dept., California State Polytechnic Uni- fornia Polytechnic, San Luis Obispo 93401. Columbus, Ohio 43212. versity, Pomona 91768. ILLINOIS, CHICAGO WHERE TO SHOW CALIFORNIA, SAN LUIS OBISPO June 7-8 The Fifth Annual Lincoln April 15-May 2 "Pottery V," sponsored Square Arts and Crafts Fair International, CALIFORNIAj POMONA by the Associated Students Inc. (Fine Arts co-sponsored by the Swedish Artists of Chi- May 6-30 Third Annual Ink and Clay Committee) California Polytechnic State cago, is open to all artists and craftsmen. Exhibition, sponsored by the California Universiy, is open to all potters in the Jury awards, cash prizes, and medals during State Polytechnic University, is open to all United States, including student and profes- the fair. Entry deadline: April 30. For information, write: Lincoln Square Art Fair, c/o Lincoln Square Chamber of Com- merce, 4806 North Western Avenue, Chi- cago 60625. MARYLAND, FREDERICK June 4-,3 "Frederick Craft Fair," a wholesale-retail fair, is open to all craftsmen in the United States. Juried. Applica- tion deadline: March 10. For information, write: Noel Clark, Director, Frederick Craft Fair, Gapland, Maryland 21736.

. MINNESOTA, DULUTH March 30-April 20 Third Biennial Lake Superior International Craft Show (formerly Biennial Lake Superior Craft Show), sponsored by Duluth Art Institute in con- \ Mayco's junction with University of Minnesota and University of Wisconsin, Superior, is open to all craftsmen--foreign entries are en- couraged. Juror: Gordon A. Barnes. Write: Joan Utech, Tweed Museum of Art, 2400 Oakland Avenue, Duluth 55812. NORTH DAKOTA, VALLEY" CITY 0U March 10-28 "Ninth Biennial Fine Arts Exhibition," sponsored by the 2nd Crossing Gallery of Valley City, is open to all U.S. residents. Media include crafts. Juror: John Loree. $1,500 in purchases and prizes; Fee: $4.00 for 1 or 2 entries. Entry deadline: February 3. For information, write: Ninth Biennial, 2nd Crossing Gallery, Box 1319, Valley City State College, Valley City 58072. OHIO, COLUMBUS / October S-November 22 "Beaux Arts Designer/Craftsmen '75" sponsored by Beaux Arts for the Columbus Gallery of Mayco glazes go on smoother. Fine Arts, is open to craftsmen working/ And they've been doing it for residing in Illinois, Indiana, Iowa, Minne- years. That's why MAYCO® sota, Missouri, Nebraska, Michigan, North ,~ ~" COLORS -- America's finest Dakota, Ohio, South Dakota, and Wiscon- colors--are the No. 1 choice sin (North Central Region of ACC); Juried; Awards. Entry fee: $8.00. Slides of ceramists the country over. due June 16. For information, write: That goes for all Mayco prod- Vonnie Sanford, Chairman, Columbus Gal- ucts: Glazes, One Stroke, Under- lery of Fine Arts, 480 E. Broad Street, glazes. All Mayco products are Columbus 43215. homogenized for easier applica- ONTARIO, LONDON tion and fire at Cone 06. Write December 5, 1975-January 4, 1976 *'Art in Craft," Fourth Biennial of the Canadian •"~'~'--¢F" for free color chart. Guild of Crafts (Ontario)--concept for which is based on fact that no difference exists between the artist and the crafts- mayco colors man is open to residents of Ontario working in any craft media. Entry forms 20800 Dearborn St. Chatsworth, Calif. 91311 due March 24. Jury and technical advisers. Dealerships Available Continued on Page 44

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February 1975 9 Answers to QUESTIONS Conduct6d by the CM Technical Stall

Where can I find in/ormation concerning the potential haz- known as Gombroon ware. One source states that this ware dates ards o[ materials, other than lead, which are used in ceramic as early as the 12th century, but it is usually associated with the art ?-----S.A. 17th and 18th. Rice grain ware has been made commercially, Hazards in the Arts is a nonprofit information exchange group especially in Europe, and can be found on the shelves of con- which was formed in April 1974. In part, the aim of the group is temporary gift shops. The rice grain pattern is generally associated "to collect reference material, a personal experience (with toxic with a glazed, true porcelain body, thrown or cast to be somewhat substances) file, and lists of agencies or organizations to which translucent overall, but with greater translucency in the perfora- artists and craftsmen can go for answers to questions about mate- tions. rials they use." The group has literature available concerning toxic 0 What glaze ingredients require immediate use and prohibit substances, and can suggest source books. In addition, this organi- storage in the wet state?--].C. zation will accept personal experiences with toxic substances or There specific questions if they are sent on a 5xS-inch card with your are few materials that necessitate immediate use of the wet glaze batch, although name and address. U.S. postage must be provided if a reply is some ingredients make use difficult without suitable adjustments. desired. Write to: Hazards in the Arts, Gail Barazani, 5340 The only truly difficult glaze mate- North Magnolia, Chicago, Illinois 60640. rials are those in the self-hardening category (plaster or Portland cement, for example), and their addition to a glaze recipe is 0 I am having considerable di[[iculty [inding in[ormation about generally rare. rice grain porcelain. Any insight you can give on this sub)ect There are other glaze compounds which create problems, but will be appreciated.--R.W. which do not prohibit storage. Among these are colemanite and Rice grain porcelain is pierced ware in which the cut areas Gerstley borate which have a tendency to flocculate (thicken) on resemble the shape and size of rice grains. The "grains" usually standing. The flocculation tendency can be balanced by the are placed in a geometric or decorative pattern, and filled with addition of soda ash, sodium silicate, or other deflocculant. But translucent glaze. The success of the method depends on the rather than adding deflocculants, many potters mix small batches width of the areas to be spanned with glaze, and the viscosity of and immediately use the recipes before floeculation becomes sig- the recipe used to fill the holes. While the most notable examples nificant. Rhodes mentions that certain surface clays containing are thought to be from China, the Persians imitated the oriental iron or alkaline compounds cannot be deflocculated. Should the ware using a soft-paste porcelain-like body, and these pieces are Continued on Page 12 Create 8. Orom The creativity inherent in ceramics work is emotionally cleansing. It is with the belief that our wheels can be an excellent vehicle for realizing the creative experience that Creative Industries proudly offers its wheels for sale. The Ci Medium Power Wheel is powerful enough for centering up to 35 pounds of clay on its 12-inch diameter head. It is an excellent choice for 90% of all potters. Price: $210.00 plus shipping If you're one of the 10% who needs more power, the Ci Hi Wheel is for you. Producing lt/i horsepower, this wheel is than you are! A ten (10) belt power band transmits power motor to the 14-inch diameter head. Price: $300.00 plus shipping Both Ci Wheels feature welded steel construction, and infinitely variable (stepless) speed control. All heads have removable pins for bats. A full guarantee ~ and warranty accompanies each wheel. Options include formica covered bats which are drilled to/it the pins in the heads, and easily removable splash guards. This 100 pound pot was far from th maximum capability of this wheel ,mini

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10 Ceramics Monthly CO{SI ER A

g ~ J IMMEDIATE DELIVERY Most potters would prefer to fire in a downdraft kiln. There are many reasons why this is so. Downdrafts use less fuel to reach stoneware temperatures and they fire more evenly. Reduction atmospheres can be regu- Jacq.el . lated easily and uniformly throughout the chamber. this Before we introduced our 900 series downdrafts, VELVA-GLO OPAQUE & TRANSLUCENTSTAINS type of kiln was priced out of the reach of the back- yard potter, small school or studio. BRUSH ON SEALERS & PEARL-ETTES Our model CK 910, pictured above, is a professional SPRAY-ETTE SEALERS & METALLICS front loading kiln with a stacking space of 12 cubic GOLD WASH & GOLD PEARL SPRAYETTES sells to. $995.00. feet and LUSTER-ETTE POWDERS information on all of our gas kilns which For detailed TEXTURE MATERIALS includes the 900 series, updraft models and kiln kits, see your local dealer or write us direct. BRUSH ON CRACKLE VELVA-GLO BRUSHES /~/~1 CALIFORNIA KILN COMPANY 1222 South Lyon Street TECHNIQUE BOOKS Santa Ana, CA. 92705 I Phone: (714) 836-9009 New! New! TRANZ TINTS FOR CHINA PAINT EFFECTS AND ROUGING & SPRAY-ETTE TRANSLUCENTSFOR ANTIQUING IN 6 COLORS J, t-e agt

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February 1975 11 QUESTIONS Continued [rom Page I0 Gerstley borate or colemanite glaze contain these, another factor is introduced which may prohibit successful deflocculation. Glazes which contain organic gum, binders, or plasticizers tend to grow mold when stored too long, but synthetic substitutes are available which will not mold. Sometimes heavy substances like flint or lead will settle to the bottom of the glaze container, and may be quite difficult to get back into suspension, but this can be achieved with sufficient mixing. Additions of two per cent bentonite will help keep glaze particles in suspension, and prevent settling. Occasionally some compounds will tend to form crystals in the glaze batch if it remains undisturbed. While this will alter the contents of the recipe slightly, it is usually not noticeable in the fired glaze; but crystals should be strained from the batch before use. Glazes containing soluble compounds (borax, for example) are sometimes confused with those creating storage problems. The symptoms are the same--the batch becomes unreliable with use, but usually the problem is that the glaze is poorly mixed. In that case, flux is removed with the water of each glaze application, but the other glaze materials remain with the batch in increasing proportions. Do you have a recipe [or the white glaze that crawls in irregular patterns which the Japanese apply to shino yaki? --B.C. Herbert Sanders, in his book The World o/ Japanese Ce- ramics, gives the following recipe for glaze found on shino yam (shino ware) : SHINO GLAZE (SEGER CONE 8, 1250°C.) (Used on a white stoneware body; oxidation) ' ' a4m.t- Fukushima Feldspar ...... 60% Limestone ...... 10 Silica ...... 30 100% The composition of Fukushima feldspar is rather close to that of nepheline syenite; consequently, an experimental substitution of American materials and cones might be as follows: SHINO GLAZE (CONE 9 OXIDATION) Nepheline Syenite ...... 60% Whiting ...... 10 Flint ...... 30 100% White shino ware is traditionally fired in oxidation, while gray shino is fired in a combination oxidation/reduction atmosphere. 9 Since uranium oxide is now available, I would like some in[ormation on the use o[ this material in glazes, and the health hazards, i[ any.~F.M. Richard Behrens replies: "Lead glazes with uranium as a colorant, when fired to very low temperatures, will produce a fine tomato red. Both lead and uranium (including the latter with the isotope removed) are toxic. But reasonable handling of either of these compounds can be a safe procedure under conditions of good studio hygiene and proper glaze formulation. Lemon yellow may be produced by uranium as a colorant in an alkaline borate glaze, and uranium produces muted orange glazes up to Cone 9 if all gums are eliminated in the batch and the kiln atmosphere is strictly oxidized. "However, I prefer commercial stains for the production of these colors because they are less expensive and probably more 8himpo stable than uranium colorants." For additional information con- AMERICA II cerning uranium in low firing glazes, see Richard Behrens's article "Red and Yellow Glazes from Uranium" in the December 1962 CORPORATION CM. Reprints of this article are available at a small charge from University Microfilms, Inc., Serials Section, 300 N. Zeeb Road, Ann Arbor, Michigan 48106.

shimpo.west ® wheels All subscriber inquiries are given individual attention at CM; 6411 DRAKE AVE. LINCOLNWOOD, ILL. 60645 and, out o[ the many received, those o/ general interest are 312 • 679 °6765 selected [or answer in this column. Direct your inquiries to the DISTRIBUTOR FOR NY, VT, ME, CONN, MASS, RI, NH Questions Editor, CERAMICS MONTHLY, Box 4548, Columbus, Ohio 43212. Please enclose a stamped, sell-addressed envelope.

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February 1975 13 SUGGESTIONS [rom our readers

A ROUND WEDGING BOARD of the pot, stops the hands from slipping, provides a more secure A large round table for clay drying or wedging can be made grasp, and limits the unwanted distortions that sometimes result by pouring a plaster top on a wood spool used for storing heavy when lifting a pot from the wheeh wire or cable. Before pouring the top, add a sheet metal border --Donald SchneIl, Chicago, Ill. to contain the wet piaster, and fill all holes or cracks in the MORE USES FOR NEWSPAPER wood top with clay. A spool may be obtained free, or inexpen- Lightly press a square of newspaper onto the rim of a pot sively, from a wire or electrical company. before removal from the wheel head. This will help prevent warp- --Peter Chartrand, Bisbee, Ariz. age when lifting the ware. --Mabel Hennessey, Moon, Va. DRY WITH THE PILOT LIGHT During exceptionally humid weather, I hastened the drying of REMOVING WAX RESIST greenware by placing the pieces in a home gas oven with only When decorating with wax resist, I have found that unwanted the pilot light burning. Overnight the greenware was thoroughly drips or splatters can be removed effectively with a small pro- dried and could be fired as usual. pane torch. Use the smallest heating tip when burning off intri- Meridyth Senes, Wynnewood, Pa. cate areas. --Bob Taylor, Santa Barbara, Calif. SPAGHETTI-LIKE DECORATION REMOVING WATER INSIDE SMALL-NECKED FORMS Spaghetti-like decoration can be easily made by forcing a ball For removing excess water from inside a pot that has a small of clay through a common kitchen sieve. opening, I roll a sponge and insert it through a looped turning --Stere McCue, Tucson, Ariz. tool; while the wheel is rotating, touch the bottom of the pot MAKE A CLAY EXTRUDER with the sponge. --Donna DiZoglio, Foster, R.I. An automotive grease gun makes an inexpensive (about $7.00) clay extruder. --E. Michael Ferreri, Rosedale, N.Y. USE FOR MILK CARTONS Discarded half-pint to gallon-size milk cartons make inexpen- MORE ON FOOT RIMS sive, readily available, and easily disposable containers for pour- Polymer or acrylic emulsion on the foot of a pot will protect ing, measuring, and storing smaller amounts of glazes and glaze wood surfaces from scratching, and will withstand washing in the materials. --Mary Moss, Denton, Tex. dishwasher with no adverse effects to the coating. --Katherine Gordon, Schenectady, N.Y. DOLLARS FOR YOUR IDEAS REMOVE WHEEL-THROWN POTS WITH NEWSPAPER CEI*AMICS MONTHLY pays up to $5 for each item used in this A couple of strips of newspaper will a!d in lifting a freshly column. Send your suggestions to CM, Box 4548, Columbus, OMo thrown pot from the wheel head. The paper, applied to the sides 43212. Sorry, but we can't acknowledge or return unused items.

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14 Ceramics Monthly ~.,~~• ~-~4,o ~f~ iii~)i, ~%~......

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GEIL KILNS P.O. Box 504., Hermosa Reach, Calif. 90254 (~ ~L'@ a get~Ot'~ a cDo~,d~a~{)Ph.(213) 372-8003 February 1975 15 The Tyler School of Art of Temple University by Roc~a D. BONI-IAM

Photos: Ronnye ]. Perks, Robert M. Winokur

This is another in a series of articles designed to ac- quaint our readers with some of the schools and universities throughout the country offering programs in the ceramic arts.

You MIGHT SAY that Tyler School of Art is a school within a school. The parent institution is Temple Uni- versity, a state-related facility with an enrollment of approximately 30,000 students, located in downtown Philadelphia, the fourth largest city in the United States. Besides being rich in American history, Philadelphia has a heritage of industrial growth and expanding commerce. Both Temple University and Tyler School of Art thus consider themselves urban-directed and with a special obligation to provide higher education for the under- privileged, including all minority groups. The Tyler School of Art has its own independent campus in suburban Elkins Park, about eight miles north of the downtown Temple University center. It is situated on a 14-acre wooded estate, with the centerpiece being the handsome old mansion given in 1934 by Mrs. Stella Elkins Tyler, a wealthy Philadelphian who was also a sculptor in her own right. In 1972, the Tyler physical plant was dramatically enlarged with the completion of two new contemporary structures--Penrose Hall and Elkins Hall. At a stroke, studio and classroom space was expanded to 90,000 square feet. The more than 600 students who annually attend the Tyler School of Art can choose from academic and pro- A student re-works clay in a Tyler studio. fessional studio courses including concentration in ce-

16 Ceramics Monthly / ;/y:

Tyler's campus is located in suburban Elkins Park, eight miles north o[ Temple University in downtown Philadelphia.

Students construct a large gas kiln. The arch [orm and skewbacks are in place. Note the unusual system [,Jr tying-, a~L~[~" irol~ al~o~e the arch. ramics and art education. This year 180 students are enrolled in ceramics and glass. Those taking ceramics may be working toward a B.F.A. or M.F.A. degree, or taking courses for a master's degree in education. To expand opportunities, evening and summer courses are available. A facility unique to Tyler School of Art is its branch in Rome, Italy. The handsome building, known as the Villa Caproni, is located in the heart of the Old City, facing the Tiber River, just north of the Piazza del Popolo. Tyler juniors may elect a semester or a year abroad, and the program is also open to M.F.A. and M.Ed. students. At Tyler, ceramics is taught at Elkins Hall, one of the two new buildings, and classroom facilities are considered outstanding. Individual and group studio spaces are provided for graduate students, and equipment includes 25 potter's wheels. Firing is done in the four gas kilns, ranging in size from 20 to 60 cubic feet; a salt kiln; three raku kilns; and a sawdust kiln. In addition, three glass furnaces are available, as is a massive industrial pug mill. Professor Rudolf Staffel, veteran of more than 30 years at Tyler, is chairman of the ceramics area. Born in San Antonio, Texas, he received his education in ceramics and glass at the Chicago Art Institute and the Escuela Para Maestros, San Juan Teotihaucan, Mexico. Staffel's work has been exhibited in numerous national, international, and regional shows. He has been accorded one-man exhibitions in various parts of the country, with the latest being a retrospective of his work shown at the dedication of Tyler's new art facilities. His work is in many permanent collections. Robert M. Winokur, associate professor, is a product

February 1975 17 ]on Clark, instructor of glass and ceramics, and one of his sculptures titled, "'Delaware Valley Span Series ~2,'" glass, platinum, and acrylic. Clark has shown widely, including two one-man exhibitions in England, and has published in several leading craft periodicals.

Rudolf Staffel, chairman of the ceramics area, and one of his translucent porcelain "'light gatherers," 9 inches in height. Staffel has been widely shown internationally, including a recent exhibition at the Victoria and Albert Museum in London.

Robert M. Winokur, associate professor, and one o/his stoneware pots with pulled handle (salt-glazed | i ¸ wood ash and slip decoration) 5x15 inches. Winokur, an award winner at Ceramics International "73 in Calgary, Alberta, has been involved with workshops throughout the country. Far le[t: Students show o[[ the size o[ TyIer's huge de-airing pug mill.

