editor Sherman Hall associate editor Tim Frederich assistant editor Renee Fairchild assistant editor Jennifer Poellot design Paula John production manager John Wilson production specialist David Houghton advertising manager Steve Hecker advertising services Debbie Plummer circulation manager Cleo Eddie publisher Marcus Bailey

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Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The Ameri­ can Ceramic Society. subscription rates: One year $32, two years $60, three years $86. Add $25 per year for subscriptions outside North America. In Canada, add GST (registration number R123994618). change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation De­ partment, PO Box 6136, Westerville. OH 43086-6136. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual sup­ port (slides, transparencies, photographs, drawings, etc.) to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081. We also accept unillustrated texts e-mailed to [email protected] or faxed to (614) 891-8960. indexing: An index of each year's feature articles appears in the December issue. You may also visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists' names. Feature articles are also indexed in the Art Index, daai (design and applied arts index) and other services available through pub­ lic and university libraries. copies: For a fee, photocopies of articles are available through Customer Service, PO Box 6136, Westerville, OH 43086-6136; [email protected] ; or telephone (614) 794-5890. Authorization to photocopy items for internal or per­ sonal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rose­ wood Dr., Danvers. MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for edu­ cational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional pur­ poses, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Senior Director, Publications, The American Ceramic Society, 735 Ceramic PI., Westerville, OH 43081, USA. back issues: When available, back issues are $6 each, plus $4 shipping and handling for first issue and $1 each additional issue (for international orders, shipping/handling is $6 for first issue and $2 each additional issue). postmaster: Please send address changes to Ceramics Monthly, PO Box 6136, Westerville, OH 43086-6136. Form 3579 requested.

Copyright © 2004 The American Ceramic Society All rights reserved

Ceramics Monthly May 2004 2

Ceramics Monthly May 2004 4 MAY 2004 / Volume 52 Number 5

features

38 Wood Fired Doesn't Mean Brown by David Hendiey Experimenting with slips and glazes yields colorful, wood-fired pots

44 In Pursuit of Beauty by Rebekah Bogard Plants and animals inspire an artist's search for the sublime 49 East Meets West in Pennsylvania The Ceramics of Ron Hand by Kahren Jones Arbitman

55 Lincoln Arts: Breathing Life into Dreams byPauiA. McCoy Art and industry join forces to strengthen community and culture

60 Geoffrey Eastop: "Stone" by Carolyn Genders Exploring structure and surface at Berkeley Square Gallery in London

62 Looking at Oribe by Don Pilcher Historical pots at The Met examined from a potter's point of view 67 Emerging Artists 2004 CM showcases works by 13 potters and sculptors departments

10 letters 16 upfront 32 new books 76 call for entries 84 suggestions 86 calendar 104 questions 105 classified advertising 108 comment: Mechanics and Fallacies of Porcelain by Tom Turner 112 index to advertisers

cover: Sake cup, 2 7/a inches (7 centimeters) in height, native clay with white slip, yellow ochre brush decoration and feldspar/ash glaze, wood fired to Cone 10 in reduction; paddled sake flask, 5¾ inches (15 centimeters) in height, native clay, wood fired to Cone 8-10 in reduction, by Ron Hand, Tusseyville, Pennsylvania; page 38. Photo: Paul Hazi

Ceramics Monthly May 2004 5 upfront

16 Pottery Exhibition in South Carolina Functional wood-, salt- and soda-fired work at Southern Pottery Workcenter and Gallery in Columbia 16 Ceramics Exhibition in New York Works by four regional ceramics artists at the Klay Gallery in Nyack 18 Barbara Sorenson Outdoor installations at Harry P. Leu Gardens in Orlando, Florida

18 A Community Gathers byjuiFoote-Hutton Dinnerware exhibition at Santa Fe Clay in Santa Fe, New Mexico 20 Ben Krupka Wood-fired forms at the Troyer Gallery in Washington, D.C. 22 Manises' Sixth International Ceramics Biennial Works from 22 countries at the Manises Museum of Ceramics in Manises, Spain 24 Juried Exhibition of Crafts in Pennsylvania Works by established and emerging ceramists at Wayne Art Center 24 Ceramic Sculpture Exhibition in California Sculpture and site-specific installations at the Museum of Craft & Folk Art in San Francisco 26 Maurice Savoie A survey of ceramics by Canadian sculptor at Materia Center in Quebec City, Quebec, Canada 26 Contemporary African American Ceramics Invitational exhibition of functional and sculptural forms at Baltimore Clayworks in Baltimore, Maryland 28 Carolyn Eddins Anagama-fired porcelain vessels at Clay Orbit in Cockeysville, Maryland 28 Ka Kwong Hui, 1922-2003

28 Uichi Shimizu, 1927-2004

Ceramics Monthly May 2004 6 Ceramics Monthly May 2004 7

wood-firing process and the alignment to difficult and time consuming to write. An letters Asian, and particularly Japanese, aesthetic author is always putting himself or herself values. Looking for a lexicon to describe the on the line in front of an invisible audience. incredible variety of encrustations, colora­ The feedback is often nil. I don’t think Author to Author tion and depth, he writes with passion and good authors generally write for self-satis­ It was with great pleasure that I picked up commitment, the same way that wood-fire faction. Rather, they are trying to bring the March 2004 edition of CM and found afficionados view the making of objects, forward a point of view on something that the excellent article by Dick Lehman titled their placement in the chamber and the is extremely meaningful to them, and that “Toward a Vocabulary for Wood-Firing firing of the kiln. they would like to share with others. Effects.” I have always enjoyed Mr. Writers of articles on relatively obscure About 30 years ago, I wrote some articles Lehman’s perceptive writings. Here, it is a topics have a lonely road to travel. Seldom on research that I had been doing on searching view of the value of objects and does the author get much, if any, response simplified approaches to glaze and color their surfaces in the esoteric realm of the to articles that were most likely extremely development. In five years, I heard from only one person. Naturally, I thought no one was reading or using the articles, so I quit writing. It wasn’t until I did a work­ shop tour of Australia and New Zealand, where many people asked me if I was the person who had written those articles and why I had quit, that I realized the articles had a positive effect. Upon returning home from this trip, I found a letter waiting from the manuscript finder for Chilton Books, telling me that there were people he knew of all over the world who were using my articles and asking if I would be interested in turning it into a book. That inquiry led to my writing The Ceramic Spectrum. If I hadn’t gone to the Southern Hemisphere and received positive feedback to the writ­ ings, I doubt that I would have continued. That experience made me realize that a few words of response from readers offers the writer the realization that the words are being read and do have meaning for others. I know many authors would like to hear from readers of their work. Whenever I get time, I certainly try write to other authors whose work has touched me in some way. Perhaps CM readers could think of doing this. It would give many the encouragement they need to carry on. You can reach au­ thors through CM or letters to the editor. Robin Hopper, Victoria, BC, Canada

Eye Candy I sent a note to Dick Lehman in response to the terrific article in the March CM. He should be encouraged to give us more abso­ lutely fabulous content. My congrats for presenting such a classy article. Here is the note I sent to Mr. Lehman: Dear Dick: I have always looked forward to your articles. They are well written and always include a generous scoop of eye candy. The macro shots of your wood-fired surfaces were landscapes worth framing. As for the idea of a wood-firing vocabulary, I gave up on using a potter’s vocabulary to describe my glazes many years ago. Celadon is olive or mint, Temmoku is black break- Ceramics Monthly May 2004 10

letters

ing to rust and Shino is snow or copper luster. These are terms my customers un­ derstand. There is no snob appeal for me in trying to confuse them with words that only potters understand. Ask me if I remember the Japanese terms you used to describe wood-fired surfaces—I forgot instantly! Your eloquent description of flowers, rivers and Granny’s skin had me nodding my head in agreement. This description led to my understanding of what is turning your crank. It turns mine, too. Tony Clennell, Beamsville, ON, Canada

Signatures and Marks I assumed you would get comments, so I waited, but I think someone should draw attention to the interesting and attractive format change on artist’s profiles in CM recently. I’m referring to the artist’s signa­ ture in the upper corner. We now have a half-century of ceramic objects out there, and in many cases, little or no documentation on how works are signed. Great idea—thanks again! Dennis Trombatore, Austin, TX

Emerging Artists Please include more sculptural works by newer emerging artists, rather than firmly established professionals. Kerry Shea, Oregon, WI

Comment on Comment In response to the Comment article “On Selling Out” in the April 2004 issue: You go girl! If all artists were as unassuming, articulate, clear-headed and brave as you are, the world would be a better place. May you never sell out. From a psychologist and fellow infant-potter. Dr. Deborah Bernstein, Warwick, NY

Support and Encouragement The letter “Thank You to a Teacher” in the March 2004 issue, from the young ceramics student, brought tears to my eyes. My husband has recently changed careers, going back to school for an M.F.A. at the age of 44, so that he, too, can inspire young people to excel in their lives and profes­ sions. He took a 60% pay cut from a secure job to teach at a college that is not re­ nowned for any particular program, and the students aren’t necessarily considered the “cream of the crop,” compared to other colleges. But he didn’t choose this field to be recognized; he chose it because he feels Ceramics Monthly May 2004 12 letters to witness the fruits of his labor, watching structor if she would show me how to throw young people walk proudly down that aisle, on the wheel. As a result, I had an accom­ their eyes reflecting their accomplishments. plished artist give me personal, hands-on that, if he can affect just one student to The very next letter in that issue, “In­ instruction for six weeks! I then took classes become the best they can be, if he can spire the Whiners,” reminded me of how I at a community college, started a subscrip­ inspire them to expect only excellence from started. Years ago, I traveled through North tion to Ceramics Monthly, took loads of themselves, then it is all worth it. On the Carolina and Virginia, stopping at local books out of the library, and started looking days he says he made a mistake, that he potteries. I kept thinking “I love this stuff. I for used equipment. I found a person who should have stayed in the corporate world, can make this!” Upon arriving home, I bought old equipment from schools as that he can’t be the financial provider he signed up for a class. The instructor would whole lots. I turned my patio into a studio once was, I remind him that this is a calling, ask if anyone wanted help, but was ignored, by putting an old door on two sawhorses, not a career. I look forward to his first since most of the ladies were happy making setting up the kiln in the corner and putting graduation ceremony, where he will be able pinch pots and small talk. I asked the in­ the wheel in the middle. I was all set! Since I made that decision over 10 years ago, I put my studio into storage for over three years. Anytime someone asked me what I do, I would always answer, “Well, for money I (insert profession here), but I’m really an artist-in-waiting.” Happily, I have just recently set up my studio again. The kiln has gotten a lot of wear and tear from being moved by friends three separate times, but it still works. It’s tough starting over, but boy am I having fun again! Stephanie Kiyak, Valdosta, GA

Sublimation Impermanence Jonathan Kaplan was probably correct in his answer about the fading image on the mug in the February 2004 Ceramics Monthly. Most commercial novelty mugs are now decorated with sublimation printing. The process is similar to t-shirt printing. It involves a polymer and dyes heated to about 400°F (205°C). The result has fine detail and a full range of color, but is not perma­ nent in sunlight or the dishwasher, nor is it resistant to the scratch of a fork. I am interested in this nonceramic coat­ ing on ceramics, because it is beginning to show up at craft fairs. I’ve seen tiles and trivets sold with no warning about imper­ manence. I have pointed it out to show promoters, to no avail so far. Angela Fina, Amherst, MA

Correction On page 62 of the April issue, a clay body was stated as having a coefficient of expansion of 32. It actually has a PCE (pyrometric cone equivalent) of 32, which describes a clay’s properties of maturation, rather than glaze fit.

In keeping with our commitment to providing an open forum for the exchange of ideas and opinions, the editors welcome letters from all readers; some editing for clarity or brevity may take place. All letters must include the writer’s full name and ad­ dress, but they will be withheld on request. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081; e-mail to [email protected] ; or fax to (614) 891-8960.

Ceramics Monthly May 2004 14 upfront Two artists whose pots were featured in the exhibition were Donna Craven, Ashboro, North Carolina, and Bruce Gholson, Seagrove, North Carolina. “Drawn to the elegance of wheel-thrown forms, I am guilty of getting lost just in form,” Craven said. After throwing her pots, she wood fires and salt glazes them in a groundhog kiln. “Once in a while, Pottery Exhibition in South Carolina in my obsessive struggle to make the perfect pot, I’ll get a stunning pot An exhibition of functional ceramics by 17 artists was presented re­ out of the kiln,” she noted. “It is almost always the imperfections that cently at the Southern Pottery Workcenter and Gallery in Columbia, have made it beautiful.” South Carolina. The majority of the pieces shown were fired with wood, After working as a studio potter for ten years, Gholson went to salt or soda. The gallery’s focus is on Southern pottery by both estab­ graduate school at the New York State College of Ceramics at Alfred, lished as well as emerging artists. where he received his M.FA. in ceramics in 1997. His functional stoneware forms are Shino glazed then fired to Cone 10 in oxidation.

Ceramics Exhibition in New York “Spring into Klay,” an exhibition of ceramics by Natalie Kase, Sleepy Hollow, New York; George McEvoy, New Canaan, Connecticut; Judith Weber, New Rochelle, New York; and Sheryl Zacharia, New York City,

Bruce Gholson teapot, 6 inches (15 centimeters) in height, stoneware with Shino glaze, fired to Cone 10 in oxidation.

Natalie Kase’s “Untitled,” 14 inches (36 centimeters) in height, stoneware with oxides and glaze, fired to Cone 10 in reduction.

was on view through May 1 at the Klay Gallery in Nyack, New York Natalie Kase’s vessels “evolve from the simple to the complex, and have sculptural and earthlike qualities,” Kase stated. “There is a certain immediacy and excitement in creating the work, and I wish that passion Donna Craven jar, 26 inches (66 centimeters) in height, stoneware, wood fired and salt glazed to Cone 10 in a groundhog kiln; at the Southern Pottery to be experienced by others. Hopefully, there is an intimacy that is Workcenter and Gallery, Columbia, South Carolina. created between the artist and the viewer. Equally important: the clay is

Ceramics Monthly May 2004 16 upfront handbuilding the forms, Sorensen embedded stones collected from the Colorado River into the wet clay. When the works were fired, the stones exploded, forming a crusty surface. the star. The finished piece, for me, must imply some sense of urgency; Sorensen and Leu Gardens director Robert Bowden worked to­ it should not appear to have been worked for a long time. Each piece is gether to place the installations throughout the site. “We didn’t want the about the clay and the experience it provokes. “The work represents a journey,” she concluded. “It gives me a feeling of oneness with the earth and evokes a sense of being a part of a tradition that spans centuries.” Sheryl Zacharia’s works “are both planned and spontaneous. One enhances the other, much like the relationship of form and surface, which have equal value in my vision,” she noted. “It is my ambition that these elements enhance and complement one another.

Barbara Sorensen’s “Caryatides II” (one of five), to 12 feet (3.7 meters) in height, stoneware, with stones and steel; at Harry P. Leu Gardens, Orlando, Florida.

sculptures to call immediate attention to themselves by sticking out of the landscape,” said Bowden. “Rather, we wanted our visitors to come upon them, as if by chance, and be delightfully surprised.” Sheryl Zacharia’s “Checkered Past,” 17 inches (43 centimeters) in height; at the Klay Gallery, Nyack, New York. A Community Gathers “Making vessels intrigues me because they break the boundaries by Jill Foote-Hutton between functional pottery and sculpture,” she observed. “It also gives In 1994, Avra Leodas began her efforts to build a strong community of me the chance to work two and three dimensionally, sculpting a piece visual artists as studio program director at Santa Fe Clay in New then using the surface as a canvas on which to paint. I look for a Mexico. She immediately began to expand the studio’s mission with a personality in each pot and a way to enhance it with color, texture and summer workshop program, inviting local clay artists to teach area detail. I like my pots to be utilitarian, but also to have an aesthetic residents. The program was such a success at the local level that it presence of their own.” warranted expansion. By 1998, Leodas had taken ownership of the new company, with Triesch Voelker as her assistant director and Ralph Scala Barbara Sorensen as the new studio director. “Caryatides II,” an exhibition of five installations by Florida artist Together, they have seen tremendous growth, undertaken construc­ Barbara Sorensen, is on view through May 2 at the Harry P. Leu tion projects and curated a variety of exhibitions. Their efforts have Gardens in Orlando, Florida. The five installations are composed of 45 exposed the local community and studio residents to a plethora of individual works ranging in height from 12 inches to 12 feet. After contemporary ceramic art. And the inspirational summer workshops

Ceramics Monthly May 2004 18 Ceramics Monthly May 2004 19 upfront have encouraged some to relocate and take up residency in one of the 11 private studios. As Santa Fe Clay has expanded its focus, the job of supplying the Southwest with tools, books, equipment, clay, glazes and dry materials has not diminished. Santa Fe Clay continues to be an established supplier in northern New Mexico, and Leodas’ distribution company

Nick Joerling’s “Bread Plates,” 9 inches (23 centimeters) in diameter, wheel-thrown stoneware; at Santa Fe Clay, Santa Fe, New Mexico.

that the audience moves around the table in close proximity, and viewers are encouraged to interact with the works. This exhibition encompasses the essence of community and illustrates the bonds and influences that exist within ceramics as a whole.

Ben Krupka Wood-fired forms by Montana artist Ben Krupka (see “Emerging Art­ ists 2003,” May 2003 CM) can be seen through May 29 at the Troyer Gallery in Washington, D.C. Currently a resident artist at the Archie

Laurie Shaman’s “Pitcher/Vase,” 14 inches (36 centimeters) in height, handbuilt white earthenware. prospers. Recent construction efforts have enabled Leodas to enlarge the gallery space to 1100 square feet. The cross-pollination among visiting artists, resident artists and patrons has made Santa Fe Clay an incubator. Leodas and her staff continue to educate the community as stewards of the ceramic arts. Now in its fourth year, the annual invitational “For the Table,” exhibited through March 20, was the culmination of all the community effort, education and celebration. Inspired by the long, narrow space connecting the retail area to the studios, Leodas envisioned a 50-foot- long banquet table presenting dinnerware by national and international ceramics artists. Throughout the year, Leodas, along with Voelker and Scala, look for new works to feature on the table. This year, over 75 artists were invited to participate in the exhibition and, once again, Santa Fe Clay produced a success. The banquet appeals to visual and tactile appetites, presenting high-fire, low-fire, salt, and/or wood-fired, majolica, functional pieces and sculpture. The exhibition is an amazing microcosm of the larger clay community. While we are often told that ceramics is an accessible art, many times Ben Krupka’s “Vase,” 12 inches (30 centimeters) in height, porcelain, viewers are asked to refrain from touching ceramic art. For the Table is fired on its side in a wood kiln with Ponderosa pine and Douglas fir; the antithesis of such an attitude. The architecture of the space ensures at the Troyer Gallery, Washington, D.C.

Ceramics Monthly May 2004 20 upfront

Bray Foundation for the Ceramic Arts in Helena, Montana, Krupka fires his work in a train kiln for 40 hours. “I have a fascination with exploiting the dramatic effects of the wood kiln,” he noted. “Wood firing is a way of glazing that works direcdy in conjunction with the pots I make. The evolution of my forms is strongly influenced by specific effects produced in different micro regions of the kiln. The way I load the kiln is also directed by the varied nature of these regions. “I look for a softness and voluptuousness in my pots,” he concluded. “The soft curves and flowing lines lend themselves to the effects pro­ duced by the wood kiln.”

Manises' Sixth International Ceramics Biennial The “Sixth International Biennial of Ceramics” was presented recently at the Manises Museum of Ceramics in Manises, Spain. The exhibition “has managed to attract numerous creators who have entered works that are astounding for their audacity, their beauty and the diversity of their

Juan Orti Garcia’s “S/t,” to 177 centimeters (70 inches) in height, with engobes, Ciudad de Venissieux award winner.

Cristobal Saborit Mallol’s “Home i gos,” to 140 centimeters (55 inches) in height, earthenware with engobes, oxides and transparent glazes, President de la Generalitat Valenciana award winner; at the Manises Museum of Ceramics, Manises, Spain. aesthetic approaches,” notes Francisco Camps Ortiz, president of the Generalitat Valenciana, in the accompanying catalog. “Each of the pieces . . . explores a highly distinct and specific creative dimension. Through a range of techniques, using different materials and offering contrasting perspectives, these artists present us with works that are highly deserving of our attention.” An eight-member jury selected works by 60 artists from 22 coun­ tries. The President de la Generalitat Valenciana Award was presented to Alberto Almeida Vieira’s “Tank-house,” 36 centimeters (14 inches) in height, Cristobal Saborit Mallol of Spain for “Home i gos.” Portugal ceramist white clay with gold leaf, Diputacio de Valencia award winner.

Ceramics Monthly May 2004 22 upfront

Alberto Almeida Vieira received the Diputacio de Valencia Award for “Tank-house ”; Juan Orti Garcia, Spain, received the Ciudad de Venissieux Award for “S/t”; and the Gres de Vails, de Ceramica Plana Award went to Gabriella Sacchi of Italy for “Utz.” Honorable mentions were awarded to Francois Ruegg, Switzerland, and Sofia Be£a, Portugal.