° Le[t: Mixing glaze in the ceramics area. 1

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of the Tyler School of Art, having received his B.F.A. there in 1956. He obtained his M.F.A. at the New York State College of Ceramics at Alfred, New York, in 1958. He has taught at Tyler since 1966, and for a two-year period was acting head of the ceramics area. Active in several professional organizations, Winokur was 1972-73 Vice-President of the National Council on Education for the Ceramic Arts (NCECA), and is program chairman for the annual meeting to be held in Philadelphia, March 6-8, 1975. In addition to his work in education, Winokur also is a productive potter and exhibitor. His work has been included in some 50 invitationals across the country, and exhibited and won prizes in a number of has been The Tyler School of Art of Temple University will host the prestigious regional and national shows. 1975 meeting of the National Council on Education for the Jon F. Clark, newest member of the staff, joined Tyler Ceramic Arts to be held in Philadelphia, March 6-8. The in 1973, and is an instructor of glass and ceramics. Clark headquarters hotel will be the Sheraton at 17th Street and J.F. Kennedy Boulevard in the downtown area. has a B.S. from the University of Wisconsin (1970), and theme of the meeting will be "Two Hundred M.F.A. from the Royal College of Art, London, The general an of Ceramic Art in America." Plans for the program coun- Years England (1972). He has had one-man shows in this include: a discussion between West Coast sculptor Peter try and in England, and has exhibited widely. Voulkos and Kansas potter Ken Ferguson; a national invi- Tyler offers students an intimate setting and small tational exhibition of ceramics and glass; and a "suitcase" to the conference by members. enrollment. In fact, it is possible to complete the program exhibition of works brought panels, tours, and local exhibitions are "Each student is free Various technical without leaving the Tyler campus. planned, including a workshop on safety shut-off equip- to develop his own thing. Unlike some other art schools," ment for kilns. says Robert Winokur, "we have no set style per se that Additional information concerning the 1975 meeting is the student is expected to follow. Ours is an open pro- available by writing Robert Winokur, Ceramics Depart- gram not conforming to a pre-set aesthetic." ment, Tyler School of Art, Beech and Penrose, Philadel- phia, Pennsylvania 19126. And Rudy Staffel adds: "This is not a program for the Council on Education for the Ceramic would like to study art while exploring other The National person who Arts, formed in 1967, is an organization of individuals avenues of interest. On the contrary, in a work-and-learn whose interests lie primarily with the creative production atmosphere, we try to challenge the artist to develop his of wares in both clay and glass. creative abilities with special depth and commitment."

February 1975 19 Clay Attitudes ]. CORNELL COLLEGE held its First Ceramic Invitational "Clay Attitudes," November 1-23 in the Armstrong sN;~; i Gallery at Mount Vernon, Iowa. Four Iowa ceramists showed different approaches to using clay, and their work illustrated varied ceramic techniques. Douglas Hanson exhibited large, thrown raku vases and bottles; Chuck Hindes showed a series of "saggar pots" fired with oil and rags. In contrast, Bunny McBride displayed a collection of functional stoneware, including several large plates glaze fired with an orange or an apple placed on the surface, producing texture with ash deposits. Art Morrison exhibited a series of mixed media sculpture which included earthenware hogs with low-fired glazes and lusters. Right: "'Raku Bottle," 25 inches in height, by Doug Hanson. Right, belou,: "Saggar Pot," 15 inches in height, by Chuck Hindes. Below: "Teapot" with yellow glaze, Cone 10, by Bunny McBride. Bottom: "The Zaspotted Hog," 17x28 inches, Cone 06 with low-[ire lusters, by Art Morrison.

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20 Ceramics Monthly "'Early Morning Spillovcr," low-/irc whitcware, glaze, underglaze, and sand, 18x24x5 inches.

may be making some comment, be it a tongue-in-cheek A Talk with Nicholas Wood statement about the object itself, or it may be purely sculptural, getting across an image, a fantasy, a message, by PENNY SMITH etc. Ceramics has just come through that stigma of being considered strictly a craft. People who make sculpture Photos: Rob Super out of clay are often called ceramists by the art world and do not like to be classified as such. When people ask what I do, I say I am a ceramic sculptor or just a sculptor. I usually leave out the word ceramic because invariably the Nicholas Wood is a Bay Area artist who is currently a next statement is "Oh, you make pots." graduate student in the ceramic department at the San Smith: Did you start by making pots or did )'our work im- Francisco State College, San Francisco. Ed. mediately become sculptural? Wood: I started with traditional ceramic forms and Smith: I'd like to talk with you about how you relate to worked exclusively on the wheel for about a year and )Tour work and to clay as a medium. First of all, since your a half. work is in sculpture, do you make a distinction between art Smith: What was involved in making a change? and craft in ceramics? Wood: I wanted to do something new. I use many thrown Wood: Yes, I think that in ceramics there is almost a hang- parts in my sculpture--but I wanted to go beyond the up and in defining yourself you make a distinction. For me, process. I guess the influence of seeing shows with non- the art/craft distinction is made by saying, "Is this piece functional, sculptural things had an effect on me. It is so made strictly for function?" If it is, then it loses a certain easy to be influenced by the whole California scene of sense of freedom. Art is more of a verbal-visual thing. It funk and pop art. Ceramics in particular has become

February 1975 21 Above: "Surfing U.S.A.,'" low-fire whiteware, glaze, and Above, right: "Throwaway," low-fire whiteware, glaze sand, 12 inches in diameter. and underglaze, lOx12x7 inches.

exceedingly prominent in the past ten to twenty years as a humor of those pieces, especially since so many of your viable art form. scenes pour out of cups. Smith: What was your work like when you first made the Wood: I like incongruities. The cup and saucer is one transition into the non-functional area? What was the reality--we see it every day. And the ocean is another verbal content you added to the medium? reality. I like putting them together and then not even Wood: My earlier work was political in nature containing having them work out right--the ocean spills all over the direct environmental messages. After a while, I started to table. Being serious and direct often turns people off, so I play down the direct messages and focus more on the approach things on a humorous level. I worked into the fantasy nature of the scene. I imagine I pulled away from cup and saucer thing mostly because the cup is such a basic that kind of direct social statement because I felt that ceramic form and I could stick my fantasy in it. being subtle was more effective, and the process of making Smith: I have noticed that you have several pieces that the sculpture became more important. do not relate directly to surfing or the beach but still have Smith: How do you happen to arrive at the kind of cups. imagery and humor you use in most of your work--like Wood: I have a set of cup-versus-rock pieces. If you Dream On The Rocks or Early Morning Spillover? took a rock and dropped it on a cup, the cup undoubtedly Wood: It has a lot to do with the way I relate to clay. would break. But not if it is a soft clay cup--which it is. I think of it as a fun medium and as a result the ideas that Smith: That sounds like the kind of thing that comes come out of it reflect the kind of whimsy I feel. Most of directly out of the medium. Would you say that there the imagery has dealt with water and the ocean. Those are any other examples in your work that are really medi- fantasies seem to come out and I try to project them as um-specific like that? clearly as possible. There's also an incongruity in that the Wood: The cracked cups came about that way. I was material is so hard and everything I'm dealing with is working on one piece and it cracked in the kiln. The soft: sand-soft; water-soft; trees-soft, making them all in crack was a very clean break right through the ocean, stone and still going another step further and denying with the surfer on one side going off the edge. I ended that stone quality by coloring them and making them up calling the piece Cup by De Fault. It got me into the feel the way they really are. I like to make the glaze idea that cracks are part of ceramics, and I developed a look wet. whole series of cracked cups. Smith: Incongruity seems to be an essential part of the Smith: Seeing several of your sculptures together gives me

22 Ceramics Monthly Below: "'The Line-up," low-[ire glazed whiteware, sand, Above: Dream on the Rocks," low-[ire whiteware, glaze and wood, 32x5x9 inches. and underglaze, 6x15x6 inches.

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February 1975 23 Nicholas Wood, in his studio at San Francisco State College, di~( u~ ~ hi~ zcork with the author.

the idea that the cups contain your feelings, experiences, makes me wonder whether you relate to this work as part fantasies, etc. of your own personal growth. Wood: Later on my pieces did start to deal with definite Wood: Sure. Often I think of my work as a form of personal experiences. Some of my work has gotten more therapy, as a time for putting things in perspective• serious in that respect. Through making these things I have learned a lot about Smith: I'd like to talk about some of your techniques. my patience and concentration levels. The pieces never Would you say something about how you work and what come out quite the way you want, and that's good because materials you use? it makes you move on. Wood: I work mainly with low-fire clay, although I am Smith: Where do you see yourself moving to next? starting to work with porcelain, which seems to possess a Wood: That is pretty hard to say. There is a certain limit certain dignity that low-fire clay does not have. My colors to the medium itself; the concept of a painting may be are underglazes sealed with a clear glaze. That way there extended to include almost anything that is two-dimen- is no bleeding together of colors and few chemical changes. sional, but ceramic work has to be made of clay. A Smith: How long does it take to do an average sculpture ? medium or style becomes decadent when it gets past the point of saying anything or having any meaning. My Wood: Because of the nature of clay you have to work imagery is starting to change, and getting a little more pretty fast. Also there are ideas for other pieces that come serious again• The cups and saucers are disappearing and up while I am working and I want to get to them too. I I am doing a piece now that is kind of a tribute to the prefer to keep my work on a single piece down to three or end of that. I usually do that when I find myself working four days at the most. my way out of a certain image . . . a final thing with it Smith: Could you explain a bit more about how the pieces • . . kind of a good-bye. evolve or how you conceive of them? Wood: Well, I work in series and actually see a whole PENNY SMITH received her M.A. degree in the soci- idea in my mind, almost complete with color and every- ology o[ art [rom the University o[ Sussex, and has taught thing. During sketching it changes somewhat and usually at the Stoke-on-Trent College o[ Art, both in England• I start to get ideas tangent to that. One series usually The author has been involved with the alternative edu- stems from another. cation movement in Cali[ornia, and is currently a [ree Smith: Seeing your work as a series of progressive changes, lance writer.

24 Ceramics Monthly \

i Much o/ Nicholas Wood's work involves the use o[ molds. He pours, trims, and removes the molded [orm [or use in a larger sculpture.

Wood incorporates the molded [orm into a whiteware landscape. Small handbuilt [orms are/ired in sand to help prevent breakage.

February 1975 25 In 1949, about a dozen people in the Ann Arbor, Michi- The Ann Arbor Potters Guild gan area took a class in elementary ceramics taught by Harvey Littleton, then a graduate student at Cranbrook by JoYcE T. MACRORIE Academy. When the course ended, the enthusiasm for ceramics had reached new heights. Several class members Photos: Penny Barlow, .loyce T. Macrorie borrowed makeshift quarters from an interested couple who also donated materials. They talked Littleton into teaching again, and set up classes for other groups. In- volvement grew as materials and space gave out. "The Studio Group," as they called themselves, nearly collapsed, but four or five determined women managed to keep it going. They asked for, and received, $350 from the Ann Arbor Art Association to supplement a $100 anonymous gift and the $150 they raised among themselves. With these funds, they built wheels, scrounging among friends for know-how and among local businesses for flywheels and gears; they bought clay and basic glaze materials and built a small kiln. To cover operating expenses, they assessed themselves each $100 a year (payable at $10 per month with summers free). An old bakery at the corner of intersecting downtown alleys was rented, and the Ann Arbor Potters Guild was born. Students came, members worked around and in between classes and each other. That it was crowded didn't matter. Rain in the summer or snow in the winter--nothing But as work patterns began to show themselves, so did a seems to keep buyers away from the twice-annual problem too big to be ignored: the bulk of the mainte- Potters Guild sales. nance, supply ordering and kiln responsibilities were falling

~ii ¸..... on the shoulders of a few individuals. Hard feelngs devel- Students are free to use the studio whenever a Guild oped, and several ),ears passed before a solution mate- member is working and as long as another class is not in rialized. In a prominent place under the studio bulletin session. Enrollment is limited to four consecutive semesters. board there is a large double-entry ledger--the kind with If at the end of that time there has been no invitation to heavy spindles that allow pages to be added. Each person join the Guild, they go to the bottom of the waiting list to keeps his own double page. The left side lists cubic-inch become students again. Nomination for membership is as measurements of ware to be bisque and glaze fired; the much on the basis of good-humor and cooperation as on right side is a running tally of cubic inches earned by doing the quality of ceramic work; in a co-op, everyone has to chores. Semi-skilled labor such as loading and unloading get along fairly well or things fall apart. kilns earns 600 cubic inches an hour; clay mixing, the Currently, Guild membership is limited to forty people same. Each Guild officer earns kiln space for attending to who each pay $140 per year (up from the original $100 the jobs involved in serving a term. Weekend floor, wheel, because of increasing costs over the 25-year period), plus and rest room cleaning chores rotate as a required duty ten per cent commission on sales. In exchange, they get for each member with low cubic-inch credit. The system studio space, use of all equipment, paid-up materials, and is kept flexible so that uninteresting jobs will still be done. credit for 60,000 cubic inches of firing space. When the Cleaning up the front yard, for example, is currently worth Guild started, it needed money for everything, so each 550 cubic inches an hour. participant was assessed a fifty per cent commission on Almost as soon as they were established in permanent sales in addition to the yearly membership charge. Now quarters, the Guild members realized they would have to the commission is no more than ten per cent to maintain limit membership because of space. But classes were kept the Guild's non-profit status. A professional bookkeeper is going from the very beginning in accordance with their employed to keep the financial records straight and assure commitment to include the community. Classes, number- compliance with state regulations. Financial advisors and ing twelve to fourteen students, are offered in two 18-week bookkeepers have been good investments. One opinion sections, twice annually. Students pay $100 per semester early in the group's development suggested allowing for a for materials, 13,000 cubic inches of kiln space, and special twenty per cent annual depreciation on all major equip- workshops. Income from the classes is used for materials, ment, "and sure enough, at the end of five years everything firing costs, teachers' salaries, and visiting instructors' needed replacing." workshop fees. Guild members of long tenure concur that several other

i" ~ii~I

John Glick (le/t) and Bob Black (right) visit the Guild to share their skills with Dlembers,

Right: A young shopper checks prices at the area planned especially [or youngsters--a generous service and a way o[ creating children's interest in pots.

Far right: Porcelain slab construction, /J white satin glaze with black accent, 35 inches in height, by Barbara Stevens.

February 1975 27 small but basic points saved the co-op from extinction. In president, vice-president, secretary and treasurer--plus the beginning, one dedicated member gave up her own three specialty officers with duties unique to the organiza- potting for over a year and devoted full time to getting the tion. The director, for example, has more responsibility co-op going. No changes were made except for absolute than the president whose main jobs are to coordinate necessities. (They stayed in freezing, crowded quarters for meetings and act as public relations liaison with the almost fifteen years before moving into the present sunny, community. The director oversees the physical operations spacious factory at 201 Hill Street.) Outdoor raku facilities of the Guild, arranging for equipment repairs and clean- have been put off until this year. Purchases were made out up jobs, as well as appointing and supervising a supply of dues and tuition. Sponsorship or other conditions favor- person to keep materials on hand. The director's job is ing outside control were avoided. Remembering the origi- largely thankless, requiring shop-wide tact and alertness. nal $350 donation from the Ann Arbor Art Association, The kiln director supervises the firing operations and the the Guild recently donated $500 to that group's building training of kiln workers. The registrar acts as liaison be- fund. tween teachers, students, and the board, enrolls students, The Guild has always stressed excellence in their teach- collects tuition, and hires teachers with the approval of ing staff. Among the long list of former teachers, are: the board. Significantly, the Guild fosters an atmosphere Wayne Higby, J. T. Abernathy, Susan and John Stephen- in which these jobs are actively sought. son, Marie Woo, and Patti Bauer. Over the years, visiting Since the inception of the co-operative twenty-five years workshop instructors have included Bernard Leach and ago, the Guild has maintained and constantly renewed a Shoji Hamada. American potters with specialties or supe- dozen kick and electric wheels. It now owns two gas kilns rior skills come to share technical news--John Glick and (total capacity 150 cubic feet), and two dough mixers Don Reitz are recent examples. If someone in the Guild capable of churning hundreds of pounds of clay. The glaze wants to know how to use lusters and decals, the member- files include recipes obtained from individual potters and ship researches and finds someone whose work they ad- institutions across the world, and the shop keeps the nec- mire. An invitation is extended--the expert comes in. essary materials in stock for making each recipe. The Potters Guild by-laws call for the usual board officers-- factory building, bought in the late 50's, has been ex-

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Above: Slab stoneware relic/sculpture, 12 inches in height, by Marian Titus.

Right: Guild members" work re/lects a variety o/styles. Opposite page: Guild member trims a large bowl.

28 Ceramics Monthly panded twice. Present plans call for additional remodeling to provide more clay-working room. Each member has several feet of storage rack space. Upstairs, a members' Le[t: Bisqueware is lounge bulges with reference books, the group's collection unloaded [rom a of modern and ancient pots, and all of the display mate- 50-cubic-loot kiln. rials for the outdoor sales. "We always need space. No place ever stays big enough." The Guild members believe they organized when Ann Arbor was developing an interest in functional ceramic ware. At the first sale (1955), their bakery-off-the-alley quarters were crowded beyond endurance. Money was needed to move. The sale was nervously set up one Sunday morning in their double alley. "We each put out two or Right: The Guild's three pieces--our best pots." Within twenty minutes they glaze area. had to bring all the ware from the shop and in two or three hours all was sold. Since then, the Guild has expanded to bi-annual sales in June and December. From 9:00 A.M. Left: A until 3:00 P.M., in whatever weather Michigan can work Guild mem- up for the event, people buy everything. Many customers ber cleans come from surrounding states and Canada. To facilitate dust [rom traffic, shopping baskets are furnished and rows of bagging a large lanes with cash boxes are provided. bowl be[ore The Ann Arbor Potters Guild continues to develop decorating through craftsmanship and its educational work in the and community. glazing.

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February 1975 29 Marietta College ,4 Crafts National '74

io aretta olege rats ationa4 was featured in November at Marietta College, Marietta, Ohio. In 1972 and 1973, the exhibit was regional in scope; in 1974 the event was expanded to include the creative efforts of artists, craftsmen, and designers throughout the United States. More than 1,500 entries were received from 42 states from a total of 418 artists. Jurors Astra Kleinhofs-Strobel, Charles Lakofsky, and Richard Stankiewicz selected 148 pieces for exhibition, and awards in the amount of $3,500 were given. Artists selected for Judges Awards in ceramics were Georgette Zirbes, Ann Arbor, Michigan, and David Furman, Clare- mont, California. In the glass category Steven Fuller, Seattle, Washington, and Sally Kovach, Bowling Green, Ohio, were selected. In the Director's Statement, Arthur Howard Winer, i says in part: ". .... There are two basic problems in- i herent in a slide-juried exhibition. First, slides may not accurately reflect the work; and, second, artists may not record work submitted to simultaneous exhibitions ...... and the number of artists failing to submit work after it i~.~...... -~- has been accepted in the slide jurying is a growing prob- :~i~,~. ,~ .... lem, and ultimately a threat to slide-juried exhibitions. We %:->~> ~)~ ~ can only hope this trend does not grow, for if it does, it . ~ ...." ~:!~*~ ~"~",,~i '~' "~ will in the final analysis be the artist who will suffer." ~ >, " "'Shrink of the American Sunset Trip," 56 inches in height, ceramics and fiber, by Georgette Zirbes, Michigan. Judges Award.

"Fruit Pit," ceramic, by Sally Roberts.

30 Ceramics Monthly f

"Assemblage 1 and 2,'" 16 inches in height, by Chris SiIliman, Virginia.

"'Deja-Vu," 13 inches in height, ceramic, by lamer C,. Ct~ancy, Ohio.

Above: Covered jar, 11 inches in height, porcelain, by Rex Fogt, Michigan.

Opposite page: "Visual Series Platter," I1 inches in diameter, salt-glazed stoneware, by Dale Raddatz, Illinois.

February 1975 31 clay is then dried until leather hard. He next applies one Ceramic Paintings coat of white slip using a spray gun in steady circular motions. When the slip has dried, underglaze is applied by JANIE GOULD and incised decoration is added. "The problem here is knowing how the shades will change when the piece is fired," he says. "Most of them DAVID TELL is a 30-year-old ceramic artist and teacher intensify, but a few colors change entirely. So it can be whose primary interest is raku his work in painting and difficult to gauge the end result." Three coats of under- drawing is not as well known. Recently he has found a glaze are needed to achieve the desired intensity; other- method for incorporating his ceramic and graphic in- wise, a washed-out look may result. terests, and is perfecting a process that produces slab Tell likes to blend fluid images with hard-edge lines, paintings--with colorful blends of underglazed surfaces on achieved with the help of masking tape; underglaze is glaze-fired clay. applied with brush or fingers. He shies away from dis- The process is not complicated, but there are a few cussing style. "What I am trying to do is play the ideas tricks. For one thing, Tell adds an excessive amount of and the paintings against each other," he says. "But it gets grog to the clay to help prevent warping as the piece a little difficult when you apply three coats and want to dries. The clay body he uses is based on the following make it look spontaneous." proportions : Large paintings may be cut in sections to facilitate Warp Resistant Clay Body (Cone 04) firing, then reassembled on a sturdy backing or wall sur- Fireclay ...... 20% face. When dry, they are bisque-fired to Cone 08. One Ball Clay ...... 20 coat of clear glaze, fired to Cone 04, seals the underglaze Sand ...... 10 colors. Grog ...... 50 A graduate of Alfred University, Tell spent six years 100% developing the ceramics program at Florida Atlantic Uni- versity, Boca Raton, then moved on in the summer of Tell's forms are made with a slab rolling machine; the 1974 to teach at the University of Illinois, Normal.

32 Ceramics Monthly r ~

1. Masking tape is applied to a leather-hard slab to create hard edge underglaze areas.

2. Three coats o[ underglaze are applied to maintain color intensity.

3. Spontaneous brush work is more di[[icult when three coats are needed.

4. Incising relines the decorative pattern.

Opposite page: The [inished ceramic painting with black, white, green, yellow, and blue underglazes.

February 1975 33 Firing With Diesel Fuel by HOWARD AXNER

Two diesel burners powered by a used blower are sufficient to fire this 30-cubic-foot kiln in rural northern California.

~¢VHEN WE WERE FIRST thinking about designs for our burners, each of which is constructed of pieces of two- kiln a few years ago, propane seemed to be our obvious inch pipe, one and one-half feet long. Two burners are source of heat. Natural gas was out of the question because all that are necessary even for a much larger kiln because the nearest pipeline was miles away. Although the studio, diesel fuel becomes very hot and burns with long, even here in the mountains of northern California, is sur- flames. A hose is attached to one end of each burner and rounded by many acres of forest, the primary wood is soft leads to a heavy-duty forced air blower with paddle-wheel and probably would not adequately fire a large wood- style blades for sufficient air pressure. These can be ex- burning kiln. We had heard diesel fuel was a dirty and pensive when purchased new, but we found a used one dangerous heat source (which we later found to be largely for $25 with a motor that was large enough to feed air untrue), and therefore eliminated it as a possibility; thus, to both burners. (The blowers in most old vacuum cleaners propane was chosen. Having acquired a formidable pile work well but you would probably need one for each of used, mortar-caked, hard firebricks we began con- burner, and they may tend to burn out relatively soon.) struction of our kiln. Just a short one-and-a-half years Near one end of the burner, where the hose is attached, later a 30-cubic-foot, downdraft, sprung arch kiln was a 2-inch piece of rod is welded to the burner at a perpen- ready to go. dicular angle. Then a 2-foot piece of ~-inch pipe is The two local propane dealers refused to drive up our welded to the top of this rod and onto the opposite end long mountain dirt road with their trucks to service a of the burner, so that it overhangs the front of the burner large tank, so we agreed to haul the propane in four 25- about one-half inch. The diesel fuel drips out of the gallon cylinders with our pickup truck. But the liquid ~-inch pipe in front of the burner, where the forced air propane froze before we even reached a bisque tempera- atomizes it somewhat and blows it into the kiln. A needle ture. This, we learned, is unavoidable with larger burners valve is attached to one end of the %-inch pipe in order and kilns, unless at least a 250-gallon propane tank is to allow a very accurate control of fuel flow. Plastic hose installed. We obviously needed the help of diesel fuel, and (diesel will quickly deteriorate rubber or neoprene hose) started to read and make inquiries about its use. is attached to the needle valve and leads to a raised, 55- The system that was finally assembled consists of two gallon oil drum which gravity-feeds the system at a safe

34 Ceramics Monthly distance from the kiln. The air flow is controlled by two, 2-inch gate valves that are located between the blower and the burners. Originally, we built the kiln to fire exclusively with propane, and therefore had two burner ports on either side of the kiln where the propane flames fired into the bag wails. These ports are unsuitable for diesel burners, however, because the long diesel flames require a greater distance to burn properly. So two new burner ports were knocked out of the front of the kiln, on either side of the door, so flames will travel parallel to the bag walls and the sides of the kiln. A target brick is placed in each of these fireboxes about one and one-half feet from the port. We still begin to heat up the kiln with propane to somewhere around 800°F, and this slower use of propane doesn't freeze our tanks. Then we open the front ports, introduce the diesel, shut off and remove the propane burners, and close the side ports. The target bricks are red-hot at this time (being right next to the propane burners) even though the rest of the kiln is still dark. The partially atomized diesel fuel hits the hot target bricks and is ignited. Be- cause the kiln is sufficiently hot, the fuel burns clean and smoke-free from the start; the flames continue to get whiter and stronger as the temperature increases. There are some disadvantages to firing with diesel oil. For instance, it is dirtier than other fuel sources, but not overpoweringly so. If you live in a residential area, the smoke produced during a heavy reduction might dis- tress some neighbors, but reduction can be kept light. ii~i! i iiiii~i!~ !il !fill ii~i ¸ !i ~ ~ i~i ..... There are hazards to firing with diesel oil if simple pre- i : • ..... cautions are not taken. One common problem occurs during an electrical or blower failure, when raw fuel without sufficient oxygen or disbursement for ignition may A diesel-fired, reduced stoneware [orm with oxide drip from the burner and accumulate. This problem may decoration. be avoided with regular kiln observations and/or the in- stallation of a solenoid valve which would shut off the oil when electrical power is interrupted. There are important advantages when firing with diesel fuel. Among them are ease of control, and great heat production potential. The latter makes it easy to quickly raise temperature in the kiln when required. Diesel fuel can be transported to places where other fuels cannot. The lower cost of diesel fuel can be decreased further by collecting used crankcase oil from gas stations, cutting it with kerosene, filtering it, and using it in lieu of the regular diesel fuel. As in all other aspects of pottery, the possibilities are A simple, efficient burner design [or diesel fuel. Plastic many; but the important thing is that this system works hose is used for transmitting fuel, because rubber or z~d is particularly advantageous in a rural situation. neoprene will quickly deteriorate.

HOWARD AXNER is currently teaching at the Maitland Art Center in 3Iaitland, Florida. In March, the author plans to return to Calistoga, California, where he is a partner in the Diamond Sutra Pottery.

February 1975 35 leaves a smooth clay surface and may also make subtle Basic Throwing PART VIII adjustments in lip thickness and shape. Uniform lubri- cation is important for maintaining a centered rim during by WILLIAM HUNT finishing. When the potter is satisfied with the completed shape, Photos: Beth Toth it should next be cut from the wheel head or hump. This Drawing: Ieanne Otis action can be practiced on sections of a centered hump to learn fundamental techniques, but successful cutting and removal can, in the final analysis, be learned only through use of completed forms. Throwing all ware on bats will temporarily avoid the problem, but the potter eventually must learn to lift ware from the wheel head or hump to develop full use of throwing skills. Most potters undercut the outside bottom of the wall before slicing below the base. The undercut provides a ledge which facilitates lifting the form and may also serve to complete the base if no foot rim is desired. A knife-like, lubricated, wood tool is slowly guided into the rotating clay, beginning at a point which corresponds to the inside bottom of the pot. With practice, the potter will be able to determine the proper point of entry for undercutting by simultaneously sighting the inside bottom and the point of the wood tool. Line up the two on a horizontal plane, using simple depth perception, then allow the point This is the last in a series of eight articles about basic of the tool to make gentle contact with the wall, cutting throwing on the potter's wheel. Previous articles appeared a shallow incised ring around the outside base. Use the consecutively beginning with the May 1974 issue.--Ed. ring as a guide for starting the undercut. The cut is made at a 45 ° angle, with the blade of the tool facing away from the potter. Care should be taken WHEN A SUCCESSFUL FORM IS PULLED, it is completed that the tool remains in its original groove rather than with refinements of the lip (also called the rim), and cutting a number of incisions; holding the tool with two removal from the wheel head. During both of these activi- hands will help to steady it. When a depth sufficient for ties, speed of rotation varies according to the stability of a flat base or foot rim has been reached, the blade of the each shape thrown--greater stability allows faster rota- wood tool is twisted downward in a clockwise direction. tion. While the potter's style or preference plays an im- The point of the blade is the fulcrum for this action, and portant role in these finishing techniques, it is generally the edge of the blade forces the ring of excess clay away true that vertical ware such as the mug may be re- from the ware, flattening it against the wheel head or fined at the rim with the same wheel speed used for hump. Some potters do not flatten the clay, but rather pulling. Horizontal ware such as the bowl will require a they leave the ring as scrap to be removed after the wire considerably slower speed. Fifty rpm is a starting point has cut beneath it. from which to experiment with one's own speed for slow To cut the form from the wheel head, a tightly stretched rim refinement. wire (string or fishing line may also be used) is passed If the clay is to be stressed to the limit of its supportive under the ware at the bottom of the undercut. Production ability, it will usually be necessary to refine the rim before techniques usually require that this action be performed the final shape is complete. while the wheel rotates, but it may be easier for the Two of the many methods of compressing and forming beginner if the wheel is stopped. In another version of the the rim are shown, and with practice it will be evident cutting technique, string is laid against the bottom of the that the finger configuration will largely determine the undercut while the form slowly rotates. When it encircles shape of the lip. In addition to compression, the rim may the pot, the string is pulled and the wheel's rotation helps also be folded inward or outward to thicken a lip which cut the ware free. Regardless of the method employed, has become too thin. Care should be exercised that air or all cutting motions should be strictly horizontal to avoid soft clay is not trapped in the fold. Should a cavity be a foot which is thick on one side and thin on the other. formed, perhaps the most efficient solution is to remove If the wire accidentally cuts a hole through the base, it the offending area with a needle (as shown in Part VII of this article series). The folded rim may prove to be more easily collared than one which is thin or over- 1, 2. Two methods o[ refining the rim shape with the worked. It is possible to repeatedly fold the rim until the fingers. Finger configuration will largely determine the pot becomes an opened hump again--a good exercise in final rim shape when these or other methods are used. folding. Once the shape of the rim is defined, it is finished with 3,4. The rim is folded outward to thicken it. a wet chamois (the most usual method), a piece of soft leather, a wet sponge, a strip of folded wet paper towel, 5,6. Cutaway views of finishing the lip with a chamois or sometimes with a lubricated finger. The finishing action (left) or an elephant ear sponge (right).

36 Ceramics Monthly ~ .....

: ......

February 1975 37 7,8

9,10

7. Undercutting. Both hands guide the lubricated wood 8. With the point of the tool as a fuh:rum, the clay is tool as it cuts at a 45-degree angle into the clay below spread downward with a clockwise rotation of the blade. the ware. The blade of the tool [aces in the direction of wheel rotation. 10. Ware is usually lifted from the hump or wheel head 9. Ware is cut from the wheel head by passing a tightly with the fingers, then placed on a ware board. Warpage stretched wire, string, or fishing line beneath the which results from lifting may be corrected by exerting form at the base of the undercut. pressure at the base of the elongated axis. i~ possible to force the cut together again with throwing the walls and rim back to the original circular shape. pressure on the inside bottom of the form. Then another Through the methods presented in this article series, lower cut can be made with the wire if there is sufficient the beginning potter can develop the basics of an indi- clay for a base below the form. vidual throwing style. Progress may be hastened by study- Completed shapes are removed after successful cutting. ing examples of historical and contemporary ware, re- The potter may use the fingers (as illustrated), manufac- viewing audio-visual aids, and observing potters at work. tured or homemade pot lifters, or, if the shape has been dryly thrown, the flat of the hands may be used as if WILLIAM HUNT is a studio warming them on a coffee mug. Horizontal or unstable potter and assistant editor of CE- forms which are thrown on bats are cut and left to be- RAMICS MONTHLY. He holds an come firm before removal. Stable, small or medium-sized M.F.A. degree in ceramic art forms may with practice be cut and lifted as the wheel from The Ohio State University. turns, otherwise, a gentle twist frees the form from the The author enjoys giving work- stationary wheel head or hump. shops and jurying exhibitions, in When the form has been lifted to a ware board for addition to producing functional drying, any warpage may be straightened by exerting and sculptural ceramics at his pressure at the base of the elongated axis. This will force studio near Columbus, Ohio.

38 Ceramics Monthly Pennsylvania '74 Photos: Pennsylvania Historical and Museum Commission

A STATEM, TIDE CRAFTS EXHIBITION, "Pennsylvania '74," opened on October 12 at the William Penn Memorial Museum in Harrisburg, and ran through December 1. Approximately 500 Pennsylvania craftsmen entered works in the competition; jury members Val Cushing, Fred Fenster, and Paul Smith selected more than 200 pieces by 139 craftsmen, and awarded prizes totaling $2,000. Award winners in ceramics included Ron Gallas, Susan and Steven Kemenyffy, Ken Vavrek, Paula Winokur, and Ron Lang. Warren Hullow and Jack Troy received purchase awards. Supported by funds from the National Endowment for Val CushiTzg evaluates ceramics in preliminary ~urying. the Arts, the competition was sponsored by the Pennsyl- vania Historical and Museum Commission, Council of the Arts, and Department of Education in cooperation with the Pennsylvania Guild of Craftsmen. Selected work will tour the state for 18 months.

"22-33 Water Shed," ceramic whiteware, by Ron Gallas.

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Above: "'Only Island z~ l," raku, by Ken Vavrek. Opposite page, below: "'Angel Baby, Dream Box," porcelain, by Paula Winokur. Below: "Double Landscape," raku, by Steven and Susan Kemeny[[y. Below: "'Sea[otto II,'" stoneware, by Warren Hullow.

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40 Ceramics Monthly "'Trophies," glass and [ur, by Jan Zandhuis. "Salt Glaze Bottle," stoneware, by Jack Troy.

7~ the molecular metal units of a glaze Zinc Glazes is represented by zinc compounds. The experimental potter may find by RICHARD BEHRENS in the following formulary some glazes which will suit his ware.