Juried Exhibition of Crafts in Pennsylvania “Craft Forms 2003,” a national juried exhibition of contemporary crafts, was presented recently at the Wayne Art Center in Wayne, Pennsylvania. From 674 entries, juror Paul J. Smith, director emeritus of the American Craft Museum, selected 84 works by 74 artists. “The Wayne Art Center is one of the few institutions conducting an annual

Joanne Taylor Brown’s “Bird Pitcher,” 6Y2 inches (17 centimeters) in height, slab-built porcelain, with celadon glaze, fired to Cone 10.

“Each entry was carefully considered for its originality, clarity of purpose and accomplished craftsmanship. As the objective was to create a distinguished exhibition, [works] were selected featuring a panorama of personal expressions, ranging from functional objects to expressive statements. Overall, as a collection, it honors innovative work and gives visibility to a significant area of the arts in the United States today.”

Ceramic Sculpture Exhibition in California “Subtraction and Addition: Ceramic Sculpture and Installations,” an exhibition of works by San Francisco Bay Area artists Bean Finneran, Jane B. Grimm and Gregory Roberts, will be presented May 5-August 8 at the Museum of Craft & Folk Art in San Francisco, California. Each of the artists uses simple, repetitive, geometric elements to create their freestanding sculptures and site-specific installations. The shapes of these elements are simple—circle, oval, square or cylinder—and their

Mark Johnson’s “Vase,” 16 inches (41 centimeters) in height, white stoneware, thrown and altered, soda fired to Cone 10; at the Wayne Art Center, Wayne, Pennsylvania. national craft competition for established and emerging artists,” Smith Bean Finneran’s “Yellow Core,” 24 inches (61 centimeters) in diameter, stated. “Now in its ninth year, Craft Forms 2003 attracted ... a broad earthenware with acrylic stain; at the Museum of Craft & Folk Art, range of craft disciplines. San Francisco, California.

Ceramics Monthly May 2004 24 Ceramics Monthly May 2004 25 upfront surfaces are smooth with strong, uniform colors. Finneran’s sculptures (like the one shown on page 24) are made of thousands of individual, thin cylinders that she calls curves.

Maurice Savoie “Maurice Savoie: An Alchemical Path” is on view through May 23 at Materia Center in Quebec City, Quebec, Canada. “This exhibition is not a retrospective but, rather, a survey,” states curator Lisanne Nadeau Syd Carpenter s “Exhalation II,” 52 inches (132 centimeters) in length, earthenware with acrylics.

extended periods of time and have absorbed the subtleties of the cul­ tures, and have internalized their energies. The work of some others tells a very personal story of their life experiences through less easily identifiable ways, but is there nonetheless. “This exhibition seeks partially [to investigate] the notion of whether a common ancestry and a common history can manifest itself in the works of that group in a collective creative consciousness. This com­ monality or consciousness may or may not be readily apparent in every PHOTO: ROBERT BATEV

Maurice Savoie’s “S.U.V.,” 25 centimeters (10 inches) in height, porcelain, with bronze, glass and wire; at Materia Center, Quebec City, Quebec, Canada. in the accompanying catalog. “It is an affirmation of the ongoing pertinence of Maurice Savoie’s production by way of a panoramic reading that sheds light on a journey begun decades ago. The focus here is on the artist’s recent work; on the creative fancy that continues to drive him, on the disconcertion that his audacity continues to provoke.”

Contemporary African American Ceramics “Diversity in Unity: Contemporary African American Ceramics,” an invitational exhibition of functional forms and sculpture by 31 artists from across the U.S., was on view through March 28 at Baltimore Clayworks in Baltimore, Maryland. Co-curators David MacDonald and Winnie Owens-Hart chose 13 artists to exhibit along with them. In turn, each of these artists were asked to select another artist to join the exhibition. The process created an exhibition that includes both estab­ lished and emerging artists, and provides a diverse view of African American ceramics. “An exhibition with this theme might be expected to present a uniform or discernable singular vision that ties all of the work together in one neat package,” stated the curators. “No such package exists. The artists in this exhibition were carefully selected to demonstrate the diversity of visions and voices at work in the African American art community. Each artist can tell a different story of how some aspect of their African cultural heritage has inspired or influenced their art. Some have been inspired by the impressive array of visual arts from the African continent (i.e., sculpture, pottery, textiles, body adornment). Many Bill Capshaw’s “Pronoun,” 16 inches (41 centimeters) in height, stippled, with have had direct contact by visiting or living in African countries for glazes, raku fired to Cone 08, reduced with pine needles and newspaper.

Ceramics Monthly May 2004 26 upfront single work in the exhibition; but when taken collectively, it permeates the work of African Americans wherever and however they work. This consciousness is much the same as the warp and weft of woven fabric. It is sometimes visible and obvious, and at other times invisible, and yet it still contributes to the structure and character of the cloth.

Carolyn Eddins’ “Vessel IV,” 11½ inches (29 centimeters) in height, porcelain with natural ash glaze, wood fired; at Clay Orbit, Cockeysville, Maryland.

the signatures of flame. And now they must be held. Yes, the works are fragile, but eyes alone cannot understand fully how fragile, or how strong; how smooth or coarse; how ambiguous or distinct; how con­ tours relate to each other or to us.”

Ka Kwong Hui, 1922-2003 New Jersey ceramist Ka Kwong Hui died of a heart attack on October 17, 2003. Hui was born in Canton, China and studied painting and sculp­ Sammie Nicely vessel, 15 1 /2 inches (39 centimeters) in height, raku clay body ture. After immigrating to the United States in 1948, he studied ceramics with cone packs and shards, fired to Cone 05-06; at Baltimore Clayworks, with Marguerite Wildenhain at her Pond Farm workshop in Guernville, Baltimore, Maryland. California. He earned his M.F.A. at New York State College of Ceramics “This exhibition will hopefully help to further document a small at Alfred, then taught at the Brooklyn Museum School in New York and portion of a vast, creative continuum whose origins are African,” Rutgers University in New Jersey. His best-known work, brightly glazed MacDonald and Owens-Hart continued. “The force of this continuum earthenware fired to Cone 2-A in an electric kiln, is included in many was brought to these shores in chains. Once here, it was able to fashion museum collections (see Upfront, November 2000 CM). a life and an art dynamic out of nothing in the most hostile environ­ Uichi Shimizu, 1927-2004 ment imaginable. The individuals in this exhibition are the heirs of this creative force and a creative continuity that is tenacious.” Uichi Shimizu of Kyoto, Japan, died February 18 of colon cancer; he was 77. Shimizu actually began making ceramics at the age of 14. He Carolyn Eddins worked for a short time with the late Munemaro Ishiguro, a Living “Survivors: Anagama-Fired Porcelain Vessels,” an exhibition of ceramics National Treasure. In 1970, Shimizu moved to Horai, where he began by Baltimore artist Carolyn Eddins, can be seen May 7-June 13 at Clay developing glazes from materials found in the area. In 1985, he was Orbit in Cockeysville, Maryland. Eddins fired her work with Karl also designated a Living National Treasure. Over the years, he became Beamer and other potters in his anagama in Bloomsburg, Pennslvania. well known for his research on iron glazes (see “Japanese National “My work is fragile and strong—not unlike its maker,” Eddins com­ Treasure Uichi Shimizu,” September 2001 CM). mented. “Each piece experiences tremendous stress as it is formed and Submissions to the Upfront column are welcome. We would be pleased to consider fired. While soft, clay slabs are shaped into vessels. Then the clay’s press releases, artists’ statements and original (not duplicate) slides or transpar­ inherent strength is realized during seven- and eight-day anagama encies in conjunction with exhibitions or other events of interest for publication. firings. . . . The works emerge from the kiln with natural ash glazes and Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081.

Ceramics Monthly May 2004 28

In his 90s, David Leach is still making pots, Leach’s children. In 1930, at the age of 19, Leach new books continuing to relish the challenge of resolving began working at his father’s pottery and be­ technical and artistic problems and still eagerly came the studio manager 15 years later. In 1955, awaiting the opening of the kiln after a firing. Leach left St. Ives to set up his own studio in David Leach This book tells the story of this extraordinary south Devon. “For by Emmanuel Cooper and Kathy Niblett man and details his many achievements, but it is David Leach, setting up For David Leach, making pots “involves the his pots that will stand as a testament to his rare his own pottery and vir­ whole of the mind and the body; it requires a creative abilities.” tually restarting his ca­ scattering of philosophy, great skill, practical Cooper covers Leach’s life and career, from reer as an independent ability, business understanding and a working his early years in Japan, China and England, to potter in his mid-40s knowledge of science informed by an artistic his work with his father at St. Ives Pottery and represented both a chal­ sensibility,” states Cooper. “Being a potter, he eventually the setting up of his own studio. Born lenge—in devising a thinks, is a rounded, highly satisfying existence. in 1911, he was the first of Bernard and Muriel range of work that was to be identifiably his—and an opportunity to establish himself as a potter in his own right.” In the final two chapters, Cooper discusses the types of pots Leach has made over the years, as well as the successes he has experienced both nationally and internationally. The remainder of the book—about a third— is a catalog of 130 works from a retrospective of Leach’s work, as well as works by others that have inspired him. 120 pages, including preface by David Whiting; backstamps; chronology; prin­ cipal exhibitions; public collections in the United Kingdom and overseas; articles, books and films; assistants, apprentices and students at Lowerdown Pottery. Softcover, $40. ISBN 0-903685-89-2. Richard Dennis, The Old Chapel Shepton, Beauchamp, Somerset TA19 OLE En­ gland. Published in the United States by Antique Collectors' Club Ltd., Market Street Industrial Park, Wappingers Falls, NY 12590; e-mail info @antiquecc. com; see ivunu. antiquecc. com; tele­ phone (845) 297-0003; or fax (845) 297-0068.

Raku Beads by Sue Ki Wilcox “Perhaps one of the reasons why beads tend to be treated with disdain by many people is because so many bad beads get made in pottery classes,” states the author of this book on CD. “J ust like other apparendy simple forms, such as coiled pots and pinched When Anne O’Connor opened her art school and gallery in pots, the bead is a project Michigan she needed a practical, space saving solution. given to beginners with Enter the Throw-N-Go. insufficient explanation of A wheel when you need it, out of your way when you don’t* technique or potential. For information on classes at Art Unlimited, call ($17)349-8278. But bead making as a craft skill can be raised to We would like to thank instructor Jennifer Harrington as high an art as can any of the other crafts.” The for allowing us to photograph her class. book begins with a look at several bead artists, G GREAT LAKES CALL US FOR MORE then discusses the tools and equipment needed. INFORMATION Subsequent chapters focus on various methods T§ CLAY& SUPPLY COMPANY of making, glazing and firing beads. Next, wire- '120 S Lincoln Avenue Carpentersville, Illinois 60110 WWW.Gr6atClay.COfn work—stringing, securing, clasps—is described, ^ 800-258-8796 Fax [email protected] then Wilcox provides projects, such as braided

Ceramics Monthly May 2004 32 new books creative and critical thinkers. They critique their etc. 256 pages, including appendix on digital own and other people’s work and utilize critical resources and index. Softcover, $19.95. ISBN thinking whenever a new project is started. Any 1-58115-281 -7.Allworth Press, 10 E. 23rd St., bead necklaces, textured beads and a raku waves project they undertake is a form of creative prob­ New York, NY 10010; see www.allworth.com; necklace, in the following chapter. The final lem solving with a beginning, middle and end. If (800) 491-2808. chapter covers design and inspiration. 257 pages they apply these skills to the task of explaining on CD in Adobe PDF format, including appen­ their art to a buying pub­ Henk Wolvers dixes on synonyms, glazes, clay, clay jewelry lic, they can more suc­ Porselein artists, Raku Ho’olaule’a, resources, beyond raku; cessfully publicize and iby Ans van Berkum and Bas Themans and index. Over 530 high-resolution images. market their work.” “T am a ceramist. I make porcelain objects.’ $25. Sue Ki Wilcox, 1169 Laurel Ln., San Luis The guide also ex­ This is how Wolvers characterizes himself. It Obispo, CA93401; e-mail suewilcox@charter. net; plores digital resources implies that he doesn’t just practice a craft that http://webpages, charter, net/suewilcox. available to artists. In he abandons at five o’clock, when closing the chapter one, Vitali cov­ door of his studio,” states Ans van Berkum in this monograph. “‘It is The Fine Artist's Guide to ers the aspects of describ­ Marketing and Self- ing and documenting a way of life,’ he will Promotion your work through writing, photography and say during one of our by Julius Vitali the digital arena. Other chapters look at editorial talks. ‘That is some­ First published in 1996, this revised and and advertising publicity; television, cable and thing you only realize expanded edition “stresses the importance of radio; setting up a home office and negotiating when you suddenly being able to articulate what one’s art repre­ sales; how to professionally exhibit work in a find out that you have sents,” states the author. “By doing so, one can variety of venues. no hobbies apart from make the work more marketable, accessible and In succeeding chapters, Vitali profiles the your work,’ he explains. ‘My whole life is domi­ interesting to a wider audience—including some careers of 13 artists, then provides advice on nated by what I do professionally. Anything audiences and markets artists normally wouldn’t obtaining corporate support, grants for indi­ useful that I see around me I store in my memory, consider open to them (national and interna­ viduals, special projects and artists-in-educa- in order to let it surge up again at the appropriate tional magazines). Artists are, by their very nature, tion, as well as assembling a resume, portfolio, time. This applies in particular to things I see on

Ceramics Monthly May 2004 34 Ceramics Monthly May 2004 35 new books Netherlands; e-mail [email protected]; see After discussing the origin of the willow www.vanspijk.com; telephone (31)773516255; pattern, as well as the pattern itself and variations fax (31) 77351 62 58. of it, the encyclopedia is divided into three the way: impressions of structures and textures, sections: manufacturers, retailers/importers, and from the newspaper, from reality.’” The Illustrated Encyclopedia unattributed marks. Historical backgrounds are Written in Dutch with English translation, of British Willow Ware provided, and each entry is the book consists of this essay on Wolvers’ work, by Connie Rogers accompanied by photo­ as well as an essay on collecting his work by Bas “In the late 18th and early 19th century, the graphs and price guide. 392 Themans. The remainder of the book focuses on word willow was used as a sort of generic term to pages, including appen­ images of Wolvers’ vessels. 72 pages. 83 color describe any or all Chinese landscape patterns. dixes on manufacturers and photographs. Softcover, €11.35 (US$ 14). ISBN The patterns that actually feature a prominent patterns, names for willow 90-6216-70-98.Van Spijk Art Projects BV, Simon willow tree, however, are the focus of this ency­ patterns; glossary; bibliog­ Stevinstraat 9, Postbus 1230, 5900 BE Venlo, clopedia,” states Rogers. raphy; indexes of shapes, retailers/importers and pot­ ters’ initials. Over 1000 color photographs. $69.95. ISBN: 0-7643-1932-9.Schijfer Publishing, 4880 Lower Valley Rd., Atglen, PA 19310; e-mail info @schijferbooks. com; www. schijfer books, com; telephone (610) 593-1777. Distributed in En­ gland by Bushwood Books, 6MarksburyAve., Kew Gardens, Surrey TW9 4JF England; e-mail [email protected]; or telephone (44)2083978585.

Carolinda Tolstoy Ceramics by Ernst J. Grube “Descendant of an old Middle Eastern fam­ ily, linked to one of the great families of Russia, and living in London, [Carolinda Tolstoy’s] art draws on a variety of sources,” states Grube in this monograph. “But as is evident from even a superficial acquaintance with her work, her princi­ pal inspiration is the pot­ tery of the Muslim Middle East. .. . She appears to have taken up, in a unique way, the tradition of the perpetuation of Near Eastern pottery design by European artists. “Fascinated by both the floral and the ab­ stract geometric patterns of Islamic art, she has developed a style of ceramic painting that com­ bines elements of both these forms of decora­ tion, mixing various elements in a highly imaginative way.” After this introduction by Grube, the remainder of the book depicts the various series that Tolstoy has created, such as “Tulips,” “Carnations,” “Unions.” Grube pro­ vides a brief description and background for each of the series presented. 160 pages, includ­ ing bibliography, list of exhibitions and work history. 183 color photographs. £19.99 (US$36). ISBN 1-874044-56-2. Art Books International, 15 Windmill Grove, Portchester, Hampshire, En­ gland P016 9HT; e-mail [email protected]; www. art-bks. com; telephone (44)239220 0080.

Ceramics Monthly May 2004 36

Canister set, to 13 inches (33 centimeters) in height, with brushed slip glazes, trailed slips and glaze, wood fired to Cone 10. The currently popular style of wood-fired pottery that emphasizes until several firings later that I started enjoying the fact that wood raw clay surfaces, ash runs, Shino glazes and flashing is so perva­ firing also enhanced any small, unglazed areas of clay, such as the sive that one seldom sees contemporary wood-fired pottery that foot rings of bowls. With each firing, I started leaving larger areas embraces other traditions. In fact, the “ash-and-flash” bandwagon of the pieces unglazed to take advantage of the flashing from the is so overloaded it can seem that there are no other vehicles on the flames and ash circulating throughout the kiln. Soon, I started wood-firing highway. Don’t get me wrong—I appreciate and ad­ developing glazes and slips specifically to take advantage of the mire warm, toasty, fire-flashed, ash-enhanced clay surfaces. Oth­ effects of the wood firing. I now use glazes formulated specifically erwise, I certainly wouldn’t have spent the time and effort to build for my kiln. This is my marriage of purposeful, planned color and a wood-fired kiln, collect the fuel and then spend hours stoking decoration of modern gas-fired stoneware with the subtle and the fire, when it is so easy to turn on a gas spigot. variable effects of wood firing. But there is more to life than ashes and shades of brown. I also love glazes, color and decorating pots. Remember that, until recent ceramics history, almost all ceramics were wood fired. I like pots that reveal themselves slowly to a thoughtful viewer or user. Frankly, I don’t want my pots to scream, “I am wood fired!” Over the past several years, while firing an Olsen fastfire-style kiln, I’ve developed what, for me, is a good balance between colorful and purposeful glaze and slip work and the rich, somewhat random, unpredictable effects of wood firing.

Wood Firing for the Solitary Potter On a practical level, a big kiln requiring several-day firings is

not the best choice for a solitary potter wanting to make a living PHOTOS: HANS HENDLEY, RANDY MALLORY, COURTESY OF THE ARTIST at his craft. My reasonably sized kiln fires in less than ten hours. I had built a large two-chambered wood-fired kiln in college in the 1970s, but unlike many wood firers, I didn’t have a years-long yearning for my own wood-fired kiln. I liked the wood-fired look, but mostly it just seemed like the right and logical kind of kiln to build. Here I was, recently relocated from the city to my acreage in the piney woods of east Texas. I had more firewood than I could ever use, just from dead trees on the property, and there were several sawmills generating mountains of scrap wood within a radius of a few miles. I heated my house, the pottery shop, even my water, with wood. I started a fire almost every day and it made no sense to install a gas tank and start buying gas just because I wanted to build and fire a kiln. I’m now on my second fastfire- style kiln, and have made many modifications to the original design. As detailed in The Kiln Book by Fred Olsen, the fastfire wood kiln is an inexpensive, quick-to-build, easy-to-take-down Rope-top pitcher, 13 inches (33 centimeters) in height, with brushed slip kiln. Mine is larger, and much more substantial, with 9-inch- glazes, trailed slip and glaze, wood fired to Cone 10. thick walls, larger slide-in reversible grates, and a steel-encased castable-refractory chimney with a carburetor-style passive damper The interiors of these pots are still glazed in a traditional way, (see “Casting a Chimney” in the February 2001 CM). Compared by dipping and pouring after bisque firing, but rims and exteriors to some wood-fired kilns, it is speedy, but my firings are nowhere are glazed and decorated while the clay is still wet. I think of this near as quick—by choice—as the fast firings Olsen chronicles in as slip work, but many of the “slips” are actually glossy glazes that his book. At nine or ten hours to reach Cone 10, the firing time is have been reformulated to have the high clay content required to comparable to a similarly sized gas kiln. make them usable in this way. Applying slips by brush to wet clay For my first efforts in wood firing, I simply used leftover glazes means that there will unavoidably be variations in the thickness of from my gas-firing kiln in the city and glazed the pots all over, as I the application, and that the surface will show the effects of was used to doing. I immediately saw a difference in the glazes— flashing where it is thin. I like this way of working, because the the colors were deeper, the visual textures were richer. It wasn’t slips are applied soon after making the form, while the idea for

Ceramics Monthly May 2004 39 the pot is still fresh in the mind. For me, taking an entire day to glaze used to be the most tiring part in the cycle of making a kiln load of pots. In contrast, glazing is a breeze when the pots are already slip glazed and decorated on their exteri­ ors; I simply pick a complementary glaze to line the interior, use a single glaze on each piece, and I’m finished.