GLAZE I (Cone 08) A clear glaze Zinc Oxide ...... 18.6% Frit 25 (Pemco) ...... 51.1 Lithium Carbonate ...... 5.1 Kaolin ...... 5.9 Flint ...... 19.3 100.0%

GLAZE II (Cone 08-01) Matt at Cone 08, satin mall at Cone 01 Zinc Oxide ...... 13.3% As WITH MANY" GLAZE MATERIALS used line metals or boron are used with Barium Carbonate ...... 36.8 throughout history, zinc may be found zinc, glazes of considerably lower Lithium Carbonate ...... 8.8 in ancient glazes where it was intro- maturing points are produced. The Kaolin ...... 14.5 duced incidentally in unrefined ma- zinc is also active in increasing glaze Flint ...... 26.6 terials, or purposely to obtain some of viscosity during the molten stage, and 100.0% its advantages in the glaze. Its use as this tends to retard glaze fluidity dur- a flux and as a glaze modifier seems ing firing. (Glazes containing consid- GLAZE III (Cone 08-1) erable zinc may obscure fine detail A satin maff glaze at Cone 08, mall at Cone to have gained much impetus in the 04, and ~translucent at Cone I on ware.) The potter often utilizes potting establishments of Bristol, En- Zinc Oxide ...... 8.6% zinc oxide as an opaquing and matting gland, and in the Rookwood Pottery Nepheline Syenite ...... 41.7 agent of superior quality, although in the United States. In the latter part Barium Carbonate ...... 17.0 clear glazes are also obtainable from a of the 19th century, Karl Langenbeck, Lithium Carbonate ...... 2.0 well-fluxed batch. superintendent of Rookwood Pottery, Whiting ...... 10.5 published a text, Zinc glazes are often conditioned The Chemistry o/ Flint ...... 20.2 Pottery, in which he spoke of the zinc- by the addition of considerable clay 100.0% fluxed glaze as a recent development to render them well adapted for use Add: Bentonite ...... 1.0% for use with cream or yellow bodies; on greenware. Both body and glaze may then be matured in a single and American stoneware with this GLAZE IV (Cone 1-91 type glaze was exhibited at the New firing. A matt glaze at Cone I, translucent between Orleans Exposition in 1884. When uncalcined zinc oxide is Cone 4-6, bright and clear at Cone 9 Zinc glazes fired in the Cone 4-7 used in a glaze, faulting (particularly Zinc Oxide ...... 6.5% range are well adapted to the potter's crawling) may result. The potter is Potash Feldspar ...... 59.6 needs. Such glazes contain a major well advised to calcine zinc oxide by Whiting ...... 8.0 content of zinc and usually one or heating it in a bisque-fired bowl Kaolin ...... 13.8 more of the alkaline metals--sodium, during a low-temperature firing. The Flint ...... 12.1 potassium, or lithium--as well as one cooled material should then be sieved 100.0% or more of the alkaline earth metals-- through a 100-mesh or finer screen calcium, barium, strontium, or mag- before subsequent use. GLAZE V (Cone 1-9) An o~aque mail glaze at Cone I, translucent nesium. Glazes containing a major portion between Cone 6-9 At the higher stoneware levels of of zinc may exhibit considerable color Zinc Oxide ...... 8.4% firing, the volatility of zinc oxide variations when combined with dif- Potash Feldspar ...... 57.3 makes the material less satisfactory as ferent oxides or stains. Some colors Whiting ...... 7.3 a major flux. As an auxiliary flux may be dulled, while others are often Kaolin ...... 15.2 used to facilitate a smooth fusion lightened or quite radically changed. Flint ...... 11.8 Cobalt blues may be lightened in a transition from the sintered into the 100.0% fully fused glaze, zinc has proved its zinc glaze; two per cent additions of value. nickel oxide may produce an icy blue GLAZE Vl (Cone 01-91 Zinc may serve as a flux in glazes color. Green chromium oxide in small A bright matt glaze at Cone 0l, translucent firing as low as Cone 1, and it is amounts may impart a green hue to at Cone 4-6, and transparent at Cone 9 sometimes used in glazes firing well a zinc glaze, while larger additions Zinc Oxide ...... 9.7% below that point to contribute favor.. may yield shades of brown. Opales- Potash Feldspar ...... 50.1 able qualities such as lower crazing, cence in glazes with a high boron Whiting ...... 9.0 increased hardness, and resistance to content may be promoted by the Kaolin ...... 17.8 Flint ...... 13.4 abrasion and chemical attack. presence of zinc. Satin matts are often When powerful fluxes like the alka- obtained if an excess of one third of 100.0%

42 Ceramics Monthly GLAZE VII (Cone 1-4) A marked matt glaze at Cone l, satin matt at Cone 4. Zinc Oxide ...... 22.0% Lithium Carbonate ...... 10.0 A Raku kiln conve Titanium Dioxide ...... 7.4 portable for every 4.6 Whiting ...... Lightweight; 12 1~ Kaolin ...... 17.7 wares making your Flint ...... 38.3 easily I00.0% pottery accessible. GLAZE VIII (Cone 4-9) A satin maff 91aze Constructed of a Zinc Oxide ...... 6.5% steel shell with higl 22.1 Barium Carbonate ...... refractory insulati¢ Potash Feldspar ...... 50.4 18". Heir Whiting ...... 7.6 Diameter Kaolin ...... 4.7 22". Fires up to 22 Flint ...... 8.7 F. using propane. F 100.0% includes flexhose, t GLAZE IX (Cone 1-41 and valve, Raku ins A satin matt 91aze ions, tax and shippi Zinc Oxide ...... 10.2% Potash Feldspar ...... 47.2 Delivery within twq Wollastonite ...... 13.9 Whiting ...... 10.6 Peach Valley Farm Pottery 18.1 Kaolin ...... Route I Box 101 New Castle, Colo. 81647_ 100.0% (303)984-2246 ~al GLAZE X (Cone 4-91 Maff at Cone 4, translucent at Cone 9 Zinc Oxide ...... 9.7% Potash Feldspar ...... 34.3 Strontium Carbonate ...... 16.6 Kaolin ...... 11.8 Flint ...... 27.6 100.0% GLAZE Xl (Cone 6-9) A translucent 91aze at Cone 6, transparent af Cone 9 Zinc Oxide ...... 8.4% Volcanic Ash ...... 82.7 Whiting ...... 8.9 100.0% Add : Bentonite ...... 1.0% I

GLAZE Xll (Cone 4-9) A maff glaze between Cone 4-6, translucent at" Cone 9 Zinc Oxide ...... 7.7% Potash Feldspar ...... 60.5 Whiting ...... 6.8 FeaTUReS Kaolin ...... 14.0 Flint ...... 11.0 100.0% ~le at these~ea;e-rs!~ r FROM O- 230 RPM RICHARD BEHRENS, a graduate A.RLT. ceramics. ~icmm I I UNEQUALED TORQUE THRU SPEED RANGE chemist, currently teaches classes in minnesota cl.ay; minneapolis ' "OUT THE ~__ e_r am_ics~roit__ , e LIGHT WEIGHT- ONLY 55 LBS general ceramics, as well as clay and ~western ceramics, sanfrancisco~ .er, BAL ...... glaze technology. He continues to research ceramic materials in his Cali- [ornia laboratory~studio, and at Cali- [ornia College o/ Arts and Cra[ts.

February 1975 43 ITINERARY Continued from Page 8 CF~MIC Awards. For information, write: Paul Ben- mclx nett, Executive Director, Canadian Guild "II-IE theI mheel of Crafts (Ontario), 29 Prince Arthur :- coM p '"' Avenue, Toronto M5R IB2. TEXAS, HOUSTON March 24-April 20 "Creative Collabora- tion 1975," an exhibition of crafts and sculpture designed for the architectural en- vironment, sponsored by the American In- stitute of Architects' Auxiliary. Selections to be made by J. Sheldon Carey. Awards; Entry fee. Forms due February 20; shipped CERAMIC FORMULAS: entries due March 1-14; hand delivered entries due March 15-16. For information, the The CompleteCompendium write: Mrs. Melvin Hildebrandt, 9314 maximum Lugary Drive, Houston 77036. in precision by John W. Conrad WEST VIRGINIA, CHARLESTON June l-July 6 "Appalachian Corridors & quiet... Now beginning and professional Biennial Art Exhibition 4," is an invita- Designed to fulfill the needs tional open to artists and craftsmen in the of the most accomplished potters alike can be confident of potter as well as the strenu- success, without having to conduct Appalachian region of the following states: OUS requirements of class- Alabama, Georgia, Kentucky, Maryland, room use through maintenance lengthy trial-and-error experiments North Carolina, Ohio, Pennsylvania, South free, heavy-duty construction. -- with CERAMIC FORMULAS, a Carolina, Tennessee, Virginia, West Vir- Entire power system is vibra- tion isolated for extremely compendium of more than 700 ginia, New York, and Mississippi. Purchase quiet operation. tested formulas, and the only such awards from the 13-state Arts and Humani- For free illustrated brochure source book now available. ties Councils. A two-year trans-America send your name and address to: touring exhibition will be selected from the The Max Corporation, Box 34068, Designed to be used as a work- Biennial for an expected bicentennial focus Wastlington, D.C. 20034, or call ing manual the book contains easy- on the art of Appalachia. For invitation (301) 365-1544. to-follow coded color charts, and with information regarding entry, jurors, covers clay, glaze, enamel, and awards, and prizes, write: Laurence Kara- glass. Each of these four basic areas sek, Appalachian Corridors Biennial Art Exhibition 4, Charleston Art Gallery at BUG TOWN CLAY is introduced with a concise and Formed by potters from informative discussion of the prop- Sunrise, 746 Myrtle Road, Charleston 25314. a need to have basic erties of the material. Methods of supplies closer to you. testing materials to determine their POTTERS AND SCHOOLS WHERE TO GO --Write for free catalog. exact properties are described, and 7S-J Mendel Dr. S.W. comprehensive scales for evaluating ALABAMA, BIRMINGHAM Atlanta, Ga. 30336 results are provided. The formulas-- February 2-26 Ceramic Sculpture by all tested for reliability and safety Franklin D. Fleming; at the University by industry, potters, glassblowers College Gallery of Art, University of Ala- and enamelists -- are grouped ac. bama. FRANCOISE CERAMICS, INC. DISTRIBUTOR FOR: Hanovla Lusters & precious cording to type of material and use metals, Paragon Kilns, Duncan Ceramic Praducls. ALABAMA, MOBILE IN STOCK: Large selection of Alberta • Arnel then further subdivided by media, through February 23 "Two Hundred • Atlantic n Fres-O-Lone n Holland n Jamar- use, firing temperature, and tech- Mallory n Kentucky • Kimple • Ludwig-Schmld Years of Royal Copenhagen Porcelain," n Weaver & White Horse Molds • Slip-O-Matlc nique. Smithsonian traveling exhibition; at the representative. Complete ceramic supplies. Mobile Art Gallery. WHOLESALE AND RETAIL The author also includes a variety 113 49th St. South St. Petersburg, Fla. 33707 of special effects and explains how ALABAMA, TUSCALOOSA to achieve them. This is a long- February 23-March 7 "I,ow-fire Ceramic needed reference volume for the Landscapes" by S. Judson Wilcox; at the Ferguson Center Gallery. studio. $10.95 AEGEAN SPONGE CO. ARIZONAj PHOENIX Silks, Elephant Ears, Wools m m m m m m m m February 21-April 18 "Indian Art of the Americas," a loan exhibition from the CERAMICS MONTHLY Book Department Write for Price List Museum of the American Indian, Heye I Box 4548, Columbus, Ohio 43212 I 4459 W. 56 St., Cleveland, O. 44144 Please send me __ copies of CERAMIC Foundation, New York, for the benefit of I ORMULAS by John W. Conrad @ $10.95 the American Association of Museums; at I the Heard Museum. i Name I ARKANSAS, LITTLE ROCK I Address through February 10 "Toys Designed by I Artists Exhibition"; at the Arkansas Arts City State Zip Center. Ohio residents add 44c per copy sales tax. I B. C., VANCOUVER I enclose [] Check [] Money Order I February 10-22 "Ceramics '75"; at the I We Pay Postage ~ Money-Back Guarantee House of Ceramics. Lq Continued on Page 45

44 Ceramics Monthly WEG)ULD HAVESAVED

ITINERARY to serve Continued ]rom Page 44 the Mid-Atlantic CALIFORNIA, Los ANGELES and South through June 30 Palevsky-Heerameneck Collection includes ceramics; Islamic Gal- ZTOi.D~tOU lery, Los Angeles County Museum of Art. THEIR eagle PRICESWERE CALIFORNIA~ SACRAMENTO ceramics, inc February 7-March 16 "California Crafts IX," Ninth Biennial Exhibition sponsored by the Creative Art League of Sacramento and supported by a grant from the burr "thermolite" portable gas National kilns Endowment for the Arts; at the E. B. YOU NEW.R crusader cone II elecfr;c kilns Crocker Art Gallery. LISTEN I & I kilns COLORADO, DENVER TO ME through February 23 "South shimpo and pacifica wheels Asian Sculpture: the Harold P. and Jane F. Ull- walker jomar pugmills man Collection"; The Denver Art Museum. kemper, ohaus, orton products CON NECTICUTj GREENWICH February 14-March standard ceramics moist clay 29 "Clay, Fiber, and Wood," exhibition of work by William Wil- helmi, Kay Sekimachi, and Bob Stocks- gCR'FROM full list of chemicals, dry clays, dry glazes dale; at the Elements Gallery. CONNECTICUT, HARTFORD (~UANTITY DISCOUNTS through May 15 Exhibition of 18th and 19th century American stoneware and Catalog Available earthenware; at Wadsworth Atheneum. WHERE /~JE YOU CONNECTICUT, NEW CANAAN Contact EAGLE CERAMICS at GOINe February 8-March 4 "From the Source," 12264 Wilkins Av., Rockville, Md. 20852 NOW? Phone (301) 881-2255 an all-media members' exhibition; at Hays Hall and Vassos Gallery, Silvermine Guild of Artists. D. C., WASHINGTON through February 9 "Figure and Fan- WH~,E~ $23.00 will bring you postpaid . . . TOLD ME tasy," exhibition of work by six East Coast TO @OIN 100 INDIAN TAN RAWHIDE LEATHER artists includes 12 ceramic objects by Bill THE FIRST THONG STRAPS, 72-inches long. Can Stewart; at the Renwick Gallery. PLACE! be cut for hanging pottery and ceram;cs. through March 30 "The Chinese Exhi- Sample on request. 50c each bition," archaeological treasures of the KLECKNER'S SUPPLY CO. People's Republic of China; at the National 23-ll Cornacja Ave., Far Rockaway, N.Y, 11691 Gallery of Art. through May 1l "Steuben Glass" retrospective traveling exhibition; Museum of ]:TOLD History and Technology, Smithsonian Insti- BOOKS tution. AUTHORS: Cardew, Rhodes, Nelson. DISCOUNTS of 10% and More. For com- FLORIDA, COCONUT GROVE plete list, write: February 28-March 15 Ceramic League of Miami Members' Show; at Grove House. THE POTTER'S CORNER YES 4115 Robinson St. FLORIDA, MIAMI Duluth, Minn. 55804 WHEREYOU through February 17 "The Creative TOLD ME Touch," a group show of works by local TOeO! artists includes ceramics by Susan Felz, glass sculpture by Ellen Jacobs, macrame Sold only and ceramic wall hangings by Juanita May, by and enameling by Pat Roberts; at the Authorized Library Gallery of Miami-Dade Commu- TOTHE Dealers nity College, North Campus. ClAYPBX~ I WHEREi" 1147 E. Elm FLORIDA, ORLANDO .~OULD ~Y£ C~ORE W. P. DAWSON, INC. Fulle~'on,Calif. 92631 INTHE February 28-March 2 The Florida Ce- nRSTPU~-E! ramic Show; Sheraton-Towers Hotel. FLORIDA SARASOTA CERAM IC * * through February 5 "Images in Clay FORTHE BESTPRICES ON INSTRUCTION SPECIALISTS and Acrylics," two-woman show of work by SHIM PO-WEST~WHEEI,S Eleanor Heller and Flo Singer; at the Let us helpyou with your ceramic problems.Send for Hilton Leech Gallery, 4433 Riverwood. AND CRUSADERKILNS our complete catalog of suppliesand equipmentwith WRITE FOR OUR PRIC.EUST color charts. . Write OeptCM FLORIDA TAMPA AND SAVEyouRSELF SOME NEEDED MONEY Seeleys Ceramic Service Inc I~ March 1-2 Gasparilla Sidewalk Art Fes- g River St.,Oneonta,N.Y.,13820(607432 3812} tival; downtown Whiting Street. THE CLAYPEOPLE . NO. ~ CHiCAgO, Continued on Page 47 It.l.~(~-7

February 1975 45 Perfectslabs every time... MPP SLAB ROLLER and TABLE

THE SLAB ROLLER: The top roller moves vertically fo provide MPP, Model A (24" Rollers) ...... $230.00 together. Clay is positive thickness adjustment and both turn MPP, Model B (30" Rollers) ...... $24S.00 simply sandwiched between canvas and cranked through. Finished slabs can be picked up on the canvas and carried without dam- Model A Table ...... $ 84.00 be age. Nearly anything, such as burlap, rope, or cork, can Model B Table ...... $ 94.00 passed through with the clay for textural effects. Slab size: Up to 30" wide, 21/2" thick, any length. Solid steel construction, MPP Plans ...... $ 10.00 full guarantee. Bolts to any table. THE TABLE: Custom-designed to facilitate the production of many slabs, particularly for the artist who works alone. The PCITTERSJ MPP bolts to the lower level and clay is worked on the upper DocoSTARBOX 193 surface, which is even with the top of the bottom roller, so RADO CITY, TEXAS 79512 slabs just zip through. Steel legs, unfinished partlcleboard top. hone: (915) 728-2498 Cross-braced, wiggle-free. \ Slab Rollers and Tables Now In Stock For Immediate Shipment Brochure on request

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Would you believe that all of the items pictured above can be yours . . . and get you started enameling . . . for only $59.95? Yes, that's correct, Thompson's catalog introduces a new package consisting of an electric kiln (inside dimensions m 5" wide, 7" deep, 4" high) and including a CAREFULLY SELECTED group of enamels, metal shapes and supplies . . . everything you need to start enameling immediately for only $59.95, plus shipping charges. Send your order today with payment for prompt shipment. The new Thompson catalog, along with its famous Color Guide, is waiting for you . . . just mail the coupon and it will be on its way . . . absolutely FREE...... Thomas C. Thompson Co. Dept. CM 2m 1539 Old Deerfield Road Highland Park, Illinois 60035 [] Enclosed is payment for new kiln package. (Illinois residents add 5% sales tax.) [] Please rush FREE Thompson Catalog. Name_ Address City State Zip.

46 Ceramics Monthly BLUEBIRD ITINERARY Continued /tom Page 45 LYmPIC KILNS PROFESSIONAL IDAHO~ BOISE through February 9 Exhibition of work by four artists on visual arts faculty of PUGMILLS Sun Valley Center for the Arts includes ceramics and glass; at the Boise Gallery of Art. INCREASE PRODUCTION ILLINOISj EVANSTON February 14-March 14 Sculptures by Le and Roy Saucier, a concurrent exhibition which opens on February 14 at the Evanston Art Center, 2603 Sheridan Road; and on Feb- CUT COSTS ruary 16 at Exhibit A, Gallery of American Ceramics, 1708 Central Street. INDIANAj EVANSVILLE FOR FREE INFORMATION February 9-March 9 The 15th Annual Mid-States Craft Exhibition; at the Evans- WRITE OR CALL: ville Museum of Arts and Sciences. IOWA, AMES BLUEBIRD MFG through February 26 Fifth Annual Clay and Paper Show; Octagon Arts Center. c/o JUDSON POTTERY IOWA, CEDAR RAPIDS I00 GREGORY ROAD February 9-26 "Mexican Folk Art" from FT. COLLINS, CO 80521 the collection of Jens (Art) Morrison; at Sinclair Auditorium, Coe College. 303/484-3243 KANSAS, LAWRENGE February 9-March 2 The 21st Annual Kansas Designer Craftsman Show; at the University of Kansas. KANSASj LOGAN February 15-March 16 "Handicrafts of the Southeast," Smithsonian traveling exhibition; at the Hansen Memorial Museum Association. KENTUCKY, CARLISLE February 6-28 "The Kentucky Artist/ Craftsman," traveling exhibition sponsored by the Kentucky Arts Commission and Kentucky Guild of Artists and Craftsmen; at the Nicholas County Library. Here's what you've been waiting for, LOUISIANA, NEW ORLEANS the Olympic portable gas kiln. We February 1-21 "Functional Crafts--A call it the Torchbearer, and it fires Bicentennial Event"; at the Louisiana Lo cone 10 using natural, propane, Crafts Council. or butane gas. MARYLAND, ANNAPOLIS February Group Show of University of The Torchbearer Maryland faculty and students; at The model 2827G is 281/4 Thought Gallery. inches wide and 27 inches deep. (10 cu. ft.). A 41/2 inch spacer ring may MASSACI-I USETTS s BOSTON through March 12 "Frontier America: be added giving 11.67 cu. ft. The Far West," includes objects and arti- facts dating from the 9th through the 19th Olympic kilns also offers a wide centuries; at the Museum of Fine Arts. variety of other models fo choose MICHIGAN, DETROIT from, both gas and electric. For fur- through March 1 Retrospective exhibi- ther information tion and sale of work by John and Ruby send for our brochure, Glick; at Pewabic Pottery, 10125 East or give us a cell today. Jefferson. MICHIOANj LANSING through February 28 Michigan Artist/ Division of Craftsman VI Regional Open Exhibition; at the Lansing Community Art Gallery. HAUGEN MANUFACTURING,INC. MICHIGAN, MASON 2222 North Pacific St., Seattle, WA. 98103 Phone February 2-15 "Objects of Celebration," (206) 632-0120 ceramics by Louis B. Raynor and stitchery Continued on Page 49

February 1975 47 IMPROVED A time saving must for professional potters. Ideal for schools. Easily makes handles, foot rims, kiln furniture, tubes, mirror frames, pots without a wheel and many other forms. Saves many times its cost in a few months of use. Solid steel construction, lifetime guarantee. Extruder, tub- ing die, and two blank dies with instructions $65.00 F.O.B. Scott EX' Creek. & HANDLE MAKER The New Extruder Die Kit makes over 50 shapes. Solids, hollow tubes from 1" to 21/2" in diameter. Squares, cylinders, triangular tubes or any combination. Blank dies available to cut your own shapes for beads, handles, tiles, flutes, etc. Complete set of 12 dies, inserts and bracket $32.00 F.O.B. Scott Creek.

Add 6% sales tax in Calif. Send check or money order to: SCOTT CREEK POTTERY 482 Swanton Rd. Davenport,Ca. 9 5017

IMACCO CLAYS STONEWARE 8 to 11 RED STONEWARE 8 to 11 BUFF Manufact"urecJ from Californ|a clays mined and processed by Indusfrlal Minerals Co. Formulafed fo provide excellenf workabilify and drying characfer. Fires from llghf buff fo red-brown wlfh iron specking. Imacco cone I0 sfonewares possess good fhermo-shock reslsfance fo provide fhe s÷udlo poller wlfh maximum recovery of fired obiecfs. Write for complefe 1975 clay dafa sheers and prices. P.O. BOX 4032 BOULDER, COLORADO 303-4433 5 1 5 80 302 INDUSTRIAL MINERALS CO WRITE FOR BROCHURE 1057 Commercial Sf.. San Corlos. Ca. 94070 A ~A$1C PRODUCER OF TALC, GERSTLEY BORATE, ELECTRIC KICKWHEELS ~ KAOLIN, BALL AND FIR~ CLAY KICKWHEELS - KITS

48 Ceramics Monthly EARN A LIVING ITINERARY In Hobby Ceramics Continued ]rom Page 47 These two books show you how. by Mary E. Storrer; at the Sycamore Gal- TEACHING HOBBY CERAMICS by Kay lery, 516 North Cedar Street. STBYE Healy is the complete guide to conduct- MISSOURI, ST. LOUIS KILNS ing classes in ceramics, glass, porcelain February 2-26 Stoneware by Ed McEn- and china painting. 35 step-by-step les- darter and weavings by Libbie Crawford; son plans for the beginning teacher or at Craft Alliance Gallery. Formerly the old-timer who wants to bring some- NEw JERSEY, POMONA POTTERY by DOT thing new to hobbyists...... $7.00 February 9-28 "First Annual Sculptural and Semi-Functional Ceramics Invitational" THE WONDERFUL BUSINESS OF CE- includes work by Howard Kottler, Ken RAMICS by Merle Peratis tells you how Vavrek, Gail Kenal, Bob Clark, Harris Deller, and Donna Nicholas; at Stockton to set up and operate a profitable hobby State College. ceramics shop at home or store. $3.95 NEW JERSEY, SUMMIT BUYERS GUIDE for the Ceramic Hobby February 2-23 Summit Art Center An- Industry. 5000 references on manufac- nual Juried Exhibit; at Summit Art Center. turers, importers, distributors, teachers, NEW YORK, GARDEN CITY etc...... $3.00 February 16-March 2 Annual juried exhibition of crafts by members of the Long (include 25 cents postage & handling charge per book. Calif. residents also add 6% sales Island Craftsmen's Guild; at the Firehouse tax please.) Gallery, Nassau Community College. Order Today from The Library Comer, through March 22 "Raku: A Point of your distributor or directly from: Departure," exhibition of ceramics by stu- CERAMIC SCOPE BOOKS dents of Madeleine Lane; at Swirbul Li- BOX 48643, LOS Angeles, Ca. 90048 brary, Adelphi University. NEw YORK, NEW YORK through February 13 "Crafts of Alaska." February 21-April 6 Loraine Gonzalez NOWZ Memorial traveling show of major works by ACC/South Central Region craftsmen; LESLIE CERAMICS both at American Crafts Council Gallery. through February 15 Ceramics by Wil- A 6ood Kiln liam McCreath; at Greenwich House. SUPPLY CO. through February 23 "Creation in Clay," pottery sculptures from pre-Columbian Heed Not Be Since 1946 Mexico and Peru, Africa, and New Guinea; Complete Chemicals at the Museum of Primitive Art. Raw Materials & EquTpmenf through March 2 "Stained Glass by Robert Sowers," a collection of stained Expensive 1212 San Pablo Ave. glass panels; at The Museum of Contem- BERKELEY, CA. 94706 porary Crafts. Save up to 37% using a few through ~Iarch 2l "Ceramic Jewish pleasant hours to fit together Meta-Ceremonial Objects" by Jonathan one of our easy-to-assemble Craig; at the House of Living Judaism. kiln kits. Fun to do -- efficient SAN DIEGO -- Kickwheel kit -- Mod-B NEW YORK, NIAGARA FALLS to use. Step by step instruc- (metal parts) S49.S0. Full line of poffer's February 4-23 Fredonia State College tions for assembly and easy wheels, gas and electric kilns. Gas kiln parts, Student Show; at the Carborundum Mu- beautiful firing. pug mill, chemical, scales and much more. seum of Ceramics. Phone: 424-3250. WAY-CRAFT NEW YORK, WHITE PLAINS These Are Kilns Made By 394 Delaware St., /mperlal Beach, CA 92032 February 2-20 Westchester Art Society People Who Do Ceramics and Annual Art Show; at Westchester Society, Know What a Kiln Has To Do. 88 East Post Road. Commercial Kiln Kit NOVA SCOTIA, HALIFAX 24"x24"x27" deep ...... $229.00 through February 16 University Com- munity Art and Craft Exhibit at Seton Studio Kiln Kit Academic Centre, Mount Saint Vincent 18"x18"x18" deep ...... $119.95 University. Hobby Kiln Kit 12"x12"x131/2" deep ..... $74.95 OHIO, CINCINNATI through March 2 "The Campbell Mu- seum Collection" includes ceramic soup Send for free brochure. tureens representing the arts of the 18th century European craftsmen; Cincinnati Art Museum. WESTBY OHIO, CLEVELAND Ceramic Supply & Mfg. Co. through February 15 Northeast Ohio 408 N.E. 72nd St., Seattle, Wash. 981 ! 5 Continued on Page 51

February 1975 49 T00LST,AT THEHAND

From the hands of Gunther Granget, to many other leading artists in the world today, Kemper Tools are known as "Tools That Craft The Hand". Continuous research and advice from leading artists and craftsmen have guided and developed the high quality and perfection of Kemper Tools. This selection of tools is again carefully formed and shaped of very durable hardwood to meet a variety of uses in sculpturing, ceramics, and pottery fields. Code names... 402 404 406 428 Remember, never accept a substitute or similar code-name, only Kemper Tools craft the hand. ~t// SIZE: 10" approximate length, 1" SINCE T'~p~'eH~"e)" width at broadest point. 1947 Write for the complete Kemper catalog, ~g 0 ~-% enclosing 50¢ for handling charges, or contact your nearest dealer.

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50 Ceramics Monthly ITINERARY Continued [rom Page 49 Women's Invitational; at NOVA (New Organization for the Visual Arts). OHIO, COLUMBUS February 2-28 "Glass with Gold" by Shop the world Gilbert Johnson, Penland, North Carolina: at Helen Winnemore's, 150 E. Kossuth. for the most February 16-March 21 "Liturgical Art V"; at Schumacher Gallery, Capital Uni- durable kiln. versity. OHIO, FINDLAY February 9-March 15 "Clay Work" by You'll ultimately George Hageman; at the Egner Fine Arts Gallery, Findlay College. choose Unique. March 2-April 4 Annual March Craft Show includes ceramics by John Kloor, Unique Kilns stand above the rest. They are precise profes- Floy Shafer, and Leonard Stach; and weav- sional kilns for pros . . . built by craftsmen who blend solid ing by Judy Felgar and Mary Beck Stach; engineering knowhow with sound traditional skills. When you at Gallery One, 231 West Hardin Street. specify Unique, you get durability and not planned obso- OHIO, TOLEDO lescence; reliability in the rugged sense of the word; and, February 2-March 2 "Dominick La- best of all, efficiency and trouble-free performance. Invest bino: A Decade of Glass"; at The Toledo wisely and well. Buy your next kiln from Unique . . . the Museum of Art. kiln people. OHIO, YOUNGSTOWN To start you on your way, ask for our free catalog. through February 23 The 27th Annual Ohio Ceramic and Sculpture Show; at The Butler Institute of American Art. UniqudKilns OKLAHOSIA~ OKLAHOI~IA CITY Box 176/Pennington, NJ 08534/(609) 466-3600 February 23-March 7 The Fourth An- nual Oklahoma Art Guild Show; at the Liberty National Bank. ONTARIO, TORONTO February 4-March 1 "Winter Blues," juried national show; at the Canadian Guild of Potters, 100 Avenue Road. March 1-2 Annual Crafts Festival spon- It takes sored by the Toronto Women's ORT; at the Sheraton Four Seasons Hotel. L OREGON, PORTLAND to do the job through February 12 Michael Zametkin, ceramics; Dorothy Liebes, memorial textile Three Orton cones are the collection; at the Hoffman Gallery, School best firing insurance you of the Arts and Crafts Society. \ can have. The guide cone /~ PRINCE EDWARD ISLAND, CHARLOTTETOVCN lets you know the ware is February 17-March 17 "Entr'acte," bi- approaching maturity, and ennial exhibition coordinated by the Ca- the firing cone lets you ( nadian Guild of Crafts (Ontario); at the know the firing is at the Confederation Art Gallery and Museum. correct point. Deformation TENNESSEE, GREENEVILLE of the guard cone indicates / February 16-March 18 "Glass Gems In- ternational," an im'itational glass show you have gone beyond the features a workshop (dates to be an- I Firing best point in the time-and- nounced) by Joel Philip Myers; at Tus- , Cone temperature relationship. ~uard culum College. Cone Cone TENNESSEE, KINGSPORT Plaques of cones placed so they may be l March 14-16 The 1975 Spring Arts and observed through the peep holes give you Crafts Mart; at the Civic Auditorium. The Edward an indication of firing progress. These, and TEXAS, AUSTIN others, placed throughout the setting or used in through March 2 "Chinese Export Por- ORTON conjunction with automatic shut-off devices, may be celain," selections from the Reeves Collec- Jr. Ceramic examined after firing is completed to give you a detailed tion, Smithsonian traveling exhibition; at FOUNDATION picture of conditions in all parts of the kiln. the University Art Museum. Learn more about Orton Standard Pyrometriccones and 1445 Summit Street TEXAS, WACO how they can help you to better, more uniform firing Columbus,Ohio 43201 results. Ask your dealer for a free copy of "Orton Cones February Traveling Exhibit B of the and their Importance to the Hobby Potter". Southern Highlands Handicraft Guild; at Baylor University.