Glaze Calculation First, a couple of definitions: A glaze formula is a list of exactly what’s in a glaze after firing, counted molecule by molecule. For ease of comparison, glaze makers like to make the fluxes in the for­ mula add up to 1, and call this the unity formula. A recipe, on the other hand, is a list of ingredients that are mixed together and fired to produce a desired glaze formula. Glaze calculation is simply a means of determining a formula from a recipe, or a recipe from a formula, using basic arithmetic. I’m an enthusiastic proponent of calculating glazes on the molecular level. It’s the best way to Bowl, 14 inches (35 centimeters) in diameter, thrown and altered stoneware really see what’s happening when materials are with slip-glazed rim, glazed interior, wood fired to Cone 10. added together. Many artistslpotters will not take the time to learn glaze calculation, partially because talk of wet clay. It needs to shrink as it is drying at a rate similar to the molecular formulas, loss on ignition and mathematical opera­ underlying clay. tions makes it sound overly complex. But it’s really no big deal, It’s also important to be able to brush on a suitably thick since today’s computer glaze-calculation programs eliminate all coating of the slip glaze and still have it set rapidly, so it doesn’t the time-consuming arithmetic that was previously required. Of run down vertical surfaces. Since leather-hard clay does not ab­ course, it’s a big step from calculating a theoretical glaze formula sorb moisture from the coating like bone-dry or bisque-fired clay, to pulling a nicely glazed surface out of the kiln. The latter is this means that most slip glazes need to be deflocculated. more important, but glaze calculation is far superior to the shot- Deflocculation is the alteration of a slip by changing the electro­ in-the-dark or the a-little-of-this-and-a-little-of-that approaches. static charges of clay particles on the atomic level, so they repel I’ve developed my glazes using three different methods. The each other, allowing a slip to become fluid with the addition of first is to take a well-known, “old faithful” glaze and recalculate it very little water. into a slip glaze that can be applied to wet clay. The second Thixotropy is the phenomenon whereby slips change their method is to start with a promising unity formula and develop a fluidity, depending on whether they are agitated or left to rest, glaze recipe from the formula. When working with ingredients of becoming more fluid when stirred and more viscous when undis­ unknown composition, such as local clays, glaze calculation can­ turbed. Soda ash is my material of choice for making a slip that is not be used because the materials have not been analyzed. In fluid with the addition of very little water (deflocculated) and will those cases, I use a third method—line blends of materials—to set quickly when painted on a vertical surface (thixotropic). work out promising possibilities. Line blends are simply combi­ nations of ingredients mixed in varied proportions and tested. Slip Glaze Development The first step in changing a “regular” glaze into a slip glaze is to Rheology is Not a Dirty Word calculate the molecular unity formula from the original recipe. Rheology is simply the study of how materials flow or how Then, the revised slip glaze can be calculated from the unity they behave when they are manipulated. It’s important to con­ formula. My Ohata Slip Glaze was developed in this way. The sider rheology when developing slip glazes. Not only does the unity formula for Ohata Red and Ohata Slip Glaze are virtually recipe need to match the unity formula of the fired glaze, but the identical, yet the recipes are quite different (see page 43). Most handling properties of the raw glaze are also very important. In a importantly, the clay content of the original glaze is about 5.5%, slip glaze, a high clay content is required, because it is applied to while the recalculated slip glaze includes 32% clay. Cedar Heights

Ceramics Monthly May 2004 40 Redart clay is the perfect material for this slip glaze. It contributes Just about any commercial stain, as long as it will hold up to a fluxes, iron oxide, alumina and silica to the glaze, so a large Cone 10 reduction firing, will produce a nice predictable color in amount can be added. Combined with a little soda ash, it makes a these recipes. For most stains, 10-15% gives a good strong color, nice, creamy, fine-grained slip for brushing. the exceptions being cobalt-based blue stains, which generally The second way I develop slip-glaze recipes is to start with a give a strong color with much less stain. Glossy slip glazes seem to molecular unity formula and develop the recipe using glaze- require a higher percentage of stain to produce a saturated color calculation software. My Glossy Slip Glaze and Matt Slip Glaze than matt slip glazes. were developed by this method. Finally, the third way I develop slip glazes is with line blends Specifying the unity formula before the actual recipes are and triaxial blends of materials. This technique is worthwhile determined allows me to compare the relationship between the when working with local materials of unknown composition and fluxes (CaO, MgO, K2O, Na2O), alumina (Al2O3) and silica involves varying the percentages of two (line blend) or three

(SiO2), and know that a slip glaze will be glossy or matt. (triaxial blend) materials to come up with a desired glaze or slip. Glass cullet, for those not familiar with it, is simply ground Since my slip glazes are used only on the outsides of pots, I’m not glass. When you take bottles and jars to be recycled, they are concerned about analyzing the molecular formula of these recipes made into cullet and sent to factories to be recast into new jars. I to see if they fall within the limits of a durable functional glaze. make my own cullet and ball mill it to approximately 200 mesh. Some of my favorite local materials are granite dust from the Such finely ground cullet is available at some, but not all, ceram- monument company, volcanic ash, ashes from my wood kiln and ics-supply companies. I think of cullet as a frit that is similar to several local clays. Recently, I’ve been using a recipe of 70% dark feldspar—except without the alumina. For this reason, it is ideal brown clay and 30% unwashed wood ash, plus 10% rutile, which for slip glazes. It allows an ample amount of insoluble sodium to makes a visually textured and unusually variegated semi-matt, be added, without adding alumina, as feldspar does. which I call Dappled Ash.

Vases, to 5 inches (12.5 centimeters) in height, extruded stoneware, decorated when leather hard with brushed slip glazes and slip-trailed overglazes, wood fired to Cone 10.

Ceramics Monthly May 2004 41 With glaze calculation, I have also changed some of my slip glazes to “regular” glazes for application on bisqueware. For in­ stance, I noticed that my gold Titanium Slip Glaze turned blue where applied thick. Since it’s much easier to achieve a thick coating of glaze when it’s applied to bisqueware, I recalculated it to reduce the amount of clay in the recipe for use on bisque-fired pots. As expected, the recipe produces a titanium blue glaze with a nice surface, which I named Blue Ice.

Using Slip Glazes I try to apply the slips when the clay is soft leather hard, before handles are added and feet are trimmed. When I’m ready to decorate a piece, I usually have a selection of eight to ten slips standing ready, with a brush in each batch. Generally, it’s best to start with the matt slips and layer the glossier slips over them. A glossy slip under a matt slip can bubble, causing a blister that the stiff matt slip can not heal. I want to intermingle the various slips so there will be many modulations of colors and textures. The slips allow me about 30 seconds to a minute of fluidity for mixing and blending on the surface of the clay before they start to set. If the phone rings while I’m glazing a piece, the caller will just have to call back later. Slip glazes are made much thicker than glazes that are used on bisque-fired clay. Some of the recipes are so thixotropic that they coalesce into solid masses in their containers if left undisturbed overnight. Once they are agitated, they readily To ensure proper dry shrinkage, slips and slip glazes become liquid again. are brushed and trailed when pieces are leather hard.

Adding Detail The final step in my slip-glazing procedure is to include some It All Comes Down to the Fire hard-edged designs to contrast with the broad painted areas of If you’ve read this far, you now know the usefulness of glaze slip glaze. I found that brushes could not give me the detail I calculation to develop a glaze recipe with specific properties from wanted, so I started experimenting with hypodermic needles. At a formula. Hopefully, you will consider reading a book that first, I simply used the slip glazes I already had on hand to add teaches the mechanics of glaze calculation, investigate some of the these details, but I soon began formulating recipes to use specifically available glaze calculation computer programs, and try your hand as overglaze colors. I settled on a 20-gauge hypodermic needle as a at developing some recipes. Then, once you have a good under­ good size that will provide fine detail but will not clog too easily standing of how glazes work, you can concentrate on the most with lumps in the overglaze. I also have a length of fine steel wire important aspect of working with glazes: Fire. handy (a used guitar string) to clear out any obstructions in the No matter what they may tell you about their many reasons needles. The decorating needles can be used on syringes as well as for firing with wood, I think the truth is that most wood firers small plastic squeeze bottles. Of course, the first step in using a simply love fire. There aren’t many occupations these days that hypodermic needle to apply overglaze is to file off the sharp point allow you to spend all day stoking a big fire. As any Boy Scout of the needle. I had a veterinarian order a box of 100 needles for leader will tell you, the first thing all new scouts want to do at about $ 15—it’s a lifetime supply. their first campout is build a campfire and hold a burning stick in I first tried to do needle-trailing decoration soon after apply­ the flames. Most people grow up and mature beyond that stage; ing the slip glazes but had trouble with tiny burrs of clay clogging we developmentally stagnant potters build wood kilns. the needle. To avoid this, I sieved the overglaze twice through a The fire’s the thing it all comes down to. The fire is the 100-mesh screen and stored it in small jars with tight-fitting lids. ultimate test that separates ceramics from all other materials and I also formulated the Overglaze Base recipe to contain only 15% art forms. The thought has been thought, the work has been clay. It serves as a good base for the addition of coloring oxides done, the feeling has been created, but it still must pass the test. and stains. Waiting until the slip glaze is dry, or almost dry, allows The fire is my faithful servant and my demanding master, my the clay to do most of its shrinking and accept the overglaze most brilliant collaborator and my harshest critic. It transforms. trailing without as much stress between the two. It purifies. It all comes down to the fire.

Ceramics Monthly May 2004 42 Ohata Red Glossy Slip Glaze Titanium Slip Glaze (Cone 10) (Cone 10) (Cone 10) Bone Ash ...... 8.66 % Gerstley Borate...... 10.0% Soda Ash...... 4.12% Red Iron Oxide...... 9.45 Soda Ash ...... 3.0 Talc...... 6.18 Talc...... 6.30 Wollastonite ...... 20.0 Wollastonite...... 18.02 Whiting ...... 8.66 Bentonite...... 3.0 Custer Feldspar...... 20.60 Custer Feldspar...... 42.52 Kentucky Ball Clay (OM 4) ...... 42.0 Kentucky Ball Clay (OM 4) ...... 42.23 Kaolin ...... 5.51 Plastic Vitrox...... 6.0 Silica (Flint)...... 8.85 Silica (Flint)...... 18.90 Glass Cullet...... 16.0 100.00% 100.00% 100.0% Add: Bentonite...... 3.09% Titanium Dioxide ...... 8.24% Ohata Red Unity Formula Glossy Slip Glaze Unity Formula *CaO...... 60 *CaO...... 73 Titanium Slip Glaze Unity Formula *MgO...... 17 *MgO...... 09 *CaO...... 54 *K 0 ...... 02 *K20 ...... 16 2 *MgO...... 19 *Na 0 ...... 16 *Na20 ...... 07 2 *K20 ...... 10 BA ...... 13 Fe203 ...... 21 *Na20 ...... 17 AIA...... 39 P205...... 10 Ti02...... 39 Si0 ...... 2.68 Al203 ...... 32 2 AIA...... 55 Si02...... 3.17 Si02...... 3.57 Matt Slip Glaze Ohata Slip Glaze (Cone 10) Blue Ice (Cone 10) Soda ash ...... 2.0% (Cone 10) Bone Ash...... 9.0 % Talc...... 4.0 Talc ...... 6.50% Red Iron Oxide...... 7.2 Whiting ...... 7.0 Whiting ...... 13.54 Soda Ash ...... 1.0 Nepheline Syenite ...... 20.0 Minspar 200 Feldspar ...... 43.88 Talc...... 4.5 EPK (Edgar Plastic Kaolin) ...... 30.0 EPK (Edgar Plastic Kaolin) ...... 11.70 Whiting...... 8.3 Kentucky Ball Clay (OM 4) ...... 25.0 Kentucky Ball Clay (OM 4) ...... 10.84 Custer Feldspar...... 25.0 Silica (Flint)...... 12.0 Silica (Flint)...... 13.54 Cedar Heights Redart...... 32.0 100.0% 100.00% Silica (Flint)...... 13.0 Add: Titanium Dioxide ...... 8.34% Matt Slip Glaze Unity Formula 100.0% *CaO...... 42 Blue Ice Unity Formula Ohata Slip Glaze Unity Formula *MgO...... 21 *CaO...... 55 *K 0 ...... 08 *CaO...... 61 2 *MgO...... 20 *Na 0 ...... 29 *MgO...... 18 2 *K20 ...... 08 AIA...... 1.30 *K 0 ...... 15 *Na20 ...... 17 2 Si0 ...... 5.21 2 Fe203 ...... 01 *Na20 ...... 06 Ti02...... 39 Fe203 ...... 21 The dry surface of this glaze relies on ash and PA...... 11 flashing from the kiln to impart an interesting AIA...... 56 Si0 ...... 3.66 Al203 ...... 32 surface. It is dry and boring when fired by 2 Si02...... 3.20 itself in a gas or electric kiln. Overglaze Base (Cone 10) Gerstley Borate...... 4.0 % Talc...... 4.0 Whiting ...... 15.0 Custer feldspar...... 36.0 EPK (Edgar Plastic Kaolin) ...... 15.0 Silica (Flint)...... 26.0 100.0% Overglaze Base Unity Formula *CaO...... 63 *MgO...... 14

*K20 ...... 15 *Na20 ...... 08 BA ...... 06 AIA...... 45

Si02...... 3.89 For red, add 20% red cadmium inclusion stain; for blue, add 5% dark cobalt blue stain; for green, add 15% emerald green stain; for tur­ quoise, add 15% vanadium-zirconium turquoise stain; for yellow, add 15% titanium yellow stain. “Simply Red,” four-piece place setting, stoneware with slip-glazed accents (see “Simply Red,” October 1999 CM), by David Hendley, Maydelle, Texas. *oxides contributing to unity (totaling to 1)

Daily living can be a draining chore, with endless to-do lists, long lines and traffic jams. Mundane and monotonous, the week drags by only to fast forward over the weekend. It is a miserable routine that weighs on the human spirit as we delude ourselves in our workaday lives and forget the beautiful and mysterious world in which we live. Some may see beauty as a frivolous and naive goal, unworthy of being an artist’s ultimate objective. As I question what is wrong with beauty, I find myself asking the more important question: “Why am I searching for beauty?” The truth is, we are all search­ ing for beauty. We often choose our partners by how they appear. We purchase sleek cars and select the most appealing appliances available. Beauty is an inherent component of human nature. For me, beauty is an escape from my mundane life. It reminds me that life is a gift that is far greater than our daily struggles. Beauty truly exalts the mind and spirit, and making art is a way for me to focus on this idea. It enables me to make sense out of why I am here and what it means to be self-aware. As I strive to create an ideal world through my designs of perfecting the sub­ lime, I understand what I am looking for is a spiritual revelation. Throughout the years, my definition of beauty has grown exponentially. Beauty is present in everything, but it is often unacknowledged. It is present in the way a eucalyptus tree extends its heavy branch from its trunk as the bark below the branch wrinkles under the pressure. The grotesque is also beautiful— often jarring, disturbing or repulsive. There is beauty in the dissected human, with nerves and veins branching out to the tips of the skin. Muscle meets bone, wrapping itself around the rigid structure, similar to the way a vine grows up a building, curling its soft tendrils around the strong support of brick walls. In my search for beauty, I am most attracted to plants and animals. I see them as the ultimate embodiment of perfection, incapable of the evils that plague humans. I attempt to create a utopian world of animals, free of human downfalls—an escape “Two of a Kind,” 31 inches (79 centimeters) in height, slab-built and pinched from everyday reality. It is a fanciful place where beauty and earthenware, with terra sigillata, glazes, copper carbonate, rhinestones, design are pulsating with life. I strive to create a natural world, to beads and metal rod, fired to Cone 06. display its fragile vulnerability without hesitancy, and to blur the distinction between beauty and the grotesque. I begin by poring over nature books, the more exotic the better. I am drawn to the exotic because it is unlike anything I have ever experienced—the ultimate escape. I find myself imme­ diately sketching and composing, generating ideas. It is important for me to design animals that have never been created. That way, they truly seem to belong to me and no one else. I may spend days developing new animals, drawing many possibilities while thumbing through book after book, until I have several pages of sketches. When I look at these images later, I am able to more clearly determine which is the most engaging. Once I determine which one I am most interested in, I sketch that design over and over until it is just right. Even if the piece is

Ceramics Monthly May 2004 45 “Lunae Lumen,” 42Va inches (108 centimeters) in width, slip-cast and press-molded earthenware, with underglaze, glaze and metal rod, fired to Cone 06.

narrative, it is important that it is organized to keep the eye expanded form lends itself to a full-bodied animal that appears moving throughout the piece. healthy and thriving. Design is perhaps the most important element of my work, as I have slowly increased the scale of my work, because I want I often associate beauty with good design. Design helps me orga­ my creatures to embody a sense of grandeur of which I believe nize and make sense of the world. It is found everywhere in they are worthy. Large and unavoidable, they confront the viewer. nature, alluding to a higher meaning of life. Through my investi­ Scale elevates the animal beyond the figurine as it takes its place gations of insects, I find myself astonished at the incredible design within the world of sculpture. I may draw a piece in a variety of of their bodies. I see beauty in the segmentation of their exoskel­ sizes to determine exactly how large it needs to be. This enables etons, with the ever-changing lines that divide one segment from me to see how effective the piece would be at different scales. This another, and their graceful antennae that extend and elevate the life-size drawing is like a map, and I continuously refer to this length of their bodies. map in order to avoid distortion of my original design. Movement and fluidity are also important to my work. I am The clay body I use is a low-fire earthenware that fires to a drawn to the lines of a trail of incense smoke that rises and curls creamy white color at Cone 04.1 make my clay from scratch, only around itself to ride the invisible currents of air only to slowly because I have not found a commercial clay body that is as disappear. This movement may also be seen in the plant world as a flexible, plastic and smooth as the clay body I make. I am also sprout rises and unfolds its tender leaves to the warm beams of drawn to this clay body because its white color enables me to sunlight. These natural, asymmetrical, free-flowing lines are what achieve whatever color I desire. I choose to work at a low tem­ I incorporate within my work to produce a sense of movement. perature for two reasons: there is less chance of damage in the The gestures of the creatures are often dancelike, as if posed firing process, and it allows a wide range of color. Because my for an unseen audience. Many of the animals are not alone. This work is so time consuming (I average one piece per month), I do suggests coupling or family unity. Most have sexual appendages, not want the risk of a high-fire clay body. which raise questions of the complexity of their relationships. Once the underlying form is constructed and is airtight, I Volume is an essential part of form. An inflated and generous paddle the form into shape, using the air pressure on the inside to amount of air fills the creatures with pulsating life. This sense of keep the form from collapsing.

Ceramics Monthly May 2004 46 Since the animals I create do not have flat bottoms on which more like platforms as they set the stage for the creature to to sit, bases have to be designed to hold the piece. This creates an illuminate. These presentation devices elevate the status of the engineering problem, because I have to design the pieces to be animals and bestow them with their own personal environment. assembled and disassembled. I usually use brass rods that will The interaction between the infrastructure and the animal lends a slide into a matching brass tube to hold the animal in place. The narrative quality to the piece. The dialogue is further developed tubes are glued into the base and the animal with epoxy after the through the use of the animal’s body language. The creature may piece has gone through its final glaze firing. The rods then slide in be rising from a decorative base that may have provided shelter. and out of the tubes, allowing the animal to slide on and off the I like to think about how different textures will change the base at any given point. creature. The form may be graceful and elegant, but a slimy and The bases contain the creatures in their own environments, disgusting texture gives the work an interesting and unexpected separating them from this world. They present the animals in twist. This further blends the lines between beauty and repulsion. precious ways to reinforce their importance and grandeur. Some I enjoy placing the viewer in an uneasy place that is both comfort­ of the bases are used in the same way that jewelry is used to ing and distressful. I like to contrast smooth texture with rough present precious gems. This creates a dynamic tension by portray­ texture and enjoy how the two play off of one another. If there is ing a natural-looking animal in an artificial way. Some bases are too much texture, the eye has no place to rest and becomes tired.

“Intentions Mislead,” 23 inches (58 centimeters) in width, slab-built and pinched earthenware, with glaze luster and metal rod, fired to Cone 06. “Somatic Benediction,” 23 inches (58 centimeters) in height, handbuilt and press-molded earthenware, with underglazes and glaze, fired to Cone 06, by Rebekah Bogard, Las Vegas, Nevada.

it has gone through the final firing, I seal the matt surfaces with a clear, matt spray paint to prevent it from becoming dirty. Working with ceramics has been a con­ tinuous challenge for me. It is, by far, the most challenging medium I have ever en­ countered. Each step in the process poses its own unique challenges, which keep me engaged in my pursuit of beauty. I feel I am pursuing the most ideal form of art— that which endeavors to exalt the mind and spirit. Through our recognition of beauty, we are able, if only for a moment, to escape our fast-paced world. Although Just the right amount of texture keeps the eye moving and holds my vision of a utopian world will probably never be realized, I am the viewer’s attention longer. able to create one through my art. Choosing the appropriate color combination is usually done after I bisque fire the piece to Cone 04. Rarely do I know the the author Rebekah Bogard (see “Emerging Artists 2003,” color before its initial firing. I have found that unexpected color May 2003 CM) is an adjunct professor at the University of combinations, in conjunction with jarring textures, can create a Nevada, Las Vegas (UNLV). tension between the sublime and grotesque while evoking sensa­ tions of balance and harmony. The use of pastel colors helps to unify the complexity of form and texture, because of the tight value range. Monochomatic colors act in a similar fashion. They simplify the active surface, allowing the form and its textures to become more noticeable and significant.