February 1975 51 ALABAMA NORMA'S CERAMICS NEW YORK TWIN CITY CE RAMICS. INC. Parkwav, Brlzto( DONNA'S CERAMIC CRAFTS 1107 North Eighth Street. Salrlinlto n 2612 Volunt~r CEL-ART CERAMics. INC. TEXAS thgh~ly 431. Gkm¢oe S~1op~n~ Citnter. GII~ PARKER CERAMIC SUPPLY COMPANY 6750 FiNh Avenue. Brooklyn 2204 Weti 23rd Street, Om Moines BATEMAN CERAMICS HAZELHURST CERAMICS CENTRAL NEW YORK CERAMIC SUPPLY 716 Pierce Str~¢, Dallas 124. PMz~ Gr~ P.O. Box RIVERVIEW CERAMiCS 213-215 Second Streez, Lw~rpool CERAMICS NW. Chdlr R~th BATEMAN JEWEL COX CE RAM~CS 511 "M" Avenue THE CERAMIC TOUCH. INC 6615 E~t Lancet er. Fort Worth 600 Merwina Av~. MoVie KANSAS 34S New Ker~ Road,/dbeny LAURtNE BROCK STUDIO THE PIXIE POTTERY EVANS CERAMIC SUPPLY DEAN~J CERAMIC & GIFT SHOPPE 1651 West Woodlaw. A~n~. San Amomo Irondale Industrial Pack, 2720- Sth Av~e South, 1518 South Washmgt~, Wichitl 248 Chen~go Sir ~t, ~ nell imltoll C. C. CERAMiCS B~rn~ngham MID-AMERICA CERAMIC SUPPLY COMPANY DOLLMAN CERAMIC SUPPLIES, INC. 4343 Kost~yz, Cot pul Chri~i PIXIE POTTERY OF MONTGOMERY 817 Central Avenue, KiBes C~ty 663 Walden Argue, Buffalo CERAMIC ART 8= ANTIQUE SHOP 1334 Madison A~e. k~t Immery PRAIRIE DOG CERAMICS GLAO-WELL CERAMIC STUDIO & SUPPLY 2004 Allen Drive. Wkdlita Falls Avenue. Scerld~e l ALASKA R F D # 1, Noet~ 868 P¢+lldale THE CERAMIC PEEPLES ALASKA MUO PUDDLE SHAOOW-BOK CERAMIC STUDIO JEAN LEONARD CERAMICS 1-112 Miles East Highly 1729. N~ Deal 9034 HartZell Road. And~o~ Cor~ A~, Coro~ 308 West Qoud Street. ~lli~ 96"24 THE HOBBY SHOP ARIZONA KENTUCRY LEZETTE CERAMICS 911 North Mockingbird La~. AbRe~ MARJON CERAMICS, INC. R~tl 212. Suuge~ti~.Woodstock Road. ~rtim LOIS CERAMICS HOUSTON ARTS & CRAFTS, INC. Ftto4mix 3418 North 24th Strut, i5O8 W~ Street. LONG ISLAND CERAMIC CENTER 2048 Marshall, Houston TUCSON 1190 Route 109. Lind*mhurlt MARJON CERAMICS HOUSE CERAMIC STUDIO LIMA CERAMICS 426 Wes~/Utur~. T~ POLLY~ PLAY Tavl~ille Road. ~t~ RUNION CERAMIC SUPPLY 907 Lomaland Drive. El Pars ARKANSAS 23~ West Com~cial Street. East Roch~t~ SANDY'S CERAMICS UTAH CERAMIC ART CENTER. INC CERAMIC SERVK~E. INC. Route 2, Ewing Ford Road, Boadinl Grm SEELEY'S CAPITAL CERAMICS, INC. 1217 Rebsamen park Road. Utile Rod( O~nm 9 R~v~ Street. 2174 South Main Street. SMI Like City FORT SMITH CERAMIC SUPPLY COMPANY. INC. TOM'S CERAM IC STUDIO 1 § West O4th Strait, Co~i~ STAATE N CERAMICS VERMONT 7318 Ro,~ers Av~e, Fort S~th 233 ~in Street, Etlt~ Island CALIFORNIA WEST KENTUCKY CERAMICS VERMONT CE RAMIC SUPPLY CENTER 1101 JeH~ Street. P~h NORTH CAROLINA 491 West Strut, Rutland AVANTY CERAMICS INC. LOUISIANA CREATIVE CRAFTS CERAMICS. VIRGINIA 887 S7th Street. Suc~lmento 6316 Yadkin Road, Flyett~lla B. J. CERAMICS 8OEHM CERAMIC SUPPLY DILL-HAWK CERAMICS, tNC, 2239 East NapOleOn (Hwy 90 E). Sulphur DURHAM CERAMIC SUPPLIES. INC R~te 2. Box 436. Hi,way 117, R~ke 2lEg Broadway, Eurek~ 1347 Aeond41e Drive. Duthm MET-LA CERAMICS. INC. M-C STUDIO, INC. BAY-SHORE CERAMIC SUPPLY. INC. LTD. 4411 Conlin St rlet, M~iril GRAHAM CERAMICS. 4115 Hopkins Road, Richm0nd 5~) Aldo A~. ~ CMeI 1310 C~ntral A~enue. Chldotte BETTY~J CERAM)CS SHREVEPORT CERAMIC SUPPLY POTTERY ART STUDIO, INC. 444 Olivl Strmt, bBlport MUSE CERAMICS 4401 Kdlam Argue, Norfolk 1~ ~outh Pmam~nt Boulev~r d, South Gate 1903 Delumod Road. Way~iBe WILMAR'S CERAMIC SUPPLY WASHINGTON CERAMIC SUPPLY OF SAN O~EGO NORTH DAKOTA 1121 Bolton A~. Aklundrie CERAMIC HUT 33O 1sth Street. SU. Owed CENTER Wl LMAR "S CERAMIC SUPPLY CAROL'S CERAMIC 3996 Valley Highway # 9. Demlng 9, L, CLUTTER P/~ HlghMy 83 North, Minos 131121 ngh~wo~xI A~, Hawth~ 1210 SOUth End Street, CERAMICS BY SHIRLEY MAINE DO ROTHA'S CERAMIC SUPPLY 404 South Second Strut. Yadtiml CREST CERAMICS 410 Ealt Main, MII~Wn 1806 NOrth Chester Averse+ B4ikenthNd ME.N-JO CERAMics LLOYD'S CERAMICS AND POTTERY U.S. R~te # 1 ~t Dumta~ C~rw, WeSt ~.a¢ borough NORTHWEST CEHAMIC SUPPLY 318 Westlake Aan~ North. Samttla DAHM CERAMICS 221-223 BroadMy, F~o 924 El Clmino Real. So~Jth San F ra~¢b~o SMITH'S CERAMICS MILLER'S CERAMICS 268 Main Strict+ B4~lO~ 0HI0 4828 Pacific Avenue, T~ DUNCAN CERAMIC HOBBY SUPPLY 5646 Gist Shields, Fr~ MARYLANO G & H CERAMICS SPOKANE CERAMIC SUPPLY west 38 Third A~n~. Spoka~ LEG'S CERAMIC SUPPLY DOTTIE'S ART CORNER BOx 287. Botkim Angle Rold. New KnOxville 1055 Sonoml B~Jl~ard, VMI~jo 50~ South M~n Street, Mount Airy KARSHNER'S CERAMICS WEST VIRGINIA PASO ROBLES CERAMIC SHOP HIGHHRIOGE CERAMICS 673 WRen Road. Columbus B & M CERAMICS. INC. 3 mile~ North of Pa~o Rob~eson O(d 101, Pa~e Rol~ St. Stel~hlns Church Road & MD R~te 3, Gmth~ifls OHIO CERAMIC SUPPLY. INC. 1002 Broadway Avenue, Parkarsburg SHOP RHOOY'S CERAMICS MARVLAND CERAMIC HOUSE, LTO. BOx E30, 2861 State Route 5~. Kant MULLENS CERAMIC 1011 Moran Avenue. Mu.e~s 1640 Co~t ~ge Av~e. Nationd CIW 7902 Harfor d Road. Blthm¢¢e RUTH~ CERAMICS CERAMIC SUPPLY, INC. STEWARTS OF CALIFORNIA. INC. MASSACHUSETTS Rural Route 1. N~w Wmhm~ TODD'S 2029 POpfK Strut, K~a 16055 South Heron, La I~Mda FLO'S CERAMICS THE VILLAGE CERAMIC STUDIO SUPPLY. INC. COUNTRY ARTS & GRAFTS WESTWOOD CERAMJC SUPPLY COMPANY. INC 3'-~ Weston Street, WiR~ldwm ~8 East Main Street, New L~ TOWN & One-half mile on Crooked Run Road off 14400 Lomit~ A~r~Je. City of thd~ stay GINA'S CERAMIC SUPPLY HOUSE VILLAGE CERAMIC STUDIO Route 19 it Gme. Cbththurg COLORADO 588 Broad Street, East Wey~th 8112 Blue Ash Road, C~n¢~nnlti WISCONSJN VAN HOWE CERAMIC SUPPLY COMPANY NASHOBA CERAMICS 11975 EaSt 4Drh Avmue, De~ M~g4Jire Line. Stow OKLAHOMA FIRESt DE CERAMICS 2805 North Barker Road. Sa~kRdd CONNECTICOT WOBURN CERAMIC SUPPLY CERAMIC COTTAGE Tul~ CERAMICS INC. E LMWOOO CERAMIC STUDIO 20 Walnut Strut, Wo~rn 748 Sooth Wheeling. MARCELLA'S 1150 Inman Parkway. Belo~t 62 Fmmingt~ Avenue. FarmMgtmt MICHIGAN DOLLIE'S CERAMICS & PORCELAIN B~l~erd, Oklahoma City CERAMICS INC JOKEN'S CERAMICS 3011 South Shields MARCELLA'S JEAN'S CERAMIC STUDIO 3119 East WashmBt~ Avenue. MndHon I073 Buddington Road. Gloria 227 West Wldlington Strmt, Marquette GUYER'S CERAMIC HOBBY SUPPLY STUDIO. INC. JOY REID CERAMIC STUDIO 1402 South--s 21s~ Str ~t+ Liwt~ ROLENE CERAMIC DELAWARE 2522 W~t M~ Street. Gr~ Bay 2016 North T~h Road. DMrbom OREGON GABS CERAMICS WAUGH~ CERAMIC STUDIO. INC CERAMIC SUPPLY, INC, CLARKE'S CERAMICS 4707-9 Coverer Printz Boul~d, Wilminllt ~ TARI TAN of Tomah on 817 Cherry Sc~qheast, Grlmd RI~ 1585 Jun+p~. Jarctk=n City R~te 3, 2 miles East FLORIDA Highway 12 & 16. Tomah MINNESOTA DOBE DEPOT. INC CALLAWAY CRAFT CENTER WYOMING BY DEE 1100 North Central. Mndfocd Routl 2, BOX 546. H~h~y 22. Panama City CERAMICS SUPPLY, INC. 895 Front Avenue, St. plul DOgE DEPOT. INC. SCULLY CERAMIC CALLAWAY CRAFT CENTE R # 2 2809 Southeast Stark Sirs, Portland 146 ~th Elk. ~r 3105 North "1" Strut, PaMm:oM 0 & H CERAMICS 6309 G~and A~n~. Duluth PENNSYLVANIA CANAOA THE CERAMIC SHOPPE CERAMIC, INC. AMEIGH'S CERAMIC STUOIO ADANAC CERAMICS 6025 C~mster Avenue, ~ll PARAMOUNT Strut 220 NOrth State Strut. Paint 1610 R~elt A~nue, Williamspo~l 820 Renfr~ DOLPHIN ART CERAMICS va~ 6, BrHish C~um~a T J's CE HAMICS, INC, DECKER CERAMIC SUPPLY COMPANY INC. 309 ~xth Street, H4dly Hill SUPPLIES, LTD 1311 East 66th Street, Minnea~is 426 Li~lnMy West. New Oxford ALBERTA CERAMIC FLORIDA CERAMIC SUPPLY 326 42nd Southeast BELL'S CERAMIC ARTS INC, Aw~ 1698 Donna Road, West Palm MISSJSSIPPI Carry, Alhmta BI LL'S CERAMIC & GiFT SHOP 72E R~te 15 N., Oill#au rg FRANCOISE CERAMICS. INC. CERAMIC SUPPLIES, LTD Rt, S, BOx 242-B, C~umbm GROVE GIFT SHOPPE ALBERTA 113 49th Street South. St+ Pater thurg CERAMIC 11565 - 149th Street SUPPLY 109 12th A~nue, Junilt~Altoona DOUBLE L CERAMIC Edmont~, Albertl MIAMI ART-CRAFTS SUPPLIES H~ghway BO West, J~duon 235 Northeast ETth Street, Miami CERAMICS BY LAFORCE, INC, MENAGERIE CERAMICS 1 M~ We~ on R~ta 22O. AVn CARPENTER CERAMICS GEORGIA 3708 South P~ksPde Dri~ IEO3 W~I~ Avenue, LIK~Id CROSS CREEK CERAMICS. INC. CERAMIC SUPPLIES Li~bri~, ~db=r~ ALLISON MISSOURI 3596 Oro~ilre Road, Pi~qlh 931 McBride Dr+~, Co.rebus DOUGLAS CERAMIC & CHRISTMAS 6HOP COBEOUID CERAMICS ELStE'S CERAMICS OF WHITEHALL, INC, 43*47 Fmre=~ Strut CSRA CERAMICS R~te 6, BOx $77S. M~ville Road, Spri~fl~dd 331 Grape Street, WhitehM((AIMfltow~) 510 Grm Street. Augusta Tim. Nova Scotia FOUR CORNERS CERAMICS. JNC. CERAMICS, FLOYD SCHEIB, INC. INC. ELSIE'S ISLAND CERAMIC SUPPLIES GALAXY CERAMICS 10008 Emt 50 H~hwey. Rlwt~ 669 East Main Street. H~tim 2114 Habertharn Street, Savannah Island Highway. 3 MbI~ South of Nanalmo GENEVIEVE'S CERAMIC STUDIO. INC. CERAMICS SUPPLY. INC, KOCH'S Nanlimo. British Columbia GEORGIA CERAMIC E514 Web~ Road. St. Lids 624 Gr~e A~e, John~ ~outh C~ltrll A~. Ha~nMl* JONASSON CERAMIC SUPPLY LOVE CERAMICS LE BOEUF FINISHING & CERAMIC SUPPLY CERAMICS 594 Notre Dame Ave~e PARRISH R~te E, BOx 291. NIo~ko Rural Oeli~y # 5. Waderford 2, Nonhot= 2426 South Patt~ Strut. VMdo~tl Wi,r,~eg THOMAS CERAMIC SUPPLIES LIBERTY BELL CERAMICS. INC REGINA CERAMICS LTD. HAWAII Highly ~7 South, CMiforma 4511 Nocth Broad Strut, Philldelphia 1733 McAra Strut TERRA CERAMICS MONTANA MILL Rqli~, Sasl.m:he~n 3035¢ Koi~lke Street. NO~uI, THE POTTER'S ALICE'S CERAMICS Route 611 & Turk Road, DoyMstown SYL AND SUNS CERAMICS LTD. IDAHO 371 Gut Teton Ave~, 6~dby SHERMAN HECREATION PRODUCTS 121 ~p Avenue NU ART CERAMIC & GIFT SHOP COUNTRV COTTAGE CERAMICS CORPORATION Sa~Valt~. Sa¢lult¢bl~n 427 North Main. Pocat IRo R~te 5, KMN~dl 101 Terence Drive, pittthurgh UNICERAM, INC. TREASURE VALLEY CERAMICS MONTANA CERAMIC SUPPLY SUNSHINE CERAMICS, INC, 4070 St-D~is Highway BS North, Wild~ 2018 A)~ Av~, m5 ini+ Route 307. Rural DeLivery 3, Mo~w ILLINOIS SHIRLEY'S CERAMIC 5UPPU ES RHODE ISLAND VILLAGE CERAMICS LTD. 90~ 13th Avenue S0uth, Grut FMIs 25-10 Connell Court CENTRAL CERAMIC ART SUPPLY COMPANY CERAM.ART STUDIO 29WE~ Bat~/ia Ro~d. Wm~nviBe NEBRASKA 3101 East Main Road. ~h T~tO, Drtla~o CERAMIC CREATIONS BEflNtCE'S CERAMICS PUERTO RIC0 8EO5 Highway S Northeast, Un¢oln LOUIS' CERAMIC SUPPLY COMPANY 4115 W~t Liw~er~ Ave~e. Ch w.a~o 114 Smithfield Avenue, ~et CASA DEL BARRO, iNC. CERAMICS BY JOY FHEISZ CERAMIC STUOIO Fill Calla Fad~i~ A. Costa # 1047 "J" StrNt, Omah~ 3230 - 23rd Avenue. Molia 8955-8957 SOUTH CAROLINA Urb. Induetrlal Tins M~jitas, Hito Rey JOLIET CERAMIC ARTS & CRAFTS INC. W & M CERAMIC STUDIO ANDERSON CERAMICS COMPANY, INC. 64 North Desplain~ Street. Jo4iet 2215 A~e G. Kmrr~y 1950 South McOuffie Street, Anderson NEVADA FAITH ~ CERAMICS, INC. Aim diet ri~Jt~S in the follow~ng foreign 5CHERTZ CERAMIC STUOIO ~ntrles: 1201 West Brons. Pmma CERAMIC ARTS, INC. P.O. Box 24. NO~WW TOWN & COUNTRY CERAMIC SUPPLY 19(~i Western Street, Lis Val~ ROURK'S CERAMIC STUDIO, INC. AUSTRALIA GREECE 1 Nocth US Route 83 & Center Street. Gre~la~e NEW HAMPSHIRE 2475 A.thlrf River Road at Pierpont. C~Helton COSTA RICA ICELAND ENGLAND PANAMA DORA'S CERAMIC STUDIO TOWN & COUNTRY CERAMIC SUPPLY FRANCE PHILIPPINES R7 Broadwly Averted, Mamchenl r SOUTH DAKOTA SPRINGFIELD BRANCH VENEZUELA 2809 SQuib S~xth Strait. ~rir.~idd SUPERIOR VIEW CERAMICS CERAMIC HOBBY SUPPLY 1117 West 11th Street, Bioux FMN INDIANA Route 12, Wmtmordand For further information ~ite to: CERAMIC SUPPLY CENTER CRAFSHCE, INC. NEW JERSEY Ounan Cer=n~¢ Fr¢~u Ip¢. 2923 WeSt Rigid. Rapid CaW Highway 67 North, Vi~ ml$ BROWN'S CERAMIC SUPPLIES P. O. Box 762~' TENNESSEE EDITH'S CEHAMIC NOOK 61B North Second Street. MBIvUle Frame. C~ff~nll 93727 6S11 Julian Avem~, In--is CERAMIC MAGIC LINDA'S CERAMIC-KORNER. INC. Oek Ridge MEL'S CERAMIC CORNER Rob't • 1 and Oakland A~nue. Ediso~ 134-138 Randolph Road, Grove Center, East M|in Street. I~Niffith DOLLY'S CERAMIC ART STUDIO HOUSE OF CERAMICS, INC. THE MUD HUT 30 M~t0ocnilry Stni~'t, CBftoo 1011 North Hollywood, ~phil 1815 South Harrison Street, Fort Wayne SAVAGE CERAMIC SUPPLY COMPANY DOROTHY LAMAR CERAMICS Nlslwll M NEELY'S CERAMIC STUDIO R~te 37 & Batchelo r Street, T~ Rivm 3302 Gallatin Road, 311 South A~I~= Road. Olce~ a NEW MEXICO MOUNTAIN vIEW CBRAMIC CENTER, INC. 4712 Dayt~ BNd., Chr~mooge 10WA VAN HOWE CERAMICS OF ALBUQUERQUE CERAMICS CENTER 4810 Pan An~l¢~c~n Frm~y. Northeast RINGER LYLE'S CERAMIC 952 Main Street, NashviIM 1615 South F~deral, M~ City East Frontage Road. Albu~a

52 Ceramics Monthly CERAMACTIVITIES people, places, and things CERAMIC OLYMPICS COMPETITION CERAMICS MONTItLY. Summer schools and TERSTEEG CERAMIC SCULPTURE AT MILLIKEN workshops not already contacted are in- AT SORDONI GALLERY Milliken University, Decatur, Illinois, vited to furnish information about ceram- The November exhibit at the Sordoni was the location of the Ceramic Olympics ics, enamel, or glass workshops. Please in- Gallery in Wilkes Barre, Pennsylvania, fea- Competition held May 3-6, 1974. The clude workshop name, location, opening tured ceramic sculpture by William J. competition was keen among the ceramists and closing dates of sessions, course de- Tersteeg and weaving by Naomi Towner. participating in establishing world records scription, names of instructors, and a name The Tersteeg work h'aturcd functional and in the following events: and address for details. Send before March Thinnest 10-inch cylinder: Average wall 1 to Summer Workshops, CERAMICS MONTHLY, Box 4548, Columbus, Ohio 43212.

NEW PROGRAMS AT SAN FRANCISCO ART INSTITUTE According to Fred Martin, director of the San Francisco Art Institute, two new program opportunities of importance have been established for students. The first makes it possible to achieve a B.F.A. degree in three years by reducing the number Rainb,,a, l"a!ls Sun Jar of courses required from 32 (128 semester units) to 30, and permitting students to non-functional pieces with environmental take five courses instead of the customary themes. "Rainbow Falls," pictured, is a multiple of nine pieces (thrown, slab, and Arnic Zimm, ttt!'ttl (,it t/I~ IJ't~ ]~, t/ four per semester. The second new program deals directly with problems facing coil, vividly glazed and raku fired) com- and 9 inches. Record set at 3/32 inches by some art students after graduation and bined with Plexiglas and mounted on a Vancouver, Washington, as- Glenn Barnett, over the five-to-ten year period during wooden base. The total height of the piece sociated with H & V Pottery, Grass Valley which they attempt to establish careers in is 26 inches. Also shown is "Sun Jar," 21 California. the art world. During this time many artists inches in height. Biggest Bowl: Largest (volume) bowl must find some source of economic sup- Tersteeg received his M.F.A. from thrown in one piece from an unlimited port outside of their field. To meet these Southern Illinois University, Edwardsville, amount of clay--measured after firing to problems, the Art Institute established, be- and is presently an instructor of ceramics Cone 010. Record set at 22.3 gallons by ginning with the Fall 1974 semester, a at Keystone Junior College, La Plume, currently at Chris Gustin, Kansas City Art program to help students develop supple- Pennsylvania. His work has been exhibited Institute. mentary vocations by means of appropriate in Midwest and Eastern shows and in Ce- Fifty Cup Event: A speed event of the "testing; vocational study at local com- ramics International '73 in Canada. total time to throw, pull, attach handles, munity colleges or in business concurrent and foot 50 cups (cups to hold no less than with their study at the Institute. A place- CERAMIC LEAGUE OF MIAMI :', -,mc,'~ c~f fI~dd . Record set at 105 ment office for both part-time jobs during The Ceramic League o[ Miami (Florida) school and full-time work after graduation recently sponsored a three-day workshop has been established. on porcelain and whiteware conducted by k Details of the new program are available Don Penny (pictured). During the ses- by writing to Helen Fried, Development sion, Penny gave throwing demonstrations and Public Relations Office, San Francisco and discussed special problems that could Art Institute, 800 Chestnut Street, San occur in the forming, drying, glazing, and Francisco, California 94133. firin~ of porcelain, a, well a~ clay body

HAYSTACK AT ARCOSANTI Activity in crafts will be integrated in the environmental project at the Arcosanti building site at Cordes Junction, Arizona, in conjunction with the Haystack Moun- Rima.~ I i,~.:~d.. tain School o[ Crafts, under the direction minutes, 20 seconds by Rimas VisGirda of Paolo Soleri. Two 4-week sessions will (pictured) currently at Millikin University. operate from March 17 to April 11, and Pentathalon: A speed event of time nec- from April 14 to May 9. The registration essary to I. throw and attach handles to will be limited to ten people per section. five cups (1 pound each); weight in next The two sessions will include ceramics, four categories limited to 5 pounds each-- metals, and textiles--teachers and associ- 2. throw and attach handles to five pitch- ates for ceramics: Ron Garfinkel, Starr Donald Penny ers; 3. throw five plates; 4. throw five Sutherland, and Richard Johnson; for met- and glaze formulas. A discussion of Penny's bowls; and 5. throw five jars and lids. als: Rick Cronin; for weaving: Melissa firing results was a feature of the porcelain Record set at 57 minutes, 10 seconds by Gar/inkel and Ferne ]acobs. and whiteware workshop. Arnie Zimmerman, instructor at the Kansas Applications for workshops are being ac- A highlight of the event was a slide pre- City Art Institute. Also pictured is Arnie cepted from any interested person over 18 sentation on Nigeria where Don Penny Zimmerman providing commentary while years of age. Ability level may range from recently worked for a year. It covered the Glenn Barnett labors in the 50-cup event. beginner to advanced professional. Priority people, their customs, and their pottery of acceptance will be given to applications which showed the survival of the simplicity SUMMER WORKSHOPS received before February 15. Write: Cosanti of form, in addition to the unusual colors The annual Summer Workshop listings Foundation, 6433 Doubletree Road, Seotts- obtained in their primitive firings. will be published in the April issue of dale, Arizona 85253. Continued on Page 55