I use underglaze because I like the consistency and the almost Clay Body limitless color possibilities. I am able to blend one color into (Cone 04) another and layer several colors to create a deep, luscious surface. Talc...... 14.5 Airbrushing the underglazes creates a flawless surface. After I Whiting ...... 7.2 finish underglazing, I fire the piece to Cone 06. I may go over it Kentucky Ball Clay (OM 4) ...... 54.4 Silica (Flint)...... 23.9 with more underglazes in order to get the desired effect. If I’m lucky, I get it right the first time. Once I like what I see (some­ 100 .0% times after several firings), I apply clear glaze to some areas. Once

Ceramics Monthly May 2004 48 East Meets West In Pennsylvania: THE CERAMICS OF RON HAND by Kahren Jones Arbitman

Ron Hand in his studio trimming teabowls on a chuck “Pennsylvania Teabowl, March,” 3½ inches (9 centimeters) in using a traditional kanna (iron trimming tool). height, native clay, with Shino glaze, fired to Cone 9 in reduction.

State College, Pennsylvania, home to Penn State University, is Studio visitors who pass by the granite guidepost and stone tucked comfortably into a mountain valley at the state’s geo­ bridge are drawn immediately into the quietude of the surround­ graphical center. This vibrant college town is where Ron Hand ings. The doorway is spanned by a noren, a traditional hanging works as exhibition designer for the university’s Palmer Museum drapery that requires all who enter to lower their heads as they of Art. Despite the artistic demands of his museum job, Hand’s push it aside. In the studio, the cloth’s more prosaic function is to extraordinary creative efforts take place ten miles away in a rural separate work and display areas. Inside the workroom, two elec­ hamlet that bears no resemblance to its bustling neighbor. The tric wheels sit side by side. One revolves slower and is reserved for village of Tusseyville, barely a country lane long, is the namesake large chargers and salvers. The real workhorse, used for the vast of Tusseyville Pottery, with Hand as sole proprietor, designer, clay majority of Hand’s pieces, is carefully located inches from a digger and potter. In this idyllic central Pennsylvania town, Hand window that overlooks a garden with an Oribe lantern and gran­ has created a remarkable homage to Japanese culture and ceramics. ite tsukubai. This traditional Japanese crouching bowl with gently Behind his 154-year-old white clapboard house that would running water is used to create the proper state of mind for those not be out of place in a Grandma Moses painting, Hand has built entering a tea house. For Hand, its spilling water “ensures a a studio that reflects his attraction to Japanese sensibilities. It is setting where I can sit and work for hours. It’s more relaxing than not so much the imposition of Asian architectural style onto an a Walkman, and it drowns out the sound of the huge semis essentially utilitarian building; rather, it is the adherence to Japa­ roaring down Route 322.” nese harmony, balance and proportion that brings its own calm­ The adjacent glazing and decorating room is a testament to his ing properties to the artist’s workplace. As Hand insists, “My work insistence on order: brushes line up by size like soldiers, glaze environment is important. It must be a quiet, reflective place.” buckets have the same ordered appearance, as do shaping and

Ceramics Monthly May 2004 49 “Chun Sake Cup,” 2 1 /s inches (5 centimeters) in height, stoneware, Chun glaze, with accents of copper and ash, fired to Cone 10; “Gourd Sake Flask,” 7¾ inches (20 centimeters) in height, native clay, wood fired to Cone 9. designing paddles. Even invoices, notes, journals and paper clips find homes in labeled cubbyholes and calm what in other artists’ workplaces might be a cacophony of jumbled materials. Behind the studio sit two propane-fired kilns. The larger, a 45-cubic-foot, barrel-vaulted, downdraft, forced-air kiln, uses four homemade burners. Once a favorite production kiln, it has been largely replaced by a portable 12-cubic-foot updraft kiln with Venturi burners. Hand likes the flexibility this smaller kiln affords. “I constantly experiment with glazes and clay bodies and I don’t like to wait to see if they work. Because this kiln holds 20 pieces at most, I can fire it every week.” Above the workrooms, Hand built a showroom with recessed display areas, indirect lighting and a skylight. While he might have preferred visitors to sit on floor mats, he has acceded to Western knees and added benches. Through two low windows, guests can comfortably view a garden that once more reveals Hand’s imposition of harmony onto central Pennsylvania’s rugged terrain. Shoveling tons of dirt, Hand created four gardens that mix local flora and Asian flavor. Japanese red maples are among his favorites. Over 20% of Hand’s clay comes from a swampy bog in Alan Seeger Park, a state park 15 miles from his home. Hand was introduced to this free, natural resource over 30 years ago by his Penn State professor, Ken Beittel. “The park is a virtual treasure trove because of the way the clay lays in the vein. If you want clay for tighter, more controlled pieces with less iron, you dig about 20 feet from the narrow macadam (asphalt) road. If you want more “Butterfly Vase,” 19 1 /4 inches (49 centimeters) in height, stoneware, sand and iron for looser, more freewheeling pots, you have to tea-dust glaze over wax-resisted temmoku, fired to Cone 7 in reduction. move out 30 more feet.” In one of the most charming confluences of East and West, the Amish carpenter who helps Hand build cabinets collects oak ashes from his wood-burning stove for Hand’s glazes. In return, Hand makes utilitarian pottery for him. Within this tranquil environment, Hand’s American training and personal ingenuity unite with Japanese aesthetics to create a wonderful admixture. His Shino works are a case in point. A Shino charger almost immediately drifts away from Japanese mod­ els because of Hand’s choice of clay. Rather than a traditional, light-colored, sandy, open clay, Hand uses a variety of clays to create interesting foils for his Shino glazes. In the charger, he chose clay fairly low in iron with fine grog for strength. Because he works alone, Hand improvises when working at this scale. “I didn’t make chargers for years because I lacked the strength to flip the piece using bats on either side. Now, I wait until the piece is just before leather hard and flip one bat with the charger still attached. Then I cut it free.” After bisque firing, Hand applies one of his many variants of Shino glaze. What is now called Japanese Shino is a rather straight­ forward glaze of feldspar or feldspar with ash. The title of a recent exhibition at Babcock Gallery, “American Shino: The Glaze of a “e-Shino Charger,” 18¾ inches (48 centimeters) in diameter, Thousand Faces,” makes clear that this recipe serves only as a stoneware with iron and manganese brush decoration starting point. For his charger, Hand used three feldspars (Custer and Shino glaze, fired to Cone 9 in reduction.

Ceramics Monthly May 2004 51 feldspar, nepheline syenite and spodumene) as well as kaolin and ball clay. Because he likes to dip rather than spray his Shino, the large charger presented a challenge. “I had to jury rig a shallow, 36-inch basin that gave me the freedom to apply the glaze the way I wanted.” Hand admitted that the resulting contraption looked like something out of a sixth-grade science fair. For his painted designs, Hand closely adheres to Japanese preference for spontaneity and subtlety. “For me, the image has to look like it’s emerging, phantomlike, from beneath the glaze or, conversely, floating delicately on the glazed surface.” Hand cap­ tures this ephemeral quality on the charger by using a thin wash of iron and manganese oxides. “On large works like this, I pencil in an initial design. Once I’m satisfied, I brush on the design quickly, using the pencil as a loose guide. Success comes only when my brushstrokes flow freely. If it looks like I’ve stopped and started again, all is lost.” Hand’s Shino pots display a variety of glazes and clay bodies. In a recent set of five shallow dishes, with the rims pinched for a lobed effect, Hand used a flat steel rib to scrape away the clay’s smooth surface. “I like to remove what I call false clay to expose the aggregate body beneath.” This allows the glaze to absorb quickly into the clay. “Rather than Shino’s typically smooth sur­ face, I prefer the resulting texture that promotes pinholes.” Each plate in the set has a different but related design. Hand explains, “Using as few brushstrokes as possible, every image captures a different view of the same place.” “Pennsylvania Teabowl” is the picturesque name Hand gives his Shino drinking bowls made from local clay. These winter bowls, with squat, cylindrical shapes, have dark clay bodies pocked with iron and nuggets of feldspar. Each is simply glazed with feldspar and ash. Except for an occasional paddled motif, the bowls stand without decoration. As Hand says, “The iron content provides all the design the bowls need.” Where the glaze is thin, the surface appears bright orange. In thicker areas, it is a combi­ nation of satiny gray-white glaze and dark iron flecks. No two are alike. “Sometimes the running glaze creates a mountain image— serendipitously proclaiming the work as a central Pennsylvania teabowl. Other times, I underscore a bowl’s Pennsylvania origin by blotting the glaze so that local clay shows through.” Not surprisingly, Hand is drawn to many varieties of Japanese teabowls. Nuka is among his favorite glazes for these bowls. A high percentage of silica gives this typical Japanese ash glaze its snowy white appearance. Hand alters his approach from bowl to bowl. In one, he adds iron oxide brushwork of pine needles, resulting in a soft green design near the bowl’s base. In another, Flower vase, 1VA inches (29 centimeters) in height, native clay Hand washes the entire bowl with an underglaze to produce a with applied pine ash and sand, fired to Cone 10 in reduction. subtle blue tint beneath the Nuka’s white sheen. Also prevalent among Hand’s utilitarian vessels are Japanese- inspired sake flasks and cups. While occasionally he makes a coordinated set, more often Hand creates flasks and cups from differing clays and glazes. When set side by side, flask and cup

Ceramics Monthly May 2004 52 “Set of Five e-Shino Dishes,” each 6 inches (15 centimeters) in diameter, stoneware with iron and manganese brush decoration and Shino glaze, fired to Cone 10 in reduction.

have a symbiotic relationship. Hand describes them as looking that the bottle is “easy to hold and pour, regardless of how much “more like best friends rather than mother and daughter.” Two sake you’ve drunk.” The flask’s drinking partner is a sake cup that, recent flasks were wood fired in a friend’s anagama. The gourd­ even on this small scale, reveals Hand’s inventiveness. Made of shaped sake flask, made from local clay, is simple and straightfor­ local clay, the cup has white slip, feldspar, oak- and pine-ash glaze, ward, and at the same time, it brims with character. Flashing from and yellow ocher brushwork. For Hand, the thinness of the slip is the wood fire covers the clay with earthy shades from sienna to critical; the iron in the clay body needs to show through the milky ocher, while the wood ashes that naturally settle on its surface veil of slip. Hovering between the commingled layers is a quickly create a satisfying green counterpoint. Hand pairs this favorite brushed design. flask with a Chun sake cup. Chun is a typical Chinese glaze that Hand’s flower vase, with its distorted shape, sloped shoulders Hand fires in an oxidation atmosphere. “It’s a thick glaze that I and droopy ears testifies to his ability to strike new ground while apply even thicker by dipping it three or four times.” The result plowing traditional territory. “This ^-inspired vase came out of looks like drifted snow. Atop the Chun glaze, Hand brushes 30 years of studying pots, but it did take on a life of its own.” delicate daubs of copper and oak ash, reminiscent of tan pan Watching Hand apply pine ash and sand (coarse, sandy stoneware (delicate floral designs) on Ki-Seto ware (from the Muromachi bodies are typical of Iga ware) to the still-wet clay similarly period, 1392-1573). The nebulous spots of green copper and suggests an artist out there on his own. First, he presses sand into dingy yellow ash remind Hand of the first signs of spring peeking parts of the clay. Then, to replicate the effect of ashes randomly through the snow. falling on clay during a wood firing, Hand applies pine ash Another wood-fired sake flask has flat sides and paddled diago­ through a sieve using body motions that he likens to dance steps. nal bars (see cover). “Striking clay is pretty intense work, and He then blows on ashes in a pattern that resembles flames licking needs a quick, deliberate snap of the wrist to transfer the design.” the surface. “I do this when no one is around; otherwise, I’d be Paddled four times to make it somewhat square, Hand admits carted off!” Where the two materials meet, the ash acts as a flux to

Ceramics Monthly May 2004 53 help melt the sand into a smooth, glassy finish. Sections with ash Hand sought its perfect complement. Ultimately, he chose the sleek, alone are rough. Those with lots of ash (on the shoulder, for glossy finish of tea dust over Temmoku. After spraying the Temmoku example) are crusty. The finished vase exhibits a split personality, for an even coat, Hand applied horizontal lines of wax resist. The simultaneously suave and crude. final step was a tea-dust spray. Butterfly patterns happily appeared This spontaneous vase is the antithesis of Hand’s tall, elegant, when the tea dust ran during firing. paddled “Butterfly Vase” (see page 51). Hand paddled the piece in six stages to achieve its sophisticated appearance. Because the pot The author Kahren Jones Arbitman, Ph.D., was director of the deserved an equally sophisticated glaze, it sat for three months as Palmer Museum of Art from 1990 to 1996.

“Quadrefoil Serving Dish,” 10 1 /4 inches (6 centimeters) in diameter, stoneware with khaki glaze, wax-resist decoration and Nuka glaze, fired to Cone 10 in reduction, by Ron Hand, Tusseyville, Pennsylvania.

Ceramics Monthly May 2004 54 Lincoln Arts: Breathing Life Into Dreams by Paul A. McCoy

View of the air stacks and historical buildings of Gladding, McBean, also known as “The Pottery,” in Lincoln, California.

which this small group of individuals had committed themselves to serving their community or of their remarkable accomplish­ ments in that regard. I was not aware that the tremendously successful Feats of Clay exhibitions had been conceived for the purpose of raising funds for arts programs in a community that had only minimal offerings in schools. Manifested within the lives and actions of the exhibition organizers, contributors and volunteers are lessons my parents and teachers tried to instill in me regarding the significance of the choices we make in our lives, the ripples those choices create, and whether those ripples move outward into the greater community or inward to our own selves. That year, I left Lincoln humbled and elated, thinking hard about the choices still ahead. Lincoln, California, is a 30-minute drive northeast of Sacra­ mento. A walk through downtown reveals a healthy balance of Former exhibition chair and president, Claudia Renati, executive director, traditional and progressive businesses and keen sensitivity on the Dick Ketelle and Lynn Estabrook. Lincoln Arts and Culture Foundation. part of city council regarding the aesthetics of space and move­ ment. Although Lincoln is currently experiencing rapid growth In May 2001, I attended the opening reception for the “Feats of and development, it remains a scenic and friendly town. It is Clay XIV” exhibition at the Gladding, McBean plant in Lincoln, immediately obvious that its citizens take great pride in its charac­ California, as that year’s juror. I knew from prior experience that ter and history. the organizers at Lincoln Arts were thoroughly committed to Gladding, McBean & Company, founded in Lincoln in 1875 creating one of the finest national exhibitions for emerging and in response to the discovery of vast clay deposits, is best known established ceramics artists. I did not know, however, the extent to for designing and producing terra-cotta facades for buildings

Ceramics Monthly May 2004 55 Jurors are also given space to display their work. The 2002 juror, Joe Mariscal, displays one of his whimsical dogs surrounded by other works from the show.

throughout the world. It is also a producer of vitrified clay pipe, of a rich cultural environment. Upon discovering the singular roof tile and garden pottery, and has been one of the town’s major nature of Lincoln’s culture, they began searching for ways to employers since the late 19th century. Its buildings and kiln stacks achieve greater cultural diversity within the community. Lynn dominate Lincoln’s skyline. Today, under the ownership of Sacra- had majored in music in college and had acquired fund-raising mento-based Pacific Coast Building Products, the company con­ experience on behalf of the Sacramento Symphony. She believed tinues its operations at full capacity. State-of-the-art technology that, however daunting, it was both possible and necessary that for the production of vitrified clay pipe interfaces seamlessly with programs in the arts be developed, through service to the whole of the traditional hand processes integral to the modeling, mold the Lincoln community, that could enrich the lives of its citi­ making and finishing of architectural terra cotta. To walk through zens—both young and old. She discussed the viability of creating the plant is to exist simultaneously in the past and present. an arts league with other Lincoln residents and found consider­ Gladding, McBean functions as both a living museum and cut­ able support for the idea. ting-edge architectural ceramics producer. The histories of Lin­ coln and Gladding, McBean are completely intertwined, their Structure respective identities incomplete in the absence of the other. Richard Ramirez, Lincoln’s city administrator, was enthusias­ Until the mid-1980s, Lincoln’s cultural identity was similar to tic about an arts organization, but encouraged Lynn not to con­ that of innumerable rural communities, defined in large part by nect it to the city of Lincoln. He recommended instead that it be its agricultural orientation and through its relative isolation from established as a public nonprofit organization that would be larger, more culturally diverse, urban communities. The town’s supported by community donations. He suggested that each mem­ population was about 7500, and Gladding, McBean and a nearby ber of the Lincoln city council appoint one member to the board sawmill constituted the majority of nonagricultural jobs in the of the new arts organization. The city attorney set up the bylaws, area. California was in the throes of a difficult financial period, made all applications, and in September 1986, the Lincoln city and dramatic cuts in school budgets translated into the elimina­ council met and appointed the board for the newly established tion of arts and music programs in many schools, especially those Lincoln Arts and Culture Foundation, naming Lynn Estabrook as in smaller rural communities such as Lincoln. its president. The city gave the fledgling organization a one-time In 1982, Lynn and Kent Estabrook moved to Lincoln with donation of $5000, a drawer in a desk in city hall, a phone and children to raise and strong convictions regarding the importance copier services at no charge for six months, after which Lincoln

Ceramics Monthly May 2004 56 Arts would have to pay 150% of the cost of any services required. They were also events that required more substantial funding In other words, Lincoln Arts was given the city’s blessing and six than Lincoln Arts’ meager budget would allow. Although mem­ months to make something happen. berships and donations were increasing as Lincoln Arts became The city council had done its job well. Lincoln Arts’ newly more active and visible within the community, successful grant appointed board of directors proved to be a superbly balanced writing was an essential element in securing many of the im­ team, wholly committed to the tasks at hand. The original board ported events. Early grant applications to the California Arts members were a diverse group, with training and experience in Council revealed that Lincoln qualified as an “underserved town­ the arts, education, social work, fund-raising, business and city ship” and was, therefore, eligible for a larger share of grant money, management. From the beginning, the board worked to the making it possible for Lincoln Arts to present six public concerts strengths of its members. It also required the same from its in its first season. members as it did from the public. Board members not only paid the same fees as the public for its programs and events, they also Feats of Clay paid an annual fee to serve on the board. The most ambitious and far-reaching project undertaken to date by Lincoln Arts has been the annual Feats of Clay national Beginning juried exhibition, presented in the Gladding, McBean plant every Initial actions of the board included polling the Lincoln com­ year since its inception in 1988. The idea of organizing an annual munity to determine its art-related interests and exploring pos­ exhibition of contemporary ceramic art in Lincoln, with its vast sible office, exhibition and programming space. Results of the clay deposits and history of architectural and industrial ceramics poll revealed that Lincoln’s citizens possessed broad-ranging inter­ production, made perfect sense to the board of directors at Lin­ ests in the arts and, although the quest for space resulted in the coln Arts. Conceived as a fund-raising venture in support of rental of a shop in the heart of Lincoln’s business district, it was Lincoln Arts’ fledgling community arts programs and an oppor­ immediately obvious that more extensive facilities and personnel tunity to broaden the scope of art available to Lincoln residents, were necessary to meet the interests of the community. Lynn the project assumed a life of its own from the outset, establishing Estabrook and John Bozzo, superintendent of Lincoln’s schools and a fellow Lincoln Arts board member, approached Sierra College with the pro­ posal that Lincoln classrooms be made available for Sierra College teachers to teach evening and week­ end art classes to Lincoln residents. Sierra College approved, with the stipulation that for every art class taught in Lincoln, Sierra College would also teach one core academic course that Lincoln high-school students could take for college credit. The arrange­ ment, which continues today, has been tremendously successful, and constituted a huge step for Lincoln Arts toward becoming a vital and progressive com­ ponent of the community. From its inception, Lincoln Arts’ mission has been to generate public awareness and interest in the arts by creating opportunities that encourage in­ Part of Feats of Clay is housed in Gladding, McBean’s design studio. At left is a photo volvement and interaction in a manner that is invit­ from the Gladding, McBean archives depicting a sculptor next to an architectural model. ing and unintimidating. Lincoln Arts began presenting monthly art exhibitions in its rented space, as well as itself as a landmark in the intertwined histories of Lincoln and musical performances in the city park, at no charge to the public. Gladding, McBean. Exhibitions provided a venue for area artists to show their In 1987, board members Ray Gonzales and Diane Youtsey work and the opportunity for the public and artists to interact approached the officers of Gladding, McBean with the idea of within the context of gallery receptions. Performances in the city presenting the exhibition in the plant. Until that time, Gladding, park brought a wide range of musical styles to the center of town, McBean’s operations were conducted behind closed doors and, ranging from country western to jazz to Scottish pipe and drums although it played an important economic role in the life of the to the Sacramento Symphony Orchestra performing the “1812 city, most of Lincoln’s residents knew little about the plant or its Overture”—complete with cannons. For a town with a popula­ rich history. Initially, company officers were not excited about the tion of 7500, a single bowling alley and no fast-food restaurants, idea of setting up an art exhibition in the middle of their plant. these were events of monumental proportion. However, the late Fred Anderson, owner of Pacific Coast Building

Ceramics Monthly May 2004 57 Products, recognized the benefit of showcasing both contempo­ evident. The architecture and rich heritage of Gladding, McBean rary ceramic art and Gladding, McBean’s rich heritage. He enthu­ seamlessly embrace the consistently strong survey of contempo­ siastically supported the proposal. The relationship has since rary American ceramics in Feats of Clay. become very strong, embraced today by Dave Lucchetti, presi­ Because the exhibition is presented in the heart of a function­ dent and CEO of Pacific Coast Building Products, and the officers ing plant, liability issues require that visitor movement through of Gladding, McBean. Bill Padavona, general manager of Gladding, the plant be closely supervised. To this end, Lincoln Arts and

Half of the works in Feats of Clay are installed in a beehive kiln that was built in the late 19th century.