February 1975 53 ~qq r -)iscriminating Ceramists Need a Model A-99B

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54 Ceramics Monthly CLAY BODIES & SLIPS ~~l""f°r ~t ~ ~ll schoot CERAMACTIVITIES STONEWARE / ~ ..d Continued /rein Page 53 ~~ studio! EARTH ENWARE ART FACULTY SHOW AT UNIVERSITY OF UTAH PORCELAIN N The University o/ Utah (Salt Lake City) s..d ,0, ~ Ff,~.f JLIIIIll held its Annual Art Faculty Exhibition at White, Terra Cotta the University's Museum of Fine Arts in brochure [ t I Ill Let the Walker Pug Mill mix Buff, Red and Brown ind , , late fall. Ceramics ,,.of ~jl Iql~arCl+lE,,m,n~*odr+~ High and Low s,tlsfied .... +~.~ ~'I " ~ sa,,+ time for creative exhibited by Doro- <-~'~'ffort and instruction thy Bearnson re- firing temperatures flected the traditional heritage of the potter's craft and emphasized form and special glaze effects. Some REPAIR POTTERY INVISIBLY! of her pieces are pictured. Nine Clay or Bisque stage pieces of current Marilyn Levine work by Marilyn Breakage is no longer a calamity! High-temp. "Alumide" cement lets you put it all together Levine were included in the exhibit, two of beautifully . . . undetectably| Receives glazes. which are s]lox,n: "Blue Jacket," and Money-back guarantee. Kit ~50 (approx. 1~'3 oz. liquld, 1V3 oz. powder] $3.95 plus 50c postage & handling. (U.S.A. orders.] Connec- ticut residents add 6% sales tax. Check/ Money Order. Specify "Ceramic" or "Stone- ware." WHEELS AND KILNS IN STOCK FULWELL PARK CERAMICS AT ALL TIMES Box 295CMM, Wallincjford. CT. 06492

95 BARTLEY RD. Dorothy Bcarnson FLANDERS, NEW JERSEY 07836 "Brown Suitcase." Her sculpture may be classified in the category of new photo- realism, his. Levine has prepared a slide Nearly a Quarter of a Century

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Maril)n l., : ~., series illustrating her method of working 12"Aluminum Wheel Heads which she has presented at various schools, $21.50 Ppd. colleges, and workshops. Calif. residents add 6*/, sales tax Send Check or Money Order to: CRAFT ALLIANCEGALLERY G&L IndustriesLtd. AND EDUCATIONCENTER P.0. Box11892 • Fresno,Ca. 93775 Organized more than ten years ago, the Craft Alliance Gallery, St. Louis, Missouri, promotes the work and reputation of its member craftsmen as well as introducing $230.00 F,O.B Crestline, Ohio exhibits of work by leading artists in the FEATURES: United States; at the same time it fulfills = 30" x 30" x S", 14 ga. rust-proofed the function of setting and maintaining a steel pan • 13" cast iron throwlncj head. standard of excellence for the crafts, with • 100 lb. 20" flywheel u Height -- 36" DECALS Dorothy Farley as director. Presently more • Trim bar for foot rimming • Con- than 60 juried members residing in 16 structed of IVz" x 11/2" x 3/16" angle the very best iron. u All seven points of action are states use the gallery as an area showcase precision ball bearincj. • Handsome ham- for their work. The current exhibition, Please send $1.00 plus 25¢ mer finished pan with black stand • Hip which opens February 2, will feature stone- rest [non-adiustable}. postage, for your complete de- ware by Ed McEndar[er and weavings by cal catalog including applica- Libbie Crawford, both Missouri artists. tion and firing instructions. Closing date for the exhibit is February 26. In conjunction with the Gallery, tile H. B. KLOP,F E S IN & SONS CeramiCorner, Inc. Crafts Alliance Education Center provides P. O. Box 516, Azusa. Calif. 91702 the general public the opportunity to par- Continued on Page 57

February 1975 55 Virginia Ceramists present the 5th Annual HOBBY SHOW March 14, 15, 16, 1975 State Fairgrounds, Richmond, Virginia

Competition for the hobbyist Free demonstrations, door prizes, molds, supplies

Show Hours : Fri., Sat. 12:00 Noon to 9:00 P.M. Sunday 1:00 P.M. to 6:00 P.M.

The OMNI Potter's Wheel A professional, industrial-quality potter's wheel ideally suited for all potting techniques. $275.oo Write for Technical information. Omnl Projects 823 Rorke Way, Palo Alto, CA 94303 REWARD CERAMIC COLOR MFRS. L_ .... ------314 Hammond= Ferry Road, Glen Burnie, Md. 21061 56 Ceramics Monthly "sC'~'A"~F~s'4t~ Distributors of: THE SALEM CERAMACTIVITIES /~~~ Continued [rom Page 55 SHIMPO RK-2 ticipate in classes conducted by qualified ANDSPINNING TIGER craftsmen, and provides area artists and craftsmen with a meeting place and forum kickwheels, L&L kilns, Leclerc for the exchange of ideas. looms, Kemper tools, our own earthworks clay bodies, leather thongs, ELENA CANAVIER NEW CRAFTS COORDINATOR of rochester teapot handles, cork, spigots OF THE NATIONAL ENDOWMENT FOR THE ARTS The appointment of Elena Canavier as and sponges. Write for brochure Crafts Coordinator in the Visual Arts Pro- 3AI]I~ PLACE ~ IvKXCIEIA~N[ g~43 gram of the National Endowment [or the 120 PLUS Arts has been announced by Nancy Hanks, Chemicals & Raw Materials chairman of the Endowment. Ms. Canavier bulk quantities available replaces Sandra Zimmerman who is now Clay Bodies a~sociated with a New York advertising firm. stoneware, sculpture, porcelain. MAC SPONGE SALES Elena Canavier earthenware, cone 6 & [0 flame- attended ]epson Art ware Elephant Ear, Wool & Silk Sponges--Chamois. Institute, the Uni- Write for catalogue. versity o( Southern Tools - Scales - Sieves 351 W. Forest Ave., Reselie. III. 60172 Cali[ornia, and the Kick & Electric Wheels Cali[ornia State amaco, brenf, esfr|n, pacifica. University at Long sh|mpo, skutt, soldner Beach where she earned an M.A. in Gas & Electric Kilns Shimpo-West • Brent. • Skutt amoco, california, estrin, I & I, Walker Jamar Kemper art history in 1970. As a painter, print- paragon, skutt maker, and ceram- Creek Pottery Elena C'ana:i,, ist, her work has Cloy MIXED TO ORDER Distinctive Stoneware been shown in group shows, one-man exhibitions, and is represented in public and Proven in studio private collections. She served as a con- 420 merchants road equipment sultant to art galleries, and taught at Cali- rochester, n.y. 14609 Serving Kentucky, Tennessee, fornia State University, Long Beach, as 716/288.40S0 Indiana & Ohio well as the Chouinard Art School o[ the (502) 245-1282 Cali[ornia Institute o( the Arts, Los An- Delivery anywhere geles. She has published a syndicated art review column for the American Publishing P.O. Box 23162, Anchorage. Ky. 40223 POTTER'S Company; written for art periodicals, in- Prices on request * WORLD ~ ~~-~- ~;:i~ eluding CERAMICS MONTHLY; and she will The South's 25th ! _ ~ continue as a contributing editor of Art- year of service of week. Pottery and Ce- ramics Equipment. Qualify Names in Elena Canavier will supervise the Na- We offer clays, tional Endowment's crafts support program chemicals, trits CERAMIC EQUIPMENT tools, scales, --now in its third year--which is expected corks tea pot CRESS, JEN - KEN, SKU]7" (kilns), to provide grants totaling $500,000 in 1975. handles b o o k s, SHIMPO, BRENT, ESTRIN (wheels); and scu pture tools. Clay, metal, fiber, wood, and glass are WHEELS: Brent, Shimpo, Max, Randall, WALKER PUG MILL, SOLDNER CLAY Menco Spinning Tiger, ARCOW among the media encompassed by the pro- MIXER, KEMPER (tools), AMACO Deal- KILNS: (Gas) Unique and Thermo-Lita IElec- er. Plus a broad selection of highest qual- gram. Individual fellowships in the amount tric) L&L Econo-Kiln. Walker-Jamar PUG MILL Full line of copper ename[ing kilns and sup- ify Southern clays, supplies. of $5,000 each ($2,000 more than in 1974) plies. Molds for glass slumping (85 designs). will be given to individual craftsmen of Glass stains (Kiln fired) G(ass bubble. Lam- Clay Sample $1.00 inates. Catalog S0 cents outstanding talent; professional craft workshops; craftsmen-in-residence; and to spe- POTTER'S WORLD 4930 Distribution Dr., Tampa, FL 33619 HELEN BENNETT cial projects such as craft exhibitions and (813) 247-2408 STONEWARE POTTER services. More information on the program OR in Sarasota may be obtained by writing Elena Cana- 4132 N. Tamiami Trail, Sarasota, FL 33580 P.O. Box 8496, Orlando, Florida 32806 (813) 355-6721 (305) 898-7446 vier, Crafts Coordinator, National Endow- ment for the Arts, Washington, D.C. 20506. The National Endowment for the Arts is an agency of the Federal Government, created by Congress in 1965 to develop and EVERYTHING encourage America's cultural resources, and FOR THE POTTER! is advised by 26 members (appointed by the President) of the National Council on CLAYS the Arts. CHEMICALS KILNS • WHEELS DENNIS PARKS IS ARTIST-IN-RESIDENCE DRY GLAZES AT COLLEGE OF IDAHO ... Much, Much More The College o( Idaho in Caldwell has Catalog $1, Free to Institutions announced the appointment of Dennis Parks as artist-in-residence from January 6- February 14. In this capacity he has been L & R SpEciA|TiES furnished with a studio where he is con- 101 W. Mr. Vernon, P.O. Box 309 Nixa, Mo. 65714 (417) 725-3506 ducting his work and at the same time being Continued on Page 59

February 1975 57 OBJECTS: USA books on ceramics from by Lee Nordness. A superb publication fea- • Recommended turing over 250 artist/craftsmen working in ceramics and other media. Includes a photo of each craftsmen, a brief biography, and BOOK DEPARTMENT an example of his work. $16.95 MONTHLY 4" CERAMICS FOR THE ARTIST POTTER by F. H. Norton. The most complete book ORDER ANY OF THESE SELECT TITLES on the subject, from choosing the proper clay to puffing the final touches on a piece, ON OUR MONEY.BACK GUARANTEE. WE PAY POSTAGE all clearly explained. $10.75

AS DESIGNER ILLUSTRATED DICTIONARY THE KILN BOOK NATURE detail This unusual and stimulating by Frederick I. OIsen. Covers in by Bertel Bauer. OF PRACTICAL POTTERY both the technical and aesthetic aspects book presents a treasured collection of plant by Robert Fournier. This work is exhaustive of kiln construction and firing. Wr;ffen in life. The forms will suggest an infinite in scope and de:all. There are nearly 1200 a style that is easy to follow and informa- number of shapes and textures for pottery. entries which are listed alphabetically, and tively illustrated. Paperback. $8.95 An outstanding glft selection. $14.95 over 450 illustrations. $12.50 MAKING POTTERY WITHOUT A WHEEL STEP-BY-STEP CERAMICS CERAMIC GLAZES by F. Carlton Ball and Jan;ca Lovoos. This by Jolyon Hofsted. A complete introduction by Cullen W. Permelee. A newly revised richly illustrated book covers every phase to ceramics. I There ere special sections on edit;on of one of the standard texts on of handbuildin9 and decorating clay pieces. the Potter's Wheel, Glazing, Firing a Kiln, glazes. If is a comprehensive study of every No book covers the subject of texture and Building Your Own Kiln, and Raku. $2.95 aspect of the subject with clear, concise ex- 612 form so effectively. It is a book every OF DESIGNS AND DEVICES planations. An essential reference wifh HANDBOOK pages of technical information. $18.50 teacher should have. $10.95 by Clarence Hornung. Over 1800 sketches EXPERIMENTAL TECHNIQUES IN ENAMELING of basic designs and variations including the RAKU POTTERY by Fred Ball. Beginning with essential in- circle, llne, scroll, fret, shield, snow crystals by Robert Piepenburg. This oufsfanding new formation on materials and basic techniques, and many more useful symbols. $2.00 text covers all the basic information on raku. this exciting book progresses to new pro- CERAMIC DESIGN A very practical guide containing instruc- cesses wlfh explicit instructions and abundant by John B. Kenny. Complete instructions for tion on clays, glazes, kilns, firing, and a illustrations. A notable addition to the exist- methods of forming and decorating ware are chapter on safety precautions. $12.95 ing literature. $9.95 given, with step-by-step photos to guide the FINDING ONE'S WAY WITH CLAY designer along the way. $9.95 CLAY AND GLAZES FOR THE" POTTER by Paulus Berensohn. This unique book often by Dan;el Rhodes. New, revised, and en- CERAMIC SCULPTURE larged edition (1973) covering all the a new approach to making pots. It is a Contains over I000 photos on by John B. Kenny. fundamentals of clays and glazes. $12.50 clear, readable, and definitive book and sketches covering all phases of the making pots using the pinch method. $9.95 sculptor's art. A valuable aid for all KILNS: DESIGN, CONSTRUCTION PIONEER POTTERY teachers and craftsmen. $9.95 The main purpose of & OPERATION by Michael Cardew. to this book is to help craftsmen who want to THE COMPLETE BOOK OF by Daniel Rhodes. Everything you need natural materials with- POTTERY MAKING know about kilns -- seffing up, firing, types make pottery using $I0.00 out depending on customary sources of by John B. Kenny. The "best seller" in the is described and demonstrated. supply. Covers clays, glazes, kilns. $15.00 ceramic field! Step-by-step photo lessons CERAMIC FORMULAS: cover all of the pottery-maklng techniques: L:~ rwi~ PAY POSTA~i~i I clays, glazes, firing, plaster, etc. $7.50 THE COMPLETE COMPENDIUM by John W. Conrad. This new text contains KERAMOS STONEWARE AND PORCELAIN over 70G tested formulas for clay bodies and by Franz Kriwanek. All of the basic areas of by Daniel Rhodes. Describes techniques and glazes in all firing ranges. Features special ceramic work are covered in this book. materials used in high-fire poffery. Includes coded color charts. $10.95 The examples of pottery are impressive. sections on clay bodies, glazes, colors, tex- WORKSHOP There is a refreshing treatment of subject tures and decoration. $7.50 POTTERY book unique. $5.50 by Charles Counts. A complete sfudlo-work- metier that makes the shop manual which guides the apprentice- A POTTER'S BOOK RAKU: ART & TECHNIQUE reader from clay to kiln in 250 step-by-step by Bernard Leach. Now in its twelfth Amer- by Hal Riegger. The first complete book on photos. WriHen by a master craftsman, if ican edition, this book should be in the Raku. Covers clay and glaze preparation, will serve as an inspiration and guide for library of every potter. $12.75 kiln building and firing techniques. Beauti- all students of pottery. $8.95 SELLING YOUR CRAFTS fully illustrated. $12.95 DESIGN MOTIFS OF ANCIENT MEXICO by Norbert N. Nelson. This book leads you CREATIVE CLAY DESIGN by Jorge Enciso. A compilation of 766 ex- through the actual stages necessary to sell by Ernst RoHger. A wonderful aid to those amples divided into geometric, natural and successfully what you produce. Covers such who are learning and those who are teach- artificial forms. Includes designs based on diverse channels of sales as wholesale, retail, ing others how to explore the creative flowers, birds, fish, etc. 170 pages. $2.50 mail order and specialty markets. $3.95 possibilities of clay. $5.95 1 Order Form D We Pay Postage THE WORLD OF JAPANESE CERAMICS I by Herbert Sanders. This handsome book BOOK DEPARTMENT eox 4548, Columbus. Ohio 43212 I| illustrates the forming and decorating pro- cesses and the unique tools usecl by the ~ Bager---Nature $14.95 Encis~Dasign $2.50 [] Kriwanek--Keramos $5.50 Fournier~Dictlonary $12.50 [] Leach~Potter's Book $12.75 I potters of Japan. Includes glaze formulas, Bali--Pottery $10.95 color charts, and American equivalents of Ball~nameling $9.95 Hofsted--Ceram|cs $2.95 [] Nelson~Selling Crafts $3.95 I [[]•] ~ Nordness--Obiects $16.95 Japanese glaze compositions. $17.50 [~ Berensohn--Finding$9.95 Hornung--Designs $2.00 Cardew--Pioneer $1S.00 [[~ Kenny~Deslgn $9.95 Norton--Art|st Potter $10.75 Olsen~Kiln Book $8.95 CERAMICS B onrad---Formulas $10.95 Kenny~Sculpture $9.95 by the editors of Sunset magazine. An ex- [] Kenny--Poflary $7.50 [] Parmetee---Glazes$18.50 Counts---Workshop $8.95 ~ Piepenburg~Raku$12t75 I cellent new text for beginners and those Rhodes~lay & Glazes SI2.S0 teaching beginners. Well-planned projects F~F] Rhodes---Kilns $10.00 carry the reader through basic handbuilding NAME RhodesmStoneware$7.B0 and throwing techniques using a minimum of [] Rleggar~Raku $12.95 I tools and equipment. $1.95 ADDRESS ~ Rottger---Creatlve Clay $5.95 I POTTERY: FORM AND EXPRESSION Sanders---Japanese$17.50 by Marguerite Wildenhain. A truly beautiful CITY STATE zip ~ Sunset ,ditors--Ceramics S 1-gS I of the author at Wildenhaln~Pottery $9.95 book! Magnificent pictures I enclose [] Chuck [] Money Order work and of ancient and contemporary pot- (Ohio residents: add 4% Sales-Tax) tery. An outstanding gift selection. $9.95 L_ I 58 Ceramics Monthly HO. 13 CERAMACTIVITIES CATALOG Continued [rom Page 57 available for questions from ceramics stu- $1.00 dents. Parks is on temporary leave from NEW 1975 CATALOG his position as instructor at the Tuscarora Catalog Sent Free Pottery School, Tuscarora, Nevada. " RAW MATERIALS To Schools & Institutions • BLENDED & BASIC CLAYS FIRST MOUNTAIN CRAFTERS OF NEW JERSEY VAN HOWE CERAMIC SUPPLY CO. More than I00 artists and craftsmen • FRITS AND GLAZE STAINS from New Jersey participated in "Craft 11975 E. 40th, Denver, Colorado 80239 Evolution '74," an annual exhibition and • LEAD FREE CERAMIC GLAZES sale sponsored by the First Mountain • SPONGES, HANDLES & BRUSHES Cra[ters o[ New .lersey at the Kean College • MOROCCAN SAND GLAZES Good Earth • KEMPER TOOLS • OHAUS SCALES CLAYS • CORKS 11/2"-6" Send for price & product list. • KILN ACCESSORIES Clays, chemicals, refractories • OSCAR PAUL & SKUTT WHEELS 6 moist clay bodies • LOCKERBIE KICK WHEELS 15 dry clays Evelyn Simpson Pat Gaby • SHIMPO WHEELS Union on December 7-8. The First Moun- 30S4 Southwest Boulevard Complete 60 Page Catalog Kansas City, Missouri 64108 tain Crafters, a non-profit organization, A/C 816-$61-4437 was founded in 1956 by five craftsmen "Try us for those living within the First Mountain Region hard-to.find items." in New Jersey. The orga- of the Oranges CATALOG S1.00 nization now has more than I00 active Gare is dressed to kiln nwmhers dedicated to encourage and sus- IFree To Schools & Institutions) • . . in stainless steel jackets and a 2-year factory wazranty on electrical components. Check Gare's net prices before you make your next kiln purchase and make a killing. Gare Ceramic Supply Co., Inc. P.O. Box 830, Haverhill, Mass. 01830