McBean, currently serves on the board of Lincoln Arts and is one Gladding, McBean have developed a regularly scheduled, docent- of its most enthusiastic advocates. guided tour that takes visitors through the plant. The tours, in Gladding, McBean’s kiln building houses 22 beehive kilns and addition to viewing Feats of Clay, provide an overview of Gladding, two shuttle kilns. Exhibition organizers decided that half of the McBean’s history and the processes employed in the design and works in the exhibition would be installed in a beehive kiln that production of its products. The tours have become so popular in was built in the late 19th century and was used for salt firing. recent years that even extended tour schedules are unable to stay Years of salting have transformed the interior walls into heavily abreast of the number of requests. encrusted frozen liquid. In this chamber, history and transforma­ In an effort to maximize the visibility of the exhibition and to tion are physically conveyed, providing a unique and powerful attract high-caliber work from across the United States, Lincoln setting for the presentation of contemporary ceramic imagery. Arts has sought out nationally recognized and respected ceramists The other half of the exhibition would be presented in the plant’s to serve as jurors. Securing the services of Ron Nagle, Daniel design studio, sharing space with gigantic easels from the late Rhodes, Jack Earl and Rudy Autio in the first four years of the 19th century, which support huge clay models that weigh tons, exhibition placed Feats of Clay squarely on the map of national architectural plaster molds, terra-cotta examples and photographic venues, requiring serious consideration by emerging and mid­ murals of the Gladding, McBean plant dating to the early 20th career ceramics artists. Subsequent jurors have continued to be a century. The presentation of contemporary ceramics in this stu­ strength of the exhibition, which normally attracts submissions dio celebrates both the artworks and the extent to which the from artists in up to 49 states each year. present continues to be informed and nurtured by the past. Throughout the history of Feats of Clay, Lincoln Arts has Although both exhibition spaces depart significantly from cur­ demonstrated unwavering respect for the artists, who come away rently accepted norms regarding the presentation of art, the sensi­ from the show knowing their participation is genuinely valued. tivity of exhibition organizers to an environment’s capacity for An outstanding example can be found in the efforts of Dick supporting and extending the showcased works is immediately Ketelle, exhibition chairman from 1990 to 2002, who joined

Ceramics Monthly May 2004 58 Lincoln Arts after retiring from a 30-year career as a high-school not long ago existed as an enigmatic industrial entity within the art teacher. Sensitive to the expansive experience that participa­ community, has become a progressive and creative collaborative tion in a national exhibition can provide an artist, especially the force in Lincoln, its rich heritage a source of great community younger ones who are beginning to test the waters, he and other pride. committee members would call accepted artists on the notifica­ None of Lincoln Arts’ many accomplishments could have tion date each year to personally congratulate them and to pro­ become anything more than pipe dreams, however, without the vide as much time as possible for them to pack and ship their contributions of scores of volunteers over the years, the guidance pieces. His efforts to configure each year’s installation so that and encouragement of the Lincoln’s city council, the generous every piece was presented in a professional and engaging manner support of area families and businesses, and the creative vision contributed to the show’s reputation and consistently high sales, and relentless commitment to excellence of the Lincoln Arts generating the respect and gratitude of artists and colleagues alike. board and staff. Giving of oneself, whether by licking envelopes, Lincoln Arts has also developed the largest purchase- and answering phones, painting pedestals, writing checks, interfacing merit-award program I have encountered to date. It is one of very with city officials or creating public access to a historical working few that extends to the plant, breathes life into community a meaning­ our dreams. It is a choice ful role in the critical as­ we make as individuals, sessment of art. Area one that reaches beyond businesses and individu­ itself to heal and build, als are given the oppor­ encourage and support. tunity to commit to Claudia Renati, Lin­ either the purchase of an coln Arts’ executive di­ exhibited work or to the rector, is busy these days presentation of a $50 writing grants and work­ merit award to an artist ing with community whose work they ad­ leaders to create new pro­ mire. Artists receive for­ grams that address the mal recognition directly needs of Lincoln’s rapidly from the community, growing population. and confirmation of the These include programs value placed on their ef­ for at-risk children and Inside the beehive kiln, salt-encrusted walls make a dramatic background for Feats of Clay XVI; forts, while participants at the Gladding, McBean factory, Lincoln, California. adoptive families and a in the program are rec­ poetry-and-illustration ognized for their support of the competition for children. She, arts during the opening recep­ like everyone at Lincoln Arts, tion and within considerable remains wholly committed to promotional materials. maintaining Lincoln Arts as a Today, Feats of Clay is a proactive entity totally inte­ highly respected national exhi­ grated within the community, a bition, providing artists through- place where everyone is welcome out the country with an and where cultural diversity is opportunity to put their work cause for celebration. before knowledgeable jurors and The story of Lincoln Arts, as a fully engaged and enthusiastic good as it is, is not unique. There community. It has become the are a lot of people living remark­ largest annual event in Lincoln, able lives, working hard to make drawing over 6000 visitors; an Shown left to right are works by Justin Gerbich, Anna Ramsburgh the world a healthier place. We and Carol Thompson Owen from Feats of Clay XVI. increase of 1000% over the 600 rarely hear their stories: perhaps who attended the first exhibition in 1988. Attendance at the there’s just not enough space left after the bad news is printed. opening reception is now in the neighborhood of 800 and exhibi­ But these are stories we need to hear, because this is how the tion sales range between 60% and 80%, the majority of which world heals itself. This is how we recognize the path and find the occur on opening night. Revenues from Feats of Clay provide courage to walk it. The people who founded and now sustain much of the funding for Lincoln Arts’ many community-arts Lincoln Arts have created something of great value in their com­ programs, and the yearly influx of visitors has made a significant, munity and country. By embracing the burden of pursuing their positive impact on Lincoln’s economy. Gladding, McBean, which dreams, they have achieved more than their dreams contained.

Ceramics Monthly May 2004 59 Geoffrey Eastop: "STONE" by Carolyn Genders

Geoffrey Eastop’s exhibition “Stone” at Berkeley Square Gallery in London, England, is the result of a long and innovative period of experimentation, culminating in an exciting fusion of new ideas and continued development of very personal themes. Combining his approach as an artist with his skills as a craftsman, Eastop uses a handbuilding technique that allows him to concentrate on his primary concerns of structure and surface. Made from dense black clay, “Black Rock” is handbuilt by joining flattened pieces of clay placed on top of one another in a seemingly random arrangement to create a textural patchwork surface, so the making method dictates the form. The density of the body reflects different qualities of light, adding movement to the strong organic form.

“Three Red Leaning Pieces,” to 36 centimeters (15 inches) in height, handbuilt red stoneware. “Man in Stone (Group),” to 62 centimeters (24 inches) “Large Black Rock,” 40.5 centimeters (16 inches) “Medium Monolith (with Dotted Marks),' in height, handbuilt red stoneware, by Geoffrey Eastop, in height, black stoneware, handbuilt by joining 39 centimeters (15 inches) in height, Newbury, Berkshire, England. flattened slabs. handbuilt stoneware with slips.

“Three Red Leaning Pieces” show a more rugged handling of the material. They work well individually or as a group and, as found with much of this recent work, individual forms interact with each other, the subtle variations of shape conveying humor and wit. Eastop pursues the idea of structure and the surface character of walls in the “Monoliths” series. Thick slip applied with subtle variations of color and touches of contrasting details challenges the eye. The layered application of slip, in places over rather than under, provides a subtle counterplay. The monumental “Figures in Stone” are powerful, wrapped forms that have echoes of ancient Egyptian civilization and the Chinese terra-cotta army. A deliberate exploitation of technique suggests layers and creates an ambiguity of meaning—perhaps that rock and man are interchangeable—the layers stripped back to reveal the essence of man. One glimpses a sensitive understanding of the importance of space to pieces as individuals, and the delicate balance of group relationships. The overall impression is one of a harmonious body of work, whose individual pieces have a quiet presence that will continue to maintain a lasting interest.

Ceramics Monthly May 2004 61 Ceramic shards excavated from Nakano-cho, Kyoto, Momoyama (1573-1615) or Edo (1615-1868) period, early 17th century, glazed and unglazed earthenware; the Kyoto City Archaeological Museum.

Looking at Oribe by Don Pilcher

Some stories don’t lend themselves to a simple and direct telling. elaborate and expensive objects and obviously reserved for use by This is one. The impact of Furuta Oribe on the culture of Japan, the upper class. particularly its tea ceremony and ceramics production, involves a But, by the mid-1500s, a new aesthetic sense began to take fascinating blend of history, politics, culture, aesthetics and style. hold in Japan. In the tea ceremony, the classical Chinese objects We might start with a discussion of the history of tea, recalling were supplemented by the everyday utensils made in and used that it was first used in China but began to be consumed in Japan throughout Japan. Enter Furuta Oribe (1543/4-1615), a military in the 13th century. At first, the Japanese tea ceremony made general and tea master to the shogun and samurai ruling class. exclusive use of Chinese accoutrements. These included fine paint­ Oribe promoted a tea ceremony style that embraced a robust, ings, textiles, metalwork and, of course, ceramics. They were interpretive and idiosyncratic attitude.

Ceramics Monthly May 2004 62 world, they overlap some and they are highly practical. One is known as the principle of theme and variation. The other is contrast and comparison. Part of me wants to apologize for dissecting and demystifying these beautiful pots. They clearly speak for themselves. At the same time, to suppose that there isn’t anything to learn by discussing them in detail is to suppose that art just appears, like the Tooth Fairy. Of course, it doesn’t. The stoneware dish to the left is approximately 8 inches square and is made from both white and buff clay. It also uses iron pigment decoration, a feldspathic clear and the well-known Oribe green glaze. In his comments in the catalog, Andrew L. Maske, curator of Japanese Art at the Peabody Essex Museum in Sa­ lem, Massachusetts, concludes with this: “. . . the decoration of this dish, as with many Oribe wares, is abstract rather than representational and was likely intended to intrigue rather than inform the viewer.” How does that happen? We can say exactly how when we name what we see and Square serving dish with design of water, earth and sky, 20 centimeters employ our two strategies of understanding. How do they work? (8 inches) square, glazed stoneware; Mino ware, Shino Oribe type, By identifying the visual elements and their relationship to one Momoyama (1573-1615) or Edo (1615-1868) period, early 17th century; Gifu City Museum of History. another, we discover an artist’s plan—call it visual rhetoric. This plan, composed of line, form, shape, pattern, color, texture and In December 2003, the Metropolitan Museum of Art in image, is equivalent to so many words, sentences and New York City mounted an exhibition on this subject entitled paragraphs. Put in the proper sequence (context “Turning Point: Oribe and the Arts of Sixteenth Century in our case), they provide meaning and the Japan” with a catalog of the same name. This 390-page resonant chord of our own understand­ publication is complete with photos of all the work on ing. Put another way, they become a display and contains essays and analyses by 20 knowl­ part of the things we already know. edgeable historians and curators. Of particular inter­ est to potters are the informed comments that accompany each work, shedding light on the origin, process and function of each pot. The reader is directed to this source for an expansive and definitive treatment of the subject. My intent here is quite different than that of true scholars. I am look­ ing at these pieces as a practicing potter. I’ve always loved these works, because they seem so wonderfully im­ provised and nonchalant, yet smart. It’s not a great leap to see in Oribe ware the structural and expressive compo­ nents that exist in mainstream Ameri­ can jazz. So, in attempting to explain these works in some way other than how Dish with bridge handle, 28 centimeters (11 inches) in height, historians or curators might, I think we can em­ glazed stoneware; Mino ware, Oribe type, Momoyama ploy two methods. They are common to the Western (1573-1615), early 17th century; Suntory Museum of Art, Kyoto.

Ceramics Monthly May 2004 63 Bowl with reed design, 29 centimeters (11 inches) in diameter, glazed stoneware; Karatsu ware, Edo period (1615-1868), late 17th century; the Metropolitan Museum of Art, New York.

Ceramics Monthly May 2004 64 Set of five squared food vessels, 10 centimeters (4 inches) in height, glazed stoneware; Mino ware, Shino Oribe type, Momoyama (1573-1615) or Edo (1615-1868) period, early 17th century; John C. Weber Collection.

Looking first at theme and variation, we find a square form shape, drawn in double lines like the wheels below, possibly holds divided along the diagonal into two triangular shapes. Each tri­ the ultimate enigma—within sight but forever out of reach. angle, as if a cell, carries its own set of images. First, the circle/dot Maske observes a final virtue about this piece—when used in image: We see it repeated in variations of large and small, alone food service, the decoration reveals itself in a measured sequence. and grouped, solid and open, dark and light, simple (as dots) and If the tea ceremony is about symbols and complex, sophisticated complex (as wheels), in a grid or strung, but always, persistently interactions, then this plate satisfies nicely. round. Then the linear expression: long or short, single or double, Another example is a deeper dish with a bridge handle (see continuous or interrupted, crossing or parallel, but always the page 63). The theme of the form is the arc, expressed as three sides same width and speed. Finally, the stratified divisions of the of the dish and the handle, the handle being the same width as the square by use of a green glazed edge, a white clay boundary, a depth of the dish. It bridges the dish and attaches itself to the one string of balls and lastly, a triple repetition of an arc—all are straight side of the form. To appreciate this solution, try to imaginative restatements of just one idea. imagine springing this handle between any other two points. As to contrast and comparison, we should note the rampant Four variations of straight lines can be found here: the white circle/dot motif working against the square form and triangular engobe, the vertical rivulets of green glaze, the incised line down shape. Of those triangles, notice that the lower one is symmetri­ the spine of the handle and a few minor black lines that complete cally composed with an axis running from the corner, straight up. this harmonic chord. Then note the round white persimmon That symmetry, plus the greater contrast of white to iron painting decoration, echoed by the clay balls on the handle; a tactile and the depth of green glaze, give this half the greater visual restatement of the graphic display. See it. Feel it. Very smart. weight of the two. But the upper triangle cannot be divided along For contrast, we see a symmetrical form divided down the any axis. It is asymmetrically arranged and its paler images float middle by the axis of the handle. But in coloration and pattern, on a neutral ground. This gives the upper half the greater psycho­ the form is divided asymmetrically by the diagonal of the green logical weight. It is fully stated but less knowable. And the star glaze field. This piece has a particularly beautiful interface of

Ceramics Monthly May 2004 65 painted pattern and green glaze, seen clearly in the most forward certainly don’t see these irregularities in the similarly patterned plane. This area of fixed graphics and fluid color is Oribe ware at textiles or woodcuts of the same or later periods. its best to my eye and mind. Furuka Oribe included other ceramic ware in his oeuvre, Mino Because Oribe ware was made in large quantities, examples are and Shino among them. Research into his life and work contin­ not hard to find. They are sold on eBay and through online ues, but it has not yet been determined whether he took an active galleries and dealers all the time. However, there is a great deal of role in making pots or not. There are many records of his orders variation in quality with this work, as one would expect. This is for, and purchases of, “irregular, warped and damaged vessels.” particularly true in the glazing. The underglaze decoration and At the height of his influence, Oribe committed an unspeci­ green glaze relationship is hit and miss when you see a large fied transgression against the ruling class. He was forced, along number of these pots. One can often see the uneven thickness of with his son, to commit ritual suicide by sword. One can only green glaze in an area that perhaps should be even, if the style imagine living in a time and place of such sophisticated aesthetics requires that the glaze appears to be poured in a robust, fluid and and severe politics. Despite this, expressive essence of what we confident way. In fact, with almost all of these that I’ve seen, the now call Oribe ware has endured well beyond his time and place. green glaze is painted on, but intended to appear poured. I would What might we, who make pots in this eclectic but culturally argue that the Oribe style requires the neutral ground, white chaotic time and place, gain by our understanding of the Oribe ground, iron pigment and glaze to meld through accurate applica­ systems? That depends on who we are and what we want our work tion and proper firing temperature. When that meld fails to to be. Some of us might appropriate these methods in a fairly occur, we are left to see each step standing alone. The product is direct manner. You can say that some things, like Miso soup, still authentic, I suppose, but less satisfying. This quality issue is a shouldn’t be messed with. On the other hand, the Western im­ question not addressed in the catalog to my knowledge. We perative toward individualization seems to require something more oblique and original, at least in part. To the extent that one is willing, I’d advocate for some lengthy gestation which allows for a convoluted, indirect and ineffable re-emergence in an unforeseen context. Let it go in, live with it for a few years and, one day, go to the studio and be amazed. Sometimes deep understanding just comes out the end of your fingers.

Set of two dishes in the shape of arrow fletching, 11 centimeters (5 inches) in width, glazed stoneware; Mino ware, Oribe type, Momoyama period (1573-1615), early 17th century; the Metropolitan Museum of Art, New York.

Ceramics Monthly May 2004 66 Emerging Artists 2004

Now in its third year, Ceramics Monthly's call for slides and/or transparencies of work by emerging artists (those actively pursuing a career in ceramics for ten years or less) resulted in approximately 200 submissions from readers. While it is exciting to receive this number of submissions, it makes selection that much more difficult. As usual, and in the interest of fairness, all submis­ sions were reviewed on the same day, during which images of 13 works were selected for publication. Showcasing the work of new and up-and-coming artists in the best possible light is an ongoing pursuit, both for Ceramics Monthly as well as emerging artists. To that end, there is no better tool than (and really no substitute for) good, professional-quality images. Unfortunately, many en­ tries had to be returned unpublished because of images that were not of sufficient photographic quality. Those suitable for publication were well lit, in focus, with good depth of field and a full range of contrast. They were shot on a neutral background (typically gray, black or white) so as not to detract from or compete with the work. The works shown represent a broad selection of aesthetics and techniques. They are functional and sculptural; fun and serious; earthenware, stoneware and porcelain; wheel-thrown, handbuilt, slip cast, altered, carved, cut, in­ cised and stamped; with oxides, stains, underglazes, glazes, salt, wood ash and decals; low fired and high fired, with electricity, gas and wood. We are glad to see that such a wide variety of ceramics continues to emerge. If you missed the deadline this year, watch the Upfront section for next year’s “Emerging Artists” call for entries. For more information on these featured artists, contact Ceramics Monthly at [email protected].

“Eve of Destruction,” 27 inches (69 centimeters) in height, handbuilt and raku fired with copper matt glaze, with nails and metal parts, by Gail Rushmore, Redwood Valley, California. “I am a woman blessed with finding and living with the loves of my life,” says Rushmore. “Artistic parents nurtured all my expressions of childhood creativity. Throughout my life, people have inspired this artistic creativity, leading to an exciting evolution of media and style” Rushmore explains. “Clay allows me to work both three dimensionally and two dimensionally. I sculpt strong, ethnic figures depicting different cultures. When sculpting the face, a personality and background emerge. This story is what brings these figures to life. Raku firing adds spontaneity to the process. It also brings out the pyromaniac that lies just beneath my calm exterior. I enjoy pulling the glowing pieces from the red-hot kiln, placing them in sawdust with flames licking up and the smell of smoke. Because of the changing fire conditions, each piece is unique. This process can add an element of frustration or the serendipity of an unexpected result. It is always a powerful force in the creation of the finished piece. It is this untamed process that keeps me interested and motivated to make pieces that speak for themselves. To create something and have someone touched by it is what makes a piece successful to me.” Wall platter, 20 inches (51 centimeters) in diameter, wood/soda-fired stoneware, by Christian D. Barr, Wildwood, Alberta, Canada. Barr feels that his pots and sculptures are “an expression of what is, what was and what might be. Firing with wood only enhances this expression. I often think that art is just a glimpse of a beauty that we are not meant to truly understand. Working with clay and firing a wood kiln gives me that glimpse. The works that emerge from the kiln are like portals, allowing us an opportunity to see what might lie beyond the veil of this perceived reality. There is an extraordinarily strong connection between thought, art and process when I fire my work with wood. There is a sense of continuity.” Barr continues, “I believe in putting as much of myself into the work as possible. The end product is not the only reason for doing what I do. I enjoy the process and try to respect that process by making the best pots I can. For me, the process is the reason why; the pot is just the record of that process.”

Ceramics Monthly May 2004 68 “Beesbox,” 8 inches (20 centimeters) in height, wheel-thrown and altered earthenware with sgraffito decoration and glazes, by Ronan Kyle Peterson, Chapel Hill, North Carolina. Peterson’s work is informed by walks in the woods near his home. “On these walks, my eyes have a hard time straying from the ground beneath my feet. The layers and layers of fallen leaves and tiny movements of insects and bugs fascinate me, and transform the already animate world around me into a creature teeming with color and texture. The seductive layers, tiny movements and visceral textures create a constant panorama for the eye to follow, finding new paths and retracing older ones to find new discoveries. I hope to relay some of this color, movement and vast layering of texture through my ceramic objects.”

Tea set, 19 inches (48 centimeters) in length, wheel-thrown and altered porcelain, fired to Cone 10 in reduction, by Connie Christensen, Arvada, Colorado. “For as long as I can remember,” Christensen says, “I’ve wanted to be an artist and a scientist. When I was about to turn 40,1 took my first throwing class and immediately fell in love with clay. My ceramics education has been self-directed, taking classes at art centers, community colleges and attending numerous workshops. The more I learned, the more I realized that working in clay combined art and science, and I found myself right where I wanted to be. My passion is for functional pots that you can hold and caress and that have meaning in your everyday life—coffee in the morning with a favorite mug, your hands familiar with every curve and ridge. My work is wheel thrown and sometimes altered. I prefer using porcelain because it enhances the vibrancy and richness of the glazes. What I want to create are pots that are graceful, alive and quietly ask to be touched.’’

Ceramics Monthly May 2004 69 Set of vases, 10 Inches (25 centimeters) in height, wood-fired stoneware, by Tara Wilson, Clyde, Ohio. Wilson says that spending time outdoors “is a necessity for me, whether it’s an afternoon walk with my dog or a week backpacking in the wilderness. These situations provide calmness, a physical as well as mental space that allows me to relax, contemplate the events of my life and escape the stressful demands of today’s society. The peaceful serenity and tranquil emotions that I experience in such situations are the qualities embodied in my wood-fired ceramic vessels,” Wilson observes. “The rich surfaces of the vessels represent the natural world. Nature also inspires form, in some cases quite literally, as river rocks become saucers. Other pieces speak of this passion more subtly. Bases reference the landscape, evoking a sense of space and awareness of the land. Parallels can be drawn between processes in nature and processes in ceramics, the wood-firing process in particular. The kiln becomes a river. Like water, the flame flows through the pots, which are transformed like sedimentary rocks, through the process.” She continues, “Pots have an inherent relationship with the figure, sharing many parts—foot, belly, shoulder, neck, lip. This relationship is both anthropomorphic as well as zoomorphic. Gestural forms create a dialogue between the ceramic vessels. The dialogue is continuously changing as pieces are used and returned to another place on the shelf. I believe the simple things in life are the most important. Whether my pots are used by families, friends or just an individual spending time alone, they allow people to recognize the important things in their own lives.”

Ceramics Monthly May 2004 70 “Green Sprigged Platter,” 14 inches (36 centimeters) in diameter, wheel-thrown stoneware with additions, fired to Cone 10 in reduction, by Amy Higgason, McNaughton, Wisconsin. For Higgason, “throwing clay is intoxicating. On the first night I sat at a wheel, the simple joy of feeling wet clay spin through my fingers drew me in. Over eight years later, it still amazes me.” She feels her work “is influenced by things I’ve been attracted to since childhood: the shapes of petals and leaves; the colors of water and plants; and the textures of fruits and vegetables. I also draw inspiration from the patterns on baskets, fabrics and buttons. I am currently exploring how applying carved, stamped and sprigged patterns alters my wheel-thrown pots. It is fascinating to change a three- dimensional form by wrapping pattern around it. This has been a key element in the development of my personal style,” Higgason notes. “I make decorative functional pots. I hope they suggest the playfulness and beauty of nature, while succeeding as useful objects. I always enjoy hearing that my piece has a special place in someone’s home, but is promptly taken down from display when called for at the table.”

“Cup Stand,” 10 inches (25 centimeters) in height, porcelain, fired to Cone 10, by Paul Donnelly, Philadelphia, Pennsylvania. Donnelly has “a fondness and curiosity for ceramics that are functional. I think the intimacy that is created between the object and the user is inspiring. As a result, I have created work that is oriented with function. It is important to me to make work that enhances and defines a space, work that creates a unique relationship with the user. I like to spend time on each piece, perfecting my aesthetic and exercising my creativity, while striving for a sense of elegance. Constructing work with great craftsmanship is important; it establishes integrity in the object.” Recently, Donnelly has been exploring a variety of surface decorations. “I am very drawn to the aesthetic of simplistic shapes in combination with ornate patterning. It is remarkable how an anonymous form can transform into something that is stylistically intricate because of the details or appendages that enhance the object. Striking balance between the form and the decorative surface is important to the function of the work. Ultimately, I would like to create a visual language using decorative elements that are unique to my personality and artistic ability. The very idea of creating work that is in every aspect handmade is also valuable to me. I think when an artist handles the object through every step of the process, the final result is more indicative of the artist’s individuality.”

Ceramics Monthly May 2004 71 “His Auntie Mater,” 18 inches (46 centimeters) in height, handbuilt sculpture clay and porcelain, with stains and glazes, fired to Cone 04, by Patricia Shaw, Chapel Hill, North Carolina. “At 61,” Shaw says, “most people are submerging, rather than emerging, yet here I am struggling like a youngster on the threshold of a new career. I am particularly interested in the human face and the human mind behind it. Representations and/or references to these almost always appear in my work. My sculpture is the result of my reflections on, and observations of, the outside world. It seldom is an expression of my personal life, exterior or interior. I find the outside world far more interesting and more important to my well being and peace of mind. My work is primarily concerned with content. The forms and techniques I use are those that seem best suited to the content of the individual piece. My work is sometimes surrealistic or even fantastic. Other times, it is very straightforward and almost literal as to what it is trying to convey. At times, the meaning has been expressed unconsciously and even I can not be sure of the exact meaning of the piece.” Shaw concludes, “Ceramics is my medium of choice because it is extremely malleable and allows me to work spontaneously. There is always an element of surprise in both the making and glazing processes.”

Ceramics Monthly May 2004 72 “Cowboy,” 13 inches (33 centimeters) in height, slip- cast earthenware with underglazes and glaze, by Paul McMullan, Ann Arbor, Michigan. McMullan considers himself a storyteller. “I create stories not with words, but with images and objects. I tell stories of a working-class, first-generation American who can’t stop his desire to create. I construct narratives from a life rich with visual memories. There is longing in my imagery for the past that includes angst, guilt, temptation and happiness. There is confusion and contradiction in my work, play between intuition and chance, and struggle between reality and fantasy. I choose clay to tell these stories because it achieves a lasting presence that will far outlast my own. The clay takes on shapes of tombstones and camels, plants and branches, angels and birds. These images and objects have become the pages of my story—the story I need to share as much as I need to make.”

“War Memorial Cup Set,” 9 inches (23 centimeters) in height, slip-cast porcelain fired to Cone 10, with ceramic decals and earthenware base, by Ian Anderson, Lincoln, Nebraska. Anderson’s inspiration “starts with a message, a simple slogan or play between interchangeable words that creates sensible but competing or conflicting fields of meaning. I am interested in graphic design and the dialogue between image and type as seen in comics, advertisements and the minutiae of everyday contemporary life. Poetry, politics, billboards, propaganda and web pages are influences, but so are those ubiquitous functional objects of contemporary society: diner mugs, sanitary ware, mushroom containers, shampoo bottles and plastic cereal bowls. I study the Tide bottle alongside the Japanese teabowl.” Many of the objects Anderson creates “function simultaneously as sacred, contemplative memorials and banal, loud advertisements or slogans. Last year, I focused on exploring hypermasculinity and violence, particularly the degree to which men are the vehicles and producers of violence, as well as the targets of that violence. As war was made inevitable, my subject matter increasingly dealt with issues of power and violence on a national scale. My goal is to successfully integrate illustration, writing and cultural critique while making work that is visually beautiful, tactually seductive, and emotionally and intellectually engaging.”

Ceramics Monthly May 2004 73 “Identity,” 26 inches (66 centimeters) in height, coil-built stoneware with paint, by Susan Clusener, Nipomo, California. Clusener finds fruit to be “incredibly beautiful. I have become completely enamored with its sweet, life- giving nature, as well as its extraordinary diversity, and richness of color and form. I am not alone in my admiration, for fruit has called to artists, including Homer and Da Vinci. Throughout history, people have developed numerous associations to fruit, creating an abundant number of possible meanings.” She continues, “In most of our lives, pieces of fruit are everyday objects, familiar and easily ignored. Each of my fruit sculptures is a common image, sometimes filled with other ordinary items, such as a ladder, windows or a chair. In combining these simple images, I’m hoping to allude to something more: a waiting; a wish; a hope, perhaps; or possibly even a belief that something might happen, something magical, maybe even something amazing. When we have these moments in our lives, they usually revolve around simple things, or the smallest things, that suddenly fill us with the biggest feeling. Even though we may not know the ultimate answer, we know we are part of it.”

Pitcher and tumblers, to V /2 inches (19 centimeters) in height, wheel-thrown stoneware with stamped decoration and multiple glazes, fired to Cone 10 in reduction, by Jennifer Everett, Gorham, Maine. “I hope to make pots that people will want to use and keep for many years,” says Everett, “not only because they function well, but because they remain interesting to look at. For me, this means pots with variation, both in form and surface. I try to accomplish this by making pots with active surfaces that incorporate pattern and texture, as well as multiple glazes. Stamping the pots while the clay is still very flexible allows the patterns to physically, and visually, alter the form to create a sense of cohesion. While many of my pots are almost completely covered with sections of contrasting patterns, some have only small areas revealed through a rectangular window or irregular shape. I enjoy playing with the many combinations and types of pattern as well as trying to find new ways to break up the surface of a familiar form. I finish my pots by combining matt and shiny glazes that run and break over texture that result in colors fading into one another to hide some details and reveal others. The intention is to create pots with depth and variation that have details and nuances of color that reveal themselves through time and use.”

Ceramics Monthly May 2004 74 “Beyond Memory,” 16 inches (41 centimeters) in height, wire-carved stoneware, hollowed out and fired for eight days in an anagama, by Tony Moore, Cold Spring, New York. Moore makes wood-fired vessels, but has “recently returned to making figuratively architectonic sculptures, and I envision enlarging upon these concerns in the foreseeable future. The clay sculptures that I initially made evolved without specific purpose. Thrown on the potter’s wheel, the forms quickly moved away from the typical vessel to nonrepresentational sculptural forms, without the purpose of function other than their own being. Their function is, therefore, that of contemplation and the transmission of the energy contained within them. They enter the realm of ideas. I conceive of nature as embodying all of existence, both seen and unseen, current socio­ political events, daily occurrences, as well as private intuitions made concrete through creative action. I perceive my objects as shrines or places of remembrance, where multiplicities of associations take place.”

Ceramics Monthly May 2004 75 August 23-October 15 entry deadline Shelburne Farms, 1611 Harbor Rd., Shelburne call for entries Icheon, South Korea "The Third World Ceramic 05482; see www.shelburnefarms.org ; ortelephone Application Deadlines for Exhibitions, Fairs, Biennale 2005 Korea" (April 23-June 19, 2005), (802) 985-8686. open to works in 2 categories: ceramics for use and June 1 entry deadline Festivals and Sales ceramics as expression. Preliminary selection juried Stockton, California "2004 Visions in Clay" (Au­ from 2 slides and 1 photograph per entry; up to 3 gust 3-September 4). Juried from up to 3 slides. entries. Final selection juried from actual works. Juror: Robert Brady, ceramics artist and professor Cash awards; grand prize KRW 60 million of art at California State University. Fee: $12 per International Exhibitions (US$50,000). For further information, contact the slide. Commission: 25%. For prospectus, send Office for International Competition, Exhibition SASE to Visions in Clay, San Joaquin Potters Guild, June 15 entry deadline Department, Icheon World Ceramic Center, 2437 Pheasant Run Cir., Stockton 95207; e-mail Cedar Rapids, Iowa "Gems from the Fire" (August Gwango-dong San 69-1, Icheon, Gyeonggi-do [email protected] ; download from 24-September 27), open to wood-fired ceramics 467-020; e-mail [email protected] ; see www.pacific.edu/reynoldsgallery ; or telephone to 20 centimeters (8 inches). Juried from up to 2 www.worldceramic.or.kr ; telephone (82) 31 631 (209) 933-9373. slides. Fee: $25. This exhibition will run concur­ 6512; or fax (82) 31 631 1614. June 5 entry deadline rently with the international wood-fire confer­ Saratoga Springs, New York "Mugs, Jugs and ence, "The Naked Truth." Contact Conifer Smith, United States Exhibitions Bottles" (July 15-September 6), open to functional Kirkwood College, 6301 Kirkwood Blvd., Cedar and nonfunctional ceramics. Juried from slides. Rapids 52404; or e-mail [email protected] . May 15 entry deadline Juror: Jill Fishon-Kovachick. Fee: $20. For prospec­ July 10 entry deadline Water Mill, New York "Ceramic Sculpture" (June tus, send #10 SASE to the Saratoga Clay Company, Faenza, Italy "The 54th International Competition 24—July 19). Juried from slides. Fee: $10. For fur­ PO Box 2295, Wilton, NY 12831; e-mail of Contemporary Ceramic Art (June 10-December ther information, send SASE to the Clay Art Guild [email protected] ; or telephone (518) 587-8265. 31, 2005), juried from 3 slides; up to 3 entries. of the Hamptons, Inc., 51 Round Pond Ln., Sag June 15 entry deadline Awards: Premio Faenza: €26,000 (US$32,000). Harbor, NY 11963; e-mail [email protected] ; Chicago, Illinois "Form Follows Function" (Sep­ For further information, contact Museo or telephone (631) 725-4605. tember 3-October 16), open to ceramic works Internazional delle Ceramiche, Via Campidori 2, May 17 entry deadline related to architecture, modernism or the writings 48018 Faenza; e-mail [email protected] ; Windham, New York "Greene County Council on of Louis Sullivan. Juried from up to 3 slides. Juror: seewww.micfaenza.org ; telephone 39 546 697315 the Arts—Journeys in Clay III" (June 19-August 1). Dan Anderson. Fee: $30 for 3 slides; $25 for 2; $20 or (39) 546 697311; or fax (39) 546 27141. Juried from up to 5 slides. Fee: $25. Jurors: Susan for 1. Cash awards. For prospectus, contact Aviva August 2 entry deadline Beecher and Ruth Sachs. For prospectus, contact Alter or Shannon Stratton, Lillstreet Art Center, Steamboat Springs, Colorado "The Slip-Cast Ob­ Elaine Scull, Greene County Council for the Arts, 4401 N. Ravenswood Ave., Chicago 60640; e-mail ject" (November 12, 2004-January9, 2005), open 398 Main St., Catskill, NY 12414; e-mail [email protected]; see www.lillstreet.com; to artists working in slip casting. Juried from slides. [email protected] ; see www.greenearts.org ; telephone (773) 769-4226. Juror: Richard Notkin. Fee: $30 for up to 3 slides; telephone (518) 943-3400; or fax (518) 943-5502. July 1 entry deadline SSAC members, $25. Cash awards. Commission: May 24 entry deadline La Crosse, Wisconsin Juried one-person three-di- 30%. For prospectus, send #10 SASE to the Steam­ Shelburne, Vermont "Shelburne Farms 17th An­ mensional show and demonstration: Viterbo Uni­ boat Springs Art Council, Slip-Cast Object, PO Box nual Exhibition and Sale of Art" (September 24- versity (September 8-October 5). Juried from 10-20 774284, Steamboat Springs 80477; see October 17), open to all mediums. Juried from 5 slides. Jurors: Gerard Justin Ferrari and Viterbo www.steamboatspringsarts.com/callforentries.html . slides. Fee: $10. Commission: 35%. Contact University faculty. Fee: $20. Responsibilities include

Ceramics Monthly May 2004 76 call for entries

installation, attendance at opening, removal of installation and a one-day workshop. Awards: $ 1000 honorarium. E-mail Gerard Justin Ferrari: [email protected] ; or telephone (608) 796-3737. Brockton, Massachusetts Juried exhibition for artists in all media who use found objects or re­ cycled materials in their work (January 8—April 30, 2005; traveling through 2008). Juried from 5 slides. Contact the Fuller Museum of Art, 455 Oak St., Brockton 02301; see www.fullermuseum.org; tele­ phone (508) 588-6000; or fax (508) 587-6191. Manchester, New Hampshire "New Hampshire Institute of Art Ceramics Biennial 2004" (October 14-December 5). Juried from slides. Fee: $25 for up to 2 slides. For prospectus, send SASE to New Hampshire Institute of Art, Ceramics Biennial 2004, 148 Concord St., Manchester 03104; see www.nhia.edu ; or telephone (603) 623-0313. July 15 entry deadline Water Mill, New York "For the Table" (August 26- September 26), open to ceramic tableware. Juried from slides. Fee: $10. For further information, send SASE to the Clay Art Guild of the Hamptons, Inc., 51 Round Pond Ln., Sag Harbor, NY 11963; e-mail [email protected]; ortelephone (631) 725-4605. August 2 entry deadline Atlanta, Georgia "Jubilee Art in the Gardens: Juried Art Exhibition" (October 1-3), open to all media. Juried from 1-3 slides of work. Fee: $25. Awards: $3000. For prospectus, contact Jubilee Cultural Arts Alliance, 2 Galleria Pkwy., Atlanta 30339; see www.jubileeculturalarts.org ; or tele­ phone (770) 989-5035. August 15 entry deadline Biloxi, Mississippi "George E. Ohr National Arts Chal­ lenge 2004" (November 12-December 31). Juried from slides. Juror: Michael Lucero. Contact Shirley Herring, Ohr-O'Keefe Museum of Art, 136 G.E. OhrSt., Biloxi 39530; e-mail [email protected]; see www.georgeohr.org ; telephone (228) 374- 5547, ext. 24. September 19 entry deadline Baltimore, Maryland "National Council on Educa­ tion for the Ceramic Arts 2005 Clay National Exhibition" (March 10—April 20, 2005), open to all NCECA members and artists in the United States. Juried from slides. Jurors: Linda Arbuckle, professor, University of Florida; Andrea Gill, pro­ fessor, New York State College of Ceramics at Alfred University; and Ron Nagle, professor, Mills College. Fee: $20 for 2 entries; NCECA members, free. Cash and purchase awards. For prospectus, send #10 SASE to NCECA, 77 Erie Village Sq., #280, Erie, CO 80516; or see www.nceca.net . September 27 entry deadline Wayne, Pennsylvania "Craft Forms 2004, 10th An­ nual National Juried Exhibition and Sale of Fine Contemporary Crafts" (December 3,2004-January 20,2005), open to all media. Fee: $25. Cash awards and exhibitions. For prospectus, send SASE to Wayne Art Center, 413 Maplewood Ave., Wayne 19087; e- mail [email protected] ; seewww.wayneart.org ; telephone (610) 688-3553; or fax (610) 995-0478. October 6 entry deadline Coburg, Oregon "La Petite XII, 2004" (November 23, 2004-January 23, 2005), open to two- and three-dimensional work. Juried from slides or CD. Fee: $30 for 3 slides; $24 for 2; $ 12 for 1. Awards: $2200. For prospectus, contact Alder Gallery, Box 8517, Coburg 97408; see www.alderart.com ; or telephone (541) 342-6411.