POTTERS' WHEELS We stock and sell the lead;m] potters' wheels --LOCKERBIE ROBERT BRENT OSCAR PAUL MANUFACTURERS SH MPO-WEST, SPINNING 'TGER~wheels to fit every need and budget. Send large stamped addressed envelope for brochures. CAPITAL CERAMICS, INC. Phone (801) 2174 South Main St. 466-6471 Salt Lake City, Utah 84115 466-6420

1Debolah A'~Hght L 6, L KILNS rain interest in crafts; uphold high ideals ii • . . the most complete line! in all craft activities; and to motivate par- ~ !!i!~ ticipation and support of students with The only kilns with patented DYNA-GLOW element holders. Write for information. exceptional abilities in craft media. 6, r/,IR L and L MANUFACTURING CO., Box 348 Some of the work in the recent show 144 Conchester Rd., Twin Oaks, Pa. 19104 is pictured: "Tree Pot" by Evelyn Simp- son; and pots (slab-constructed with • Ceramic Cla~s - wheel-thrown tops) by Pat Gaby; the for the discriminating Potter KRAFT KORNER cylinder on the left is 17 inches in height. 19/5 CATALOG $1.1~ hV K "Aristocrat of Crafts" Also shown is a close-up of the Pottery New Catalogue $2.00 who 10016 10% discount with first $10.00 order or more Shop made by Deborah McKnight Complete line of supplies for: does only pottery miniatures. Decoupage Maerame BeadedFlowers Pant ng Leaded Glass Tale Painting Enameling Silver~mithing Marge Wennerstrom INVITATIONAL AT HUNTERDON ART CENTER Please Mention CM an in- 5864 Mayfield Road, Cleveland, Ohio 44124 Phone: Entitled "A Special Exhibition," when writing our advertisers 442-1020 vitational show was selected and installed at the Hunterdon Art Center, Clinton, CERAMIC & New Jersey, by Toshiko Takaezu, Art Cen- ter trustee. The artists participating in the Wanted: FULL OR PART-TIME POTTERS Columbus, SCULPTURE November show were Harvey Littleton-- to make basic pottery in our or in your own studio. SUPPLIES blown glass; Bruno LaVerdiere---ceramic Ohio area studio For details, write su associates, 8237 • GLAZES • WHEELS sculpture; Eleanor Moty--photo-electro- CLAY Dr., Worthington, Ohio 43085 KILNS • RAW MATERIALS Tawney--linen Copperfield plated metals; and Lenore (614) 888-9747. ALSO--we're looking for RICHLAND CERAMICS, inc. forms and collages• In conjunction with 7124 Monticello Blvd., Columbia, S. C. 29203 good used studio equipment. Continued on Page 61 February 1975 59 gmgfig° era )ec

Amaco has been a leading manufacturer of special Ce~ Decorating Colors for over These high quality underglaze and overglaze colors for all ceramic decorating are available in the following mediums: Amaco Liquid Under- glaze, Amaco Semi-Moist Underglaze, Amaco Un- derglaze Crayons, Amaco Underglaze Pencils, Amaco Semi-Moist Overglaze, Amaco Semi-Moist Glass and Metal Enamel Colors and Amaco Versa Colors. For more information about these fine products, contact your local Amaco distributor or write: ® gHg~0 American Art Clay Co., Inc." 4717 W'est SixteenthS tre(

THE WALRUS KICKWHEEL

Concerned about the natural gas and oil shortage?

Start firing electric!

• 150 lb. concrete flywheel. Frame partially disassem- bled for shipping • Kickwheel with form for We have SKUTT kilns (all models) and casting flywheel potter's wheels on hand for immediate • Unique metal kit with delivery. Call or write for prices and in- plans for building frame formation.

Send $1.00 now for your copy of the Harris Linden catalog (Catalog sent FREE to Schools and Institutlonsl DEALER INQUIRIES INVITED ...... '~ ~:= WALRUS WOODWORKING Harris Linden Ceramics 16 Emily St., Cambridge, Ma. 02139 1772 Genessee Avenue, Columbus, Ohio 43211 617-864-7112 Custom and Production Woodworki~£ Phone: (614) 267-5385

60 Ceramics Monthly 1 SPRING • SUMMER • FALL / If DUNCAN Live-In Workshops Special One Week Workshops manufactures or Wayne Higby • Toshiko Takaezu CERAMACTIVITIES ...... , ...... :...... ::.~ I Continued [rom Page 59 publishes it... the exhibition, Lenore Tawney presented a slide lecture about her work. WE stock it/ CRAFTSMEN INVITATIONAL AT SOUTHEASTERN CENTER FOR CONTEMFORARY ART E-Z FLOW ...... Glozes The Southeastern Center /or Contem- porary Art (formerly the Gallery o[ Con- SM & DM ...... Molds , temporary Art) Io- BIG CREEK POTTERY cated in Winston- +-' z• Davenport. California 95017 COVER COAT ..... Underglaze ~, Salem, North Car- olina presented its E-Z STROKE ...... Transparent annual Craftsmen Underglaze ~CASTLE HILL SUMMERWORKSHOP Invitational Exhl- IN RAKU in December. _~ CERAMIC SCULPTURE BISQ-STAINS... Unfired Stains ~ bit;on PRIMITIVE FIRING ~ In its sixth year, major regional TRURO CENTER FOR THE ART~ BRUSHES ...... this plus CLAY TECTONICS -- Other crafts and fine exhibition featured arts. A summer ex:perience on Cape Codl Joy Reid Catalog ...... $1.00 • ~ some of the out- TRURO CENTER FOR THE ARTS, Joyce Johnson. Duncan Catalog ...... $1.50 :i N i Dir. Write for brochure: Castle Rood, Traro, Jim CantreU standing crafts be- Moss. 02666 Tel. 617-349.3714 CeramiCorner Decal Catalog .... $1.00 in the Southeastern United Glass Decal Catalog ...... $ .50 ing produced plus 25c ea. Postage States today. Sixty regional craftsmen were represented, with half that number working in clay. Ceramists from North Carolina in- 1000 ISLANDS MUSEUM cluded William CRAFT SCHOOL CLAYTON,13624 N.Y. Brown, Clyde Gob- Bcd'ik China Painting ble, Sally Prange, Design Dyeing Jane Seville, Eddie Early American Decoration June 23 Enameling Jewelry fo Smith, Charles Lapidary Leather Chamberlain, Tom Oil Painting Watercolor Oct. 31 Ileramic Studio Glass Painting Pottery Mason, Larry An- Sculpture Stained Glass 1975 P.O. Box S367 derson, Sue Ander- Weaving Woodcorving 2016 N. Telegraph (US-24] son, Phil Pollet, For further information write to: Dearborn, Mich. 48128 • Phone LO 1-0119 EMILY POST, Director, CM-2 Lee Magdanz, Car- 10 Eoudinot Street, Princeton, N.J. 08540 ol Ann Zinn, Mor- After June 1st to: gan Davies, Hiroshi 1000 ISLANDS MUSEUM CRAFT SCHOOL Sueyoshi, and Herb Ron Garlinkel CLAYTON, 1000 ISLANDS, N.Y. 13624 Cohen; from Tennessee: Frances Taylor~ El.!er Tayl,,r, arid Dale Baucum: from J ,n. I ARCHIE BRAY I~l FOUNDATION 'SUMMER SESSION Ceramics and Glassblowing 2915 Country Club Avenue - Helena. Montana 59601 1 .O, --

Opus Summer Workshops in the foothills of the Rockies Sally l'rangc Pottery - Wafer Colors Georgia: Marianne Weinberg, Carlton All- Drawing - Creative Writing facilities. Jerry Chappelle; from South Total live.in sop, and OPUS FOUNDATION CORPORATION Carolina: Tom Turner, John Davis, James Box 200 ]. Davis, and Don Lewis; Joe Monk, Vir- Sedolia, Colorado 80135 ginia: ]im CantrelI, Kentucky; ]oe Bova & INSTRUCTION BOOK WANTED Teachers, college students as counselors in Pennsylvania childrens' camp. With this Calculator, you Ceramics, pioneering, land and water sports. College varsity sports members can formulate or modify glazes given special consideration. Art Lusfig. in minutes. Eliminates wasteful 8 Richard Dr., Short Hills, N.J. 07078 trial and error, giving students and professional potters a better working knowledge of glaze POTTERS WANTED theory and design. William ll~(~:zn for Louisiana; Karyn Kozak, Illinois; and Ron Gar/inkel, Maine. Production Wheel Work Order direct. Works from the exhibition are pictured: AXNER POTTERY Add 6% sales tax in Calif. Car~da add 50¢. decorated porcelain by Sally Prange; stone- 2221 Gillis Cf., Maitland, FL. 32751 Continued on Page 62

February 1975 61 Index to Advertisers Summer February 1975 CERAMACTIVITIES A-1 Kiln Mfrs ...... 57 ARTISTS-IN-RESIDENCE Aegean Sponge Co ...... 44 Continued from Page 61 Alpine, A.D., Ine ...... 4 ware by Jim Cantrell; salt-glazed platter American Art Clay Co ...... 60 Axner Pottery ...... 61 Workshops in from "Cloud Series" by Ron Garfinkel; Bellman, W. $. Co ...... 13 and several pieces by William Brown. Bennett, Helen ...... 57 Photos: Timothy B. Smith. Bergen Arts & Crafts ...... 47 Big Creek Pottery ...... 61 • Ceramics RENWICK GALLERY PRESENTS Bluebird Manufacturing CO ...... 47 Bray, Archie, Foundation ...... 61 FIGURE AND FANTASY Brent, Robert, Company ...... Cover 3 • Figure Drawing The exhibition, "Figure and Fantasy," Bug Town Clay ...... 44 Byrne Ceramics ...... 55 • Painting which opened at the Renwick Gallery, Washington, D.C. on October 5, is California Kiln Co ...... 11 de- Campbell, Gilmour ...... Cover 4 -~ voted to the work Capital Ceramics ...... 59 of six East Coast Ceramic Scope ...... 49 INDIVIDUALIZED INSTRUCTION CoramiCorner, Inc ...... 55 artists who express Chesapeake Potters, Ine ...... 54 their fantasy con- Clay People ...... 45 for experienced artists and Conway Wheels ...... 48 beginners cepts in contempo- Council Grove Craft School ...... 62 with minimum experience rary techniques, Creative Industries ...... 10 Creek-Turn ...... 44 each in a different Crusader Industries ...... 3 June 15-27, 1975 medium. All of the Dawson, W. P ...... 45 48 works in the ex- Dial-A-Glaze ...... 61 Duncan Ceramic Products ...... 52 hibit were created in the past few Eagle Ceramics ...... 45 Mont Alto Campus Earth Treasures ...... 54 years, with many Earthworks of Rochester ...... 57 Bill ~t,:,art completed especial- Forming Company ...... 13 THE ly for the current showing, by Michelle Francoise Ceramics ...... 4.1 Gamm Clifton, Ivan Danziger, Norman Fulwell Park Ceramics ...... 55 Laliberte, Christopher Ray, Tommy Simp- G & L Industries ...... 7, 55 PENNSYLVANIASTATE Care Ceramic Supply ...... 59 son, and Bill Stewart. Presently an associate Geil Kilns ...... 15 UNIVERSITY professor of art at State University College Good Earth Clays ...... 59 in Brockport, New York, Stewart is repre- Harris Linden Ceramics ...... 60 sented by twelve glazed earthenware objects Haugen Mfg. CO ...... 47 For further information: Clyde. J. Johnson, Hinckley School of Crafts ...... 62 Assistant Director for Continuing EducahOn including "Perry Penguin Back from Fish- Hiro Distributors ...... 50 Mont Alto Co~p~i 749-31MontlAIt°'l Pa. 17237 ing," (pictured) 18 inches in height. The Industrial Minerals CO ...... 48 show continues at the Renwick through Iron Star Potters ...... 46 February 9. Photo: Renwick Gallery. Jacquelyn Ceramic Art, Inc ...... 11 RACHEL Kemper Mfg. Co ...... 5, 50 ROSENTHAL SCULPTURE Kleckner Supply Co ...... 45 AT GRANDVIEW GALLERY Klopfenstein,rH. B. & Sons ...... 5~ Please Menfion CM Kraft Korne ...... when wriflng our adverfisers Rachel Rosenthal showed stoneware sculptures L & L Mfg. Co...... 59 in a solo exhibition at the Grand- L & R Specialties ...... 57 view Gallery in Los Angeles, California Leslie Ceramics Supply Co...... 49 during the month of November 1974. Her Lustig, Art ...... 61 ...... z- pieces are coil-built of dark brown clay Mac Sponge Sales o~ Max Corp ...... 44 fired to Cone 9. Heavy reduction gives the Mayco Colors ...... 8 Menco Engineers ...... 9 Miller Ceramics Inc ...... 15 Minnesota Clay Co ...... II Ohio Ceramic Supply ...... 55 Omni Projects ...... 56 CERAMICS • WEAVING Opus Foundation ...... 61 JEWELRY • Orton Ceramic Foundation ...... 51 PHOTOGRAPHY Oscar-Paul Corp ...... 46 GLASS BLOWING • LEATHER Owl Creek Pottery ...... 57 FABRIC DECORATION Pacifica Crafts ...... 14 Paragon Industries ...... 54 GRAPHICS • FOUNDRY • WOOD Paramount Ceramic ...... 59 Our sevent~n summer offering 4~vo 3-week ses- Peach Valley Farm Pottery ...... 43 sions to high school students ages 14-18 years Pennsylvania State University ...... 62 old. Operated by The Hinck|ey School. Rachel Rosenthal Potter's Corner ...... 45 Potter's For information write pieces a silver-black sheen. The shapes are World ...... 57 simple and abstract, completely covered Reid, Joy, Ceramic Studio ...... 61 THE HINCKLEYSUMMER SCHOOL OF CRAFTS Reward ...... 56 BOX K, Hlnckley, Maine 04944 with tiny coils, curled around themselves or Richland Ceramics ...... 59 extended outward. Completed sizes vary Rovin Ceramics ...... 13 from 16 inches to 28 inches in height. Pic- Salem Craftsmen's Guild ...... 57 Scott Creek Pottery ...... 48 tured is "Gryne," 19~ inches in height Sculpture House ...... 59 Council Grove (without base). Rachel Rosenthal has ex- Seeley's Ceramic Service ...... 45 Shimpo America Corporation ...... 12 hibited in many group shows; however, the Shimpo-West ...... Cover 2 Craft School November showing was her first one-artlst Skutt Ceramic Products ...... 6 su Associates ...... 59 exhibition. Superamlcs ...... 15 All Crafts Offered An article on Ms. Rosenthal's work, Tepping Studio Supply ...... 49 A summer craft school offering a "Coiled Sculpture," appeared in the March Thompson, Thomas C., CO ...... 46 community of serious artist/crafts- 1974 issue o/ CM.--Ed. Thousand Islands Museum ...... 61 men, both professional and students, Truro Center for the Arts ...... 61 working together in a creative Send news, and photos, i] available, about Unique Kilns ...... 51 atmosphere. Located in the majestic people, places, events, or things you think Van Howe Ceramic Supply ...... 59 setting of the Western Montana will be o[ Virginia Ceramists ...... 56 Mountains -- nationally-known staff ceramic interest. We will be happy to consider them /or use in this Walker Jamar Co ...... 55 of visiting artists. Write for infor- Walrus Woodworking ...... 60 mation: Route 2 Mullah Road. column. Direct information to: Ceram- Way-Craft ...... 4g Activities, CERAMICS MONTHLY, Box 4548, Westby Ceramic Supply ...... 49 Missoula, Montana 59801 Western Ceramic Supply ...... 50 Columbus, Ohio 43212. Wittels Pottery ...... 43

62 Ceramics Monthly bor.k to

r 4

133OC1~ O.

The low cost Model A uses the basic parts of our Model C: the same 12" head and perma- nently lubricated ball bearings, the same poly-V drive and the same cast aluminum foot pedal. The permanent magnet motor is I/3 hp with electronic speed control, installed in a strong, durable steel frame table that brings the weight of the whole wheel down to 40 Ibs. It's heavy enough to stay put while you throw an honest 25 Ibs. and more, yet light enough to carry around with ease. por.,t, or,:f t~Jl'mtd.r, clo~, kitty" See one at maior ceramic suppliers nationwide 126 moll .rt;r,ee~ or write for our new 1975 brochure showing our ~, c~d,:'~ ~AA.S complete line of wheels and hand building equip- 707,4..,3,3- b-567 ment. for HOBBYISTS • SCHOOLS • ART & CRAFT CENTERS • INSTITUTIONS

MODEL E-6 WITH 2 SIDE PANS

MODEL E-6 Only ~15550e Less Side Pans With Water Trays

• More Powerful • Ball Bearings • Clamp on without the use of tools

• Easy to Use • Easy to Clean

• Easy to Store ~°°~"with I Side Pan $17300• SPEED VARIES with foot pedal smooth as an automobile

PORTABLE Carry it with you anywhere ~o0~with 2 .Side Pens $190• O0 • Bats fit our hand wheels (as shown) • Each student may have own bat and place on hand wheel without losing center PANS CAN BE PURCHASED SEPARATELYTO FIT YOUR $17.50 Each 110 Volt . AC. DC. ONE YEAR SERVICE WARRANTY PRESENT E-6 MODEL.

Prices F.O.B. Detroit See your Dealer or Distributor or write: GILMOUR CAMPBELL 142S8 Maiden, Detroit, Michigan 48213 (313) $68-0S61