Regional Exhibitions June 1 entry deadline Pittsburgh, Pennsylvania "WAD Clay Institute Juried Clay Annual" (September 3-25), open to ceram­ ists residing in Washington, D.C., Maryland, New

Ceramics Monthly May 2004 78 Ceramics Monthly May 2004 79 October 31 entry deadline 95420; e-mail [email protected] ; or telephone (707) call for entries Baltimore, Maryland "National Council on Educa­ 964-5975. tion for the Ceramic Arts 2005 Regional Student May 21 entry deadline Juried Exhibition" (March 13-19, 2005), open to Gainesville, Florida "23rd Annual Downtown Fes­ York, Ohio, Pennsylvania, Virginia and West students working toward a ceramics undergraduate tival and Art Show" (November 6-7). Juried from Virginia. Juried from slides. Juror: Elvira Peake, or graduate degree in Connecticut, Washington, 4 slides. Fee: $15. Awards: $16,000. Contact owner, the Clay Place. Cash and purchase awards. D.C., Delaware, Maine, Maryland, Massachusetts, Linda Piper, Downtown Festival and Art Show, For prospectus, e-mail Gerry Dinnen: New Hampshire, New Jersey, New York or Vermont. Dept, of Cultural AffairslStation 30, PO Box 490, [email protected] ; or telephone (412) 279-9956. Juried from slides of up to 2 works. For prospectus, Gainesville 32602; e-mail [email protected] ; June 11 entry deadline send #10 SASE to NCECA, 77 Erie Village Sq., see www.gvlculturalaffairs.org ; telephone (352) Buffalo, New York "Craft Art Western New York #280, Erie, CO 80516; or see www.nceca.net . 334-5064; or fax (352) 334-2146. 2004" (October 16, 2004-January 5, 2005), open May 30 entry deadline to artists who are current or past residents of Fairs, Festivals and Sales Augusta, New Jersey "34th Annual Peters Valley western New York State. Juror: Mark Leach, deputy Craft Fair" at Sussex County Fairgrounds (September directorof the Mint Museums. E-mail Gerald Mead, May 16 entry deadline 25-26), open to all media. Juried from 5 slides. Fee: Buffalo State College: [email protected] ; Mendocino, California "Fourth Annual Mendocino $25. Send SASE to Doris Christians, Peters Valley see www.burchfield-penney.org ; or telephone Street Fair" at Heider Field (July 3 and 24). Contact Craft Center, 19 Kuhn Rd., Layton, NJ 07851; see (716) 878-6020. Mendocino Street Fair, PO Box 141, Casper, CA www.pvcrafts.org ; or telephone (973) 948-5200. June 4 entry deadline Atlanta, Georgia "Jubilee Art in the Gardens: Artists Market" (October 1 -3), open to all media. Juried from 3 slides of work; 1 ofbooth.Fee:$25.Boothfee:$150 for a 10x10-foot space. Awards: $3000. Contact Jubilee Cultural Arts Alliance, 2 Galleria Pkwy., Atlanta 30339; see www.jubileeculturalarts.org ; ortelephone (770) 989-5035. July 1 entry deadline St. Petersburg, Florida "CraftArt 2004" (October 30-31), open to fine crafts. Awards: $20,000. Con­ tact Florida Craftsmen Gallery, 501 Central Ave., St. Petersburg 33701; or telephone (727) 821-7391. August 1 entry deadline Upper Montclair, New Jersey "Fine Art and Crafts at Anderson Park" (September 18-19), open to handcrafted work. Juried from 4 slides. Booth fee: $290 for a 10x12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected] ; see www.rosesquared.com; telephone (908) 874- 5247; or fax (908) 874-7098. Cranford, New Jersey "Fall Nomahegan Park Fine Art and Crafts Show" (October 2-3), open to handcrafted work. Juried from 4 slides. Booth fee: $290 for a 10x12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected] ; see www.rosesquared.com; telephone (908) 874-5247; or fax (908) 874-7098. Montclair, New Jersey "Fall Brookdale Park Fine Art and Crafts Show" (October 16-17), open to handcrafted work. Juried from 4 slides. Booth fee: $290 for a 10x12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844; e-mail [email protected] ; see www.rosesquared.com; telephone (908) 874-5247; or fax (908) 874-7098. Kingston, New York "International Second Annual Friends of Rondout Historic Bluestone Fes­ tival" (October 10). Juried from up to 3 photos. Fee: $10 per photo. Best-in-show will be given multiple solo exhibitions. Contact Ed Pell, Blue- stone Festival, 24 Spruce St., Kingston 12401; e-mail [email protected] ; or see www.friendsofrondout.org. October 30 entry deadline Winder, Georgia "Harvest of Arts Juried Show and Sale" (November 13-14), open to fine crafts. Com­ mission: 20%. Contact the Georgia Piedmont Arts Center, 105 E. Athens St., Winder 30680; e-mail [email protected] ; or telephone (770) 788-9267.

For a free listing, submit information on juried events at least four months before the entry deadline. Add one month for listings in July: two months for August. Regional exhibitions must be open to more than one state. Mail to Call for Entries, Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081: e-mail [email protected] ; submit online www.ceramicsmonthly.org/submissions.asp ; or fax to (614) 891-8960. Ceramics Monthly May 2004 81

nice finished look without losing the clean, crisp bottom of the satellite dish can act as a drain into suggestions lines that I value. a 5-gallon bucket placed under the dish.—Herb From Readers A cuticle trimmer is a great tool for this Weaver, Bethany, WV purpose. Available in the health and beauty sec­ tion of most stores, the trimmer has a small bent New Life for Old Paint Cans Plastic Ribs v shape with beveled, sharp edges. It seems to I keep a stock of old paint cans, for which I Ribs can be made from the plastic sheet work well with most clay bodies, even if they have found many uses, in my studio. They are material used for windowpanes. There are dif­ contain grog. I skim the tool along the corner edgegreat supports for holding round shapes when ferent thicknesses available, but the thinner ones of the slab, removing just a small amount of the working with slabs. They also provide support can be cut with a pair of scissors. You can also clay.—Kim Hohlmayer, Mechanicsburg, OH when attaching handles to pitchers or mugs, or refine the shape or polish the edges with fine can be stacked to support taller forms.—Scott Super-Sized Catch Pan sandpaper. They have about the same degree of Lammer, Peosta, LA When glazing large platters and bowls, there stiffness as a stainless steel rib.—Jack Olive, are times when normal catch pans are too small. Granthams Landing, BC, Canada Multiplying Ribs Using a discarded satellite dish under the pot I adopted this idea from attending a Christa Smooth Clay Surface works well to inhibit spillage. Assad workshop. If the metal rib that you are For those ragged or rough areas of sculpted, using is too large for your intended use, cut the incised or sprigged clay surfaces, use 0000 gauge rib in half using tin snips or metal shears. You steel wool to smooth the bone-dry greenware. will have two smaller ribs that can fit many Gently rub the steel wool over the surface, then situations. I now use the smaller metal ribs all the use a soft brush to remove the powder residue. Be time.—Kip Whelan, Seal Beach, CA sure to wear a mask to avoid inhaling any of the fine particles of clay dust.—Marsha Landers, Share your ideas with others. Previously un­ published suggestions are welcome individu­ Baytown, TX ally or in quantity. Ceramics Monthly will pay $10 for each one published. Include a drawing Refining the Edge of a Slab or photograph to illustrate your idea and we will add $10 to the payment. Mail to Ceramics When working with clay slabs, I like to Monthly, 735 Ceramic PI., Westerville, OH 43081, slightly trim the edges so that they are not sharp Suspend the pot on two dowels while pour­ e-mail to [email protected] or fax after being fired. This allows my work to have a ing the glaze over the piece. The holes in the to (614)891-8960.

Ceramics Monthly May 2004 84 Ceramics Monthly May 2004 85 presentations. For further information, e-mail Trudy calendar Golley: [email protected] ; or telephone (403) Events to Attend—Conferences, 342-3453 or (403) 342-3251. Canada, Ontario, Toronto May 28-30 "Centred Exhibitions, Workshops, Fairs in Clay," Fusion: the Ontario Clay and Glass Association's annual conference will include work­ shops, exhibitions and presentations by Suze Lindsay Conferences and Nick Joerling. Contact Fusion, the Ontario Clay and Glass Association, Cedar Ridge Creative Centre, California, Riverside September 18-19 "The Ce­ Gardener's Cottage, 225 Confederation Dr., Toronto, ramic Arts Road Show and Symposium" will include Ontario M1G 1B2; e-mail [email protected] ; see classes, demonstrations, exhibition, manufacturing/ www.clayandglass.on.ca ; or telephone Jacqueline organization/publication exhibitors, and a symposium Meyer or Susan Card (416) 438-8946. with presentations by David MacDonald and Toshiko China, Jingdezhen May28-30 "Jingdezhen 1000 Takaezu. For further information, contact Horton Event Years Celebration of Porcelain," an international ce­ Management Services, PO Box 1643, Herndon, VA ramics conference including lectures, demonstrations, 20172; e-mail [email protected] ; see wood firing, exhibitions and tours. For further infor­ www.hortonevents.com/ceramicsroadshow ; or tele­ mation, contact Jackson Li, Planning Office for Ce­ phone (703) 430-8590. ramic Art, Jingdezhen 1000 Years Celebration of Iowa, Cedar Rap ids September 15-18 "The Naked Porcelain, PO Box 1000, Jingdezhen City, Jiangxi Prov­ Truth," an international wood-fire conference, will in­ ince, 333001; e-mail [email protected] ; clude panels, workshops and exhibitions. Fee: $225; see www.jingdezhen1000.com; or fax 86 798 after June 15, $275. For further information, contact 8496513. Gary Hootman, PO Box 301, Swisher, IA 52338; e-mail Switzerland, Zurich August 20-28 "FeuerFest [email protected] ; or telephone (319)857-4873. (Fire Festival)," includes wood-firing techniques, pa- Louisiana, New Orleans May20-23 "Craft Orga­ per-clay kilnbuilding, workshops and exhibition. Con­ nization Development Association (CODA) Confer­ tact Keramik & Animation, Zweierstrasse 111, 8003 ence" will include networking sessions, panels and Zurich; e-mail [email protected] ; or tele­ auction. To register, contact Linda Van Trump, CODA, phone (41) 1 463 47 13. PO Box 59, Onia, AR 72663; e-mail [email protected] ; or telephone (870) 746-4396. Solo Exhibitions Maryland, Baltimore March 16-19, 2005 "Cen­ tering: Community, Clay and Culture," NCECA's39th Alabama, Fairhope May 7-28 Vince Pitelka; at annual conference. See www.nceca.net ; or telephone Eastern Shore Art Center, 401 Oak St. (866) 266-2322 or (303) 828-2811. Arizona, Scottsdale May 13-27 "Tina Diaz: A Mississippi, Biloxi October 22-24 "My Name Is Round to a New Perspective." June 10-17 "Mark Mudd, The First Annual George Ohr Clay Conference," Tahbo: Birds, Butterflies and Bowls"; at King Galleries featuring Randy Johnston. Contact the Ohr-O'Keefe of Scottsdale, 7100 Main, #1. Museum of Art, 136 G. E. Ohr St., Biloxi 39530; see California, Los Angeles through May 29 Andi www.georgeohr.org ; or telephone (228) 374-5547. Moran; at del Mano Gallery, 11981 San Vicente Blvd. Ohio, Dayton June 2-5 "Seventh Annual Artists California, San Francisco May 26-June 26 Jun Marketing and Skills Development Conference." For Kaneko; at Braunstein/Quay Gallery, 430 Clementina. further information, contact the Artists Marketing and D.C., Washington May 7-29 "Current Wood- Skills Development Conference, c/o DeEarnest Fired Work by Archie Bray Foundation Resident, Ben McLemore, City of Dayton, Riverbend Art Center, Krupka"; at the Troyer Gallery, 1710 Connecticut 1301 E. Siebenthaler Ave., Dayton 45414; or tele­ Ave., NW. phone (937) 333-7000. Florida, St. Petersburg through May 21 "Bede Tennessee, Gatlinburg September 15-18 "Utili­ Clarke: The Pots"; at Eckerd College, Elliott Gallery, tarian Clay: Celebrate the Object," fourth national 4200 54th Ave., S. symposium including lectures, demonstrations, panel Florida, Winter Park through January 9, 2005 discussions and exhibitions. Contact Arrowmont School "Sculpting Nature: The Favrile Pottery of L.C. Tiffany"; of Arts and Crafts, 556 Parkway, Gatlinburg 37738; at the Charles Hosmer Morse Museum of American e-mail [email protected] ; seewww.arrowmont.org ; Art, 445 N. Park Ave. or telephone (865) 436-5860. Georgia, Atlanta May20-June 72 Jan Lee, "Naked Texas, Grapevine July 4-10 "23rd Biennial Inter­ Raku"; at MudFire Gallery, 1441 Dresden Dr., Ste. 250. national" will include porcelain workshops, demon­ Illinois, Chicago through May 10 Dennis Lee strations, auctions and exhibitions. For further Mitchell; at Dubhe Carreiio Gallery, Contemporary information and to register, contact Bertie Stephens, Ceramic Art, 5415 W. Grace St. 928 Piccadilly Cir., Hurst, TX 76053-471 1; see Illinois, Geneva May 1-31 Connie Gurley, "Or­ www.ipat.org/ipatconv.htm ; ortelephone Pat Lybrand: ganic Forms—Soda Fired." June 1-30 Doug Jeppesen, (817) 481-3369. "Wood-Fired Stoneware"; at Down To Earth Pottery,

Virginia, Alexandria May 21-22 "Conference on 217V2 S. Third St. Community Art Centers" includes panels, center pro­ Illinois, Oak Park June 5-July 7 Don Pilcher, "Ras­ totypes, architectural and health considerations. Fee: cal Ware by Georgette Ore"; atTerra Incognito Studios $350. For further information, contact the Torpedo and Gallery, 246 Chicago Ave. Factory Art Center, 105 N. Union St., Alexandria 22314; Iowa, Iowa City May 7-20 Mark Shapiro; at e-mail [email protected] ; or see AKAR, 4 S. Linn St. www.torpedofactory.org/conference Maryland, Baltimore June 26-July 24 Mark Hewitt, Australia, Gulgong May2-8 "Clay Modern 2004" "Traditional Update: Giving Contemporary Expression will include lectures, demonstrations, participatory to North Carolina's StonewareTradition"; at Baltimore events and exhibitions. Fee: AU$420 (US$300); stu­ Clayworks, 5707 Smith Ave. dents, AU$300 (US$215). Contact Clay Modern 2004, Maryland, Cockeysville May 7-June 13 Carolyn Ceramic Art, 120 Glenmore Rd., Paddington NSW Eddins, "Survivors: Anagama-Fired Porcelain Vessels"; 2021; e-mail [email protected] ; see at Clay Orbit, 10918 York Rd. www.ceramicart.com.au ; telephone 61 2 9361 5286; Massachusetts, Concord May 1-25 Christine or fax 61 2 9361 5402. Viennet; at Lacoste Gallery, 25 Main St. Canada, Alberta, Red Deer June 11-13 "The Michigan, Detroit through May 8 Neil Forrest, Consequence of Material, 2004 Ceramics Confer­ "Wurzelwerk." May 21 -July 3 Heeseung Lee; atPewabic ence," will include demonstrations, exhibitions and Pottery, 10125 E. Jefferson Ave. Continued

Ceramics Monthly May 2004 86 Ceramics Monthly May 2004 87 calendar

Michigan, Grand Rapids through May 8 Dana Goodman; at the Urban Institute for Contemporary Arts, 41 Sheldon Blvd., SE. Minnesota, Minneapolis June 11-July 18 Viktor Schreckengost; at Northern Clay Center, 2424 Franklin Ave., E. Mississippi, Biloxi through January 29, 2005 "On the Midway: George Ohr at the Fairs"; at the Ohr- O'Keefe Museum of Art, 136 G. E. Ohr St. Missouri, Kansas C\tyJune4-July3 Michael Simon, "Functional Stoneware"; at Red Star Studios, 821 W. 17th St. Missouri, St. Louis May 7-July 3 Melody Ellis; at Xen Gallery, 401 N. Euclid Ave. Nebraska, Lincoln through May 76 "The Maquettes of Robert Arneson"; at the University of Lincoln- Nebraska, Sheldon Memorial Art Gallery. New Jersey, Island Heights June 4-29 "WomanSpirit: An Exhibition of the Ceramic Wall Works of Linda Vonderschmidt-LaStella"; at Ocean County Artists Guild, Ocean and Chestnut aves. New York, Cazenovia May 28-June 26 David MacDonald; at Chameleon Gallery, 53 Albany St. New York, Long Island City through June 5 Phillip Mayberry; at Garth Clark Gallery, 45-46 21st St. New York, New York through May 8 Steven Heinemann, "Vessels"; at Nancy Margolis Gallery, 523 W. 25th St. through May 22 David Regan. Henry Varnum Poor, "Portraits." May 25-June 26 Adelaide Paul. June 29- August 13 Denise Pelletier. Julie York; at Garth Clark Gallery, 24 W. 57th St. through May 22 Steven Travis, "Tapissary: Hiero­ glyphics Stories from a Clay Village"; at the Amos Eno Gallery, 530 W. 25th St. through May22 "Louis Mendez: A Sculptor's Odys­ sey in Clay"; at Capeluto Arts, 147 Reade St. through May 29 Bill Stewart. June 4-July 3 Judy Moonelis; at John Elder Gallery, 529 W. 20th St. through July 29 "Shock of the Old: Christopher Dresser"; at Cooper-Hewitt National Design Museum, 2 E. 91st St. May 5-26 Doug Rochelle, "Heads"; at La Mano Pottery, 237 W. 18th St. New York, Port Chester May 22-June 19 Sam Chung. June 26-July 24 Mary Barringer; at the Clay Art Center, 40 Beech St. North Carolina, Asheville May 6-June 25 Alice Ballard Munn. June 1-30 Lisa Clague; at Blue Spiral 1, 38 Biltmore Ave. North Carolina, Creed moor June 19-September 19 "Sid Oakley: A Retrospective"; at Cedar Creek Gallery, 1150 Fleming Rd. Pennsylvania, Huntingdon Valley May 7-31 Ben Anderson; at Vessel Gallery of Contemporary Ceram­ ics, 2465 Huntingdon Pike. Pennsylvania, Philadelphia through May 16 Amy Smith," My Stone Boat." May 7-30 Kate Doody. May 7-June 13 Paul Kotula; at the Clay Studio, 139 N. Second St. May 1-29 Dan Anderson. June 1-30 Byung-Joo Suh; at the Works Gallery, 303 Cherry St. Pennsylvania, Pittsburgh through May 19 Gilda Oliver, "Sculpture and Vessels"; at the Clay Place, 5416 Walnut St. through June 26 Laura Jean McLaughlin, "Food for Thought"; at Society for Contemporary Craft, 2100 Smallman St. South Carolina, Columbia through May30 "Mike Vatalaro: Explorations into Function"; at Southern Pottery Workcenter and Gallery, 2771 Rosewood Dr. Texas, Houston through May29 Sharon Dennard, "Excesses of the Soul"; at Goldesberry Gallery, 2625 Colquitt St. Texas, San Antonio through May 75 Bertie Smith,

Ceramics Monthly May 2004 88 Ceramics Monthly May 2004 89 Maryland, Baltimore May 8-June 6 "Lasting Im­ calendar pressions: The Unforgettable in Contemporary Ce­ ramic Sculpture." June 12-19 "Clay from the Classroom: A Student Show"; at Baltimore Clayworks, "Dolls . . . Teapots . . . Totems"; at Textures Gallery, 5707 Smith Ave. 4026 McCullough. Massachusetts, Lexington May 2-30 "The State Wyoming, Buffalo May 27-August 21 Porcelain of Clay"; at the Lexington Arts and Crafts Gallery, 130 by Lynn Smiser Bowers; at Margo's Pottery and Fine Waltham St. Crafts, 1 N. Main St. Michigan, Detroit May 21-July 3 "Please Set the Table"; at Pewabic Pottery, 10125 E. Jefferson Ave. Group Ceramics Exhibitions Michigan, Petoskey May 29-December22 "Cre­ ations in Clay: The Kellogg Legacy Continues," works Arizona, Tempe through June 5 "Humor, Irony by Stanley Kellogg and nephew, Eric Strader; at the and Wit: Ceramic Funk from the Sixties and Beyond." Petoskey Museum, 100 Depot Ct. "British Ceramic Masterworks: Highlights from the Minnesota, Minneapolis through May 30 "Col­ Anne and Sam Davis Collection"; at the Ceramics lege Bowl I." "From the Garden: Forms, Images and Research Center, Arizona State University Art Mu­ Ideas," works by Kinji Akagawa, Eddie Dominguez, seum, corner of Mill Ave. and 10th St. Jan McKeachie Johnston, Walter Ostrom and Kurt California, Davis through May 22 "The Eve Aes­ Weiser. June 11-July 18 "Double Vision," works by thetic: The Female Figure in Ceramic Sculpture by Edward Eberle, Tony Hepburn, Cindy Kolodziejski, Artists from TB9, 1963-2003"; at the University of Akio Takamori and Patti Warashina; at the Northern California Davis, Memorial Union Gallery. Clay Center, 2424 Franklin Ave., E. through May 27 "Pushing the Limits"; at Tsao May 1-July4 "Imperial Perfection: Chinese Porce­ Gallery, Davis Art Center, 1919 F St. lain of Three Great Emperors"; at the Minneapolis through June 5 "California Clay Competition Exhi­ Institute of Arts, 2400 Third Ave., S. bition"; at the Artery, 207 G St. Mississippi, Biloxi through May 29 "Master Pot­ California, Lincoln through May23 "Feats of Clay ters from Tokoname," Peter Seabridge and Koujie XVII"; at Gladding, McBean, 601 Seventh St. Sugie; at the Ohr-O'Keefe Museum of Art, 136 G. E. California, Los Angeles through May 7 "Hot Ohr St. Tea"; at del Mano Gallery, 11981 San Vicente Blvd. Montana, Missoula May 7-28 "Third Annual Sodal California, Sacramento through May 16 "Early Salt National"; at the Clay Studio of Missoula, 910 Wedgwood Ceramics"; at the Crocker Art Museum, Dickens St. 216 0 St. New Jersey, Mount Holly through May 8 California, San Francisco May 5-August 8 "Sub­ "Mugalomania"; at Heart in Hand Pottery, Mill Race traction and Addition: Ceramic Sculpture and Installa­ Village, 37 White St. tions," works by Bean Finneran, Jane B. Grimm and New Jersey, Surf City May 8-June 2 "Jersey Gregory Roberts; at the Museum of Craft & Folk Art, Ft. Shore National"; at m. t. burton gallery, 1819 Long Mason Center, Bldg. A. Beach Blvd. June 24-August 16 "Yixing Ceramic Art Traveling New Mexico, Las Cruces May 1-30 "From the Exhibition, USA, 2003-2004"; at the Chinese Cultural Ground Up XXII"; at Las Cruces Museum of Fine Art, Center of San Francisco, 750 Kearney St., Third FI. 490 N. Water. California, Santa Barbara May 4-June 29 "The New Mexico, Santa Fe through May 29 "The Blues: Tonality II"; at Tierra Solida: a clay art gallery, Drawn Surface," works by Jenny Mendes, Ron Meyers, 1221 State St., #8. Kevin Snipes and Jason Walker. June 4-July 20 "Tea"; May 13-June 25 "American Masters of Clay: An at Santa Fe Clay, 1615 Paseo de Peralta. Invitational"; at Westmont College, Reynolds Gallery, New Mexico, Silver City May28-August9" NaC I"; 955 La Paz Rd. at Blue Dome Gallery, 307 N. Texas St. D.C., Washington through June 12 "Clay as Can­ New York, Long Island City June 29-August 14 vas," works by Judy Kogod Colwell, Rebecca Cross, "The Mutant Housewife"; at Garth Clark Gallery, 45- John Donoghue, Carol Grant, Tatianna Kaupp, Marilyn 46 21st St. Lysohir, Hunt Prothro, Gary Schlappal, Michael New York, New York May 25-June 26 "Futurist Smithhammer and Judit Varga; at Eleven Eleven Sculp­ Ceramics"; at Garth Clark Gallery, 24 W. 57th St. ture Space, 1111 Pennsylvania Ave., NW. New York, Port Chester May 1-15 "Student Georgia, Atlanta through May 15 "Teapots-A- Show"; at the Clay Art Center, 40 Beech St. Go-Go"; at MudFire Pottery Center, 1441 Dresden Dr., New York, Poughkeepsie through June 13 "Mar­ Ste. 250. vels of Maiolica: Italian Renaissance Ceramics from the Illinois, Chicago through May 23 David Banga, Corcoran Gallery of Art Collection"; at Frances Lehman Jeff Noska and Triesch Voelker. June 5-September 4 Loeb Art Center, Vassar College, 124 Raymond Ave. Jennifer Allen, Kathryn Finnerty, Alec Karros, Kari New York, Syracuse through May 16 "Shaped Radasch and Elizabeth Robinson; at Lillstreet Art Cen­ Clay 2004 National High School Ceramics Exhibition"; ter, 4401 N. Ravenswood Ave. at the Everson Museum of Art, 401 Harrison St. Illinois, Oak Park May 1-June 2 Paul Eshelman New York, Water Mill June 24-July 19 "Ceramic and Delores Fortuna; at Terra Incognito Studios and Sculpture"; at the Clay Art Guild of the Hamptons, 41 Gallery, 246 Chicago Ave. Old Mill Rd. Indiana, Bloomington through June 27 "Pattern North Carolina, Charlotte through May 30 "The and Purpose: Decorative Qualities of Functional Ob­ Artful Teapot: Expressions from the Kamm Collec­ jects"; at Mathers Museum of World Cultures, 416 N. tion"; at the Mint Museum of Craft + Design, 220 N. Indiana Ave. Tryon St. Indiana, Indianapolis through May23 "Common North Carolina, Raleigh through June 27 "Four Clay: Creating Old and New Ceramics: A Juried Exhibi­ Women in Clay," Jennie Bireline, Clara Couch, Virginia tion of Buffalo State College Alumni"; at the Indiana Scotchie and Lydia Thompson; at North Carolina State Historical Society, 450 W. Ohio St. University, Gallery of Art & Design, Tally Student Cen­ Iowa, Iowa City June 4-17 Matthew Metz and ter, Second FI., Cates Ave. Linda Sikora. "Forms and Shapes: Box"; at AKAR, 4 S. Ohio, Kent May 11-June 19 "Fourth Annual Na­ Linn St. tional Juried Cup Show"; at Gallery 138,138 E. Main St. Louisiana, New Orleans June26-August 15 "4000 Oregon, Portland through May 22 "Oregon Pot­ Years of Chinese Ceramics from the R. Randolph ters Association Show"; at Contemporary Crafts Mu­ Richmond, Jr. Collection"; at the New Orleans Mu­ seum & Gallery, 3934 S.W. Corbett Ave. seum of Art, One Collins Diboll Cir. Pennsylvania, Chester Springs May 8-June 5

Ceramics Monthly May 2004 90 Ceramics Monthly May 2004 91 D.C., Washington through July 18 "The Tea Cer­ calendar emony as Melting Pot." May 15, 2004-April 10, 2005 "Luxury and Luminosity: Visual Culture and the Ming Court"; at the Freer Gallery of Art, Smithsonian Insti­ "Service: An Unconventional Approach"; at Chester tution, 12th St. and Independence Ave., SW. Springs Center for the Visual Art, 1671 Art School Rd. through July 25 "Courtly Art of the Ancient Maya"; Pennsylvania, Huntingdon Valley June 1-30 Lucia at the National Gallery of Art, Sixth St. and Constitu­ Jahsmann and Marge Margulies; at Vessel Gallery of tion Ave., NW. Contemporary Ceramics, 2465 Huntingdon Pike. Florida, Niceville May 16-June 17 "12th South­ Pennsylvania, Lancaster through May 31 "The east Regional Juried Fine Arts Exhibition"; at the Arts 12th Annual Strictly Functional Pottery National"; in and Design Society, 17 First St., SE. the Atrium of the Southern Market Center, S. Queen Florida, Quincy June 11-July 30 "Florida and Vine sts. Craftsmen's 50th Anniversary Exhibition"; at the Pennsylvania, Philadelphia May 7-16 "Clay in Gadsden Arts Center, 13 N. Madison St. Mind," South Jersey High School students. May 7- Illinois, Chicago through May 16 "15th Annual June 13 "Spring: A Group Exhibition." May 21-June Teapot Show, On The Road Again"; at Chiaroscuro 27 "The Marge Brown Kalodner Graduate Student Galleries, 700 N. Michigan Ave. Exhibition." June4-June27 "The Big Nothing," works through May 23 Three-person exhibition including by Mahmood Baghaeain, Pascal Chmelar and Bernardo ceramics by Machiko Munakata and Adam Posnak. Hogan. June 18-July 13 "The Associate Artists' Group June 5-July 3 Two-person exhibition including ceram­ Exhibition"; at the Clay Studio, 139 N. Second St. ics by Eric Jensen; at Lillstreet Art Center, 4401 N. Pennsylvania, Pittsburgh May21-July 14 "Women Ravenswood Ave. of Visions"; at the Clay Place, 5416 Walnut St. Maine, Deer Isle June 6-18 "Work of Haystack Pennsylvania, Wallingford May9-June 11 "Out School Faculty," including ceramics by Tony Marsh. of the Fire"; at the Community Arts Center, 414 Plush June 20-July 1 "Three by Three," including ceramics Mill Rd. by Ryan McKerley. June 20-July 2 "Work of Haystack Texas, San Angelo through June 20 "The Fif­ School Faculty," including ceramics by Lisa Orr; at Blue teenth San Angelo National Ceramics Competition"; Heron Gallery, 22 Church St. at the San Angelo Museum of Fine Arts, One Love St. Massachusetts, Boston May 1-July 25 Texas, Tyler May 9-July 18 "Quiet Beauty: Fifty "Grimm's Fairy Tales Exhibition," including ceram­ Centuries of Japanese Folk Ceramics from the Mont­ ics by Russell Biles, Lisa Clague, Cynthia Consentino, gomery Collection"; at the Tyler Museum of Art, 1300 Sara Lisch, Jenny Mendes, Janis Mars Wunderlich S. Mahon. and Irina Zaytceva; at Society of Arts and Crafts, Virginia, Vienna through May22 "Blooms in Your 175 Newbury St. Backyard," vases from potters in the Washington, Massachusetts, Cambridge May 3-June 4 "Na­ D.C., region; at Earth and Fire, 144 Church St., NW. tional Prize Show"; at Cambridge Art Association, 25 Lowell St. Ceramics in Multimedia Massachusetts, Martha's Vineyard June 25- Exhibitions July 9 Two-person exhibition including ceramics by Thomas Clarkson; at Shaw Cramer Gallery, 56 Arizona, Tucson May 15-July 3 Group exhibition Main St. including ceramics by David Aguirre; at Obsidian Gal­ Massachusetts, Worcester May 15-29 lery, St. Philip's Plaza, 4320 N. Campbell, Ste. 130. "Visions 2004"; at Worcester Center for Crafts, 25 California, Danville May 1-June 4 "East Meets Sagamore Rd. West," members of the Association of Clay and Glass Michigan, Detroit May 14-28 "Annual Student Artists of California; at Danville Fine Arts Center, 233 Exhibition"; at the College for Creative Studies, 201 Front St. E. Kirby. California, Long Beach through May 18 "Artful Minnesota, Minneapolis June 27-September 26 Giving: Collectors Circle Acquisitions, 1994-2004," "Currents of Change: Art and Life Along the Missis­ includes ceramics by Wouter Dam, Keisuke Mizuno sippi River, 1850-1861"; at the Minneapolis Institute and Maguerite Wildenhain; at the Long Beach Mu­ of Arts, 2400 Third Ave., S. seum of Art, 2300 E. Ocean Blvd. Missouri, St. Charles May 9-June20 "The Adven­ California, Los Angeles May4-September 5 "The ture Begins"; at Foundry Art Centre, 230 South St. Arts of Fire: Islamic Influences on the Italian Renais­ Missouri, St. Louis May 28-July 18 "Teapots: Ob­ sance"; at the Getty Center, 1200 Getty Center Dr., ject to Subject"; at Craft Alliance, 6640 Delmar Blvd. Ste. 400. New Hampshire, Concord through June 4 "The California, Ross May 2-26 "National Show"; at Creative Hand." June 18-September 10 "Continuing Ross Art and Garden Center, 30 Sir Frances Drake Blvd. the Tradition"; at Gallery 205, 205 N. Main St. California, San Francisco through July 4 "Art New Hampshire, Manchester through May 16 Deco 1910-1939"; at Legion of Honor, Lincoln Park, "High Tech—Hand Made"; at the New Hampshire 100 34th Ave. Institute of Art, 148 Concord St. Colorado, Central City Vune 13-August8 "57th New York, New York through June 4 "Corporal Annual Gilpin County Arts Association Annual Exhibi­ Identity—Body Language: Craft, Art and Design on the tion"; at Central City Gallery, 117 Eureka St. Cutting Edge"; at the Museum of Arts and Design, 40 Colorado, Denver through May 7 "Faculty Trien­ W. 53rd St. nial" ; at University of Denver, Victoria Myhren Gallery, through July 6 "Petra: Lost City of Stone"; at the 2121 East Asbury Ave. American Museum of Natural History, Central Park, W, through December 19 "Heaven and Home: Chinese at 79th St. Art of the Han Dynasty from the Sze Hong Collection"; May28-June 8 "Celebrating Women's Creativity"; at the Denver Art Museum, 100 W. 14 Ave. Pkwy. at Pen & Brush, Inc., 16 E. Tenth St. Colorado, Ft. Collins through June 11 "Rocky New York, Purchase through May 15 Two-person Mountain Biennial 2004"; at the Museum of Contem­ exhibition including ceramics by Gail Goldsmith; at porary Art, Old Post Office Bldg., 201 S. College Ave. Manhattanville College, 2900 Purchase St. Colorado, Golden through June 6 "North Ameri­ North Carolina, Asheville May 6-June 25 "Quiet can Sculpture Exhibition 2004"; at the Foothills Art Voices," including ceramics by Jamie Davis, Warren Center, 809 15th St. Frederick, Sang Roberson and Catherine White; at Colorado, Gunnison May 10-31 "First Annual Blue Spiral 1, 38 Biltmore Ave. Time for Tea Show, The Mad Hatter's Tea Party"; at North Carolina, Raleigh through June 27 "Moun­ Gunnison Arts Center, 102 S. Main St. tain Made"; at North Carolina State University, Gallery

Ceramics Monthly May 2004 92 Ceramics Monthly May 2004 93 New Jersey, Jersey City June 12-13 "Fine Art and calendar Crafts at Newport's Town Square Park"; at Newport's Town Square Park, Pavonia Ave. New Jersey, Verona May 15-16 "Fine Art and of Art and Design, Tally Student Center, Second FI., Crafts at Verona Park"; at Pleasant Valley Way and Cates Ave. Bloomfield Ave. Ohio, Cincinnati May 25-August 1 "Coming of New York, New York May 29-31 and June 5-6 Age in Ancient Greece: Images of Childhood from the "Washington Square Outdoor Art Exhibition"; on 20 Classical Past"; at the Cincinnati Art Museum, 953 blocks in Greenwich Village. For a map, telephone Eden Park Dr. (212) 982-6255. Ohio, Columbus May 2-June 20 "Best of 2004"; June 3-6 "SOFA New York"; at the Seventh Regi­ at the Ohio Craft Museum, 1665 W. Fifth Ave. ment Armory, Park Ave., between 66th and 67th sts. Ohio, Piqua May 14-23 "12th Annual Fifth Third June5-6and 12-13 "28th Annual American Crafts Bank Fine Art Exhibition and Sale"; at Piqua Historical Festival"; at Lincoln Center for the Performing Arts, Museum, 509 S. Main St. 140 W. 65th St. Pennsylvania, Philadelphia June 23-July 7 Two- June 6 "Contemporary Artist Doll Show and Sale"; person exhibition including ceramics by Etta Winigrad; at le Parker Meridien Hotel, 118 W. 57th St. at Artforms Gallery Manayunk, 4450 Main St. New York, Tarrytown May 14-16 "Spring Crafts Texas, Houston through May 16 "The Centaur's at Lyndhurst"; on Western Ave. Smile: The Human Animal in Early Greek Art"; at the Ohio, Cinncinnati June 5-6 "Decorative Arts Fea­ Museum of Fine Arts, Houston, Caroline Wiess Law turing Rookwood Auction"; at Treadway Gallery, Inc., Bldg., 1001 Bissonnet St. 2029 Madison Rd. through June 6 "Playing Around: Toys Designed by Ohio, Coshocton June 19-20 "25th Annual Heri­ Artists." June 19-September 12 "CraftHouston 2004"; tage Craft and Olde Time Music Festival"; Historic at the Houston Center for Contemporary Craft, 4848 Roscoe Village, 381 Hill St. Main St. Oregon, Portland May 22-23 "Garden Party Texas, Lubbock through July 25 "Designing Craft Weekend"; at the Contemporary Crafts Museum & I: Collecting for the New Millenium," Museum of Arts Gallery, 3934 S.W. Corbett Ave. and Design traveling exhibition; at the Museum at Texas, Lubbock June 12-13 "Llano Estacado Sev­ Texas Tech University, 2500 Broadway. enth Annual Wine and Clay Festival"; at Llano Estacado Virginia, Waynesboro May 20-July 1 "Primary Winery, FM 1585. Colors: A Survey of Contemporary Craft in Red, Yellow and Blue"; at Artisans Center of Virginia, 601 Workshops Shenandoah Village Dr. Wisconsin, Kewaunee June 5-July 18 "Barns and Arizona, Flagstaff May 10-23 "Wood-Fire Work­ Farms"; at the Barnsite Art Studio, 109 Duvall. shop" with Don Bendel. Fee: $650, includes materials and firing; participants should bring bisqueware. All Fairs, Festivals and Sales skill levels. Contact Jason Hess, Northern Arizona Uni­ versity, PO Box 6020, Flagstaff 86011-6020; e-mail Alabama, Montgomery May 28-30 "Jubilee City [email protected] ; telephone (928) 523-2398; or Fest"; in downtown Montgomery. fax (928) 523-3333. California, San Diego June 12-13 "San Diego California, Napa Valley October 4-10 "Wood- Potters' Guild Biannual Sale"; at Balboa Park's Spanish Fired Noborigama, SaltlSoda Glazing." Contact Rich­ Village, 1770 Village PI. ard Carter, Pope Valley Pottery, 1570 Ink Grade, Pope Colorado, Longmont May 6-9 "Boulder Potters' Valley, CA 94567; e-mail [email protected] ; Guild Spring Show and Sale"; at Boulder County see www.popevalleypottery.org ; or telephone (707) Fairgrounds, Hover and Nelson rds. 965-2383. Georgia, Rabun Gap May 24-31 "The Annual California, San Diego October30 Workshop with Jugtown Pottery Festival"; at the Hambidge Center, Lana Wilson at San Diego Mesa College. Fee: $45; Betty's Creek Rd. CASD members, $35. For further information, e-mail Illinois, Oak Park May 23 "20th-Century Art and Jackson Gray: [email protected] ; or see Design Auction"; at the John Toomey Gallery, 818 www.ceramicartistsofsandiego.org. North Blvd. California, San Francisco May 19-23 Hands-on Kansas, Salina June 11-13 "Smoky Hill River Fes­ workshop with Jane Shellenbarger. Fee: $350, in­ tival, Four Rivers Craft Market Show." June 12-13 cludes materials, firing and lab fee. Contact the Clay "Smoky Hill River Festival, Fine ArtlFine Craft Show"; Studio, 743 Harrison St., San Francisco 94107; e-mail in Oakdale Park. [email protected] ; see www.theclaystudio.com ; or Louisiana, New Orleans May 16 "Seventh Annual telephone (415) 777-9080. Japan Festival"; at the New Orleans Museum of Art, California, San Jose May 8 Demonstration work­ One Collins Diboll Cir. shop with Shigaraki potter, Yosuke Koizumi. Fee: $20, Michigan, Detroit June 4-6 "For the House and includes lunch. Contact Clay Planet, 1240 N. 13th St., Garden Show and Sale"; at Pewabic Pottery, 10125 E. San Jose 95129; e-mail [email protected] ; see Jefferson Ave. www.clay-planet.com ; telephone (408) 295-3352; or Massachusetts, Boston May 21-23 fax (408) 295-8717. "CraftBoston"; at Seaport World Trade Center, 200 California, Santa Maria June 26 "Handbuilding Seaport Blvd. Large Forms." June27 "Extruding." Feelsession: $40. Massachusetts, Northampton May 29-31 Instructor: William Shinn. Contact William Shinn Ce­ "Paradise City Arts Festival"; at the Three County ramic Workshops, 3999 Loch Lomond Dr., Santa Maria Fairgrounds, Rte. 9. 93455; e-mail [email protected] ; or telephone (805) Missouri, Hannibal May 29-30 "River Arts Festi­ 937-1424. val"; on N. Main St., downtown. Colorado, Snowmass Village September 13-Oc- Missouri, St. Louis May 7-9 "Art Fair at Laumeier, tober 1 "Focusing on the Work" with Chris Gustin, Jill No. 17"; at Laumeier Sculpture Park, 12580 Rott Rd. Oberman and Bradley Walters. Fee: $1295, includes New Jersey, Cranford June 5-6 "Spring materials and firing. Intermediate/advanced. For fur­ Nomahegan Park Fine Art and Crafts Show"; ther information, contact Doug Casebeer, Anderson Nomahegan Park, Springfield Ave. Ranch Arts Center, PO Box 5598, Snowmass Village New Jersey, Montclair June 19-20 "Spring 81615; e-mail [email protected] ; see Brookdale Park Fine Art and Crafts Show"; at Brookdale www.andersonranch.org ; telephone (970) 923-3181; Park, Watching Ave. or fax (970) 923-3871.

Ceramics Monthly May 2004 94 Ceramics Monthly May 2004 95 40330; e-mail [email protected]; see calendar www.openground.info ; ortelephone(859)375-2411. Kentucky, Lexington May29 "Raku Kilnbuilding" with Wyman Rice. Fee: $75, includes materials, firing Colorado, Steamboat Springs September 25-26 and meals. All skill levels. Contact Link Henderson, "China Painting with Oil and Water" with Paul Lewing. Kentucky Mudworks, LLC, 238 Jefferson St., Lexing­ Fee: $175, includes china paint, tiles and firing. For ton 40508; e-mail [email protected]; see further information, e-mail Annie, Ceramic Design www.kentuckymudworks.com ; or telephone/fax (859) Group: [email protected] ; or telephone 389-9681. (970) 879-9139. Maryland, Baltimore May 8-9 "Telling Stories— November 13-14 "Ceramic Sculpture: Concept and Fact or Fiction" with Wesley Anderegg. Fee: $180; Technique" with Richard Notkin. Fee: $250. Scholar­ members, $160. For further information, contact Bal­ ships available. For further information, contact Beth timore Clayworks, 5707 Smith Ave., Baltimore 21209; Banning, Steamboat Springs Arts Council, PO Box see www.baltimoreclayworks.org ; or telephone (410) 774284, 1001 13th St., Steamboat Springs 80477; 578-1919. e-mail [email protected] ; see Maryland, Frederick May 15-16 "Plates and Plat­ www.steamboatspringsarts.com ; telephone (970) 879- ters" with Joyce Michaud. Fee: $150. Contact Joyce 9008; or fax (970) 879-4434. Michaud, Hood College Art Dept., 401 Rosemont Connecticut, Brookfield May 13-16 "Cone 6 Ave., Frederick 21701; e-mail [email protected] ; Clay and Glazes" with Jeff Zamek. For further infor­ see www.hood.edu ; or telephone (301) 696-3456. mation, contact Brookfield Craft Center, 286 Maryland, Frostburg May 26-June 13 "Making Whisconier Rd., PO Box 122, Brookfield 06804-0122; Pots for the Kiln," hands-on workshop making pots, see www.brookfieldcraftcenter.org ; telephone (203) and constructing and firing a wood kiln with Shane 775-4526, ext. 102; or fax (203) 740-7815. Mickey. Fee: $931; residents, $570. Lodging: $121 Connecticut, Canton May 16 "Decorating with night. Telephone Jackie Brown, Frostburg State Uni­ Colored Slips" with Jamie Guggina. Fee: $110. May versity: (301) 687-4319; or contact Shane Mickey, 28-30, unload 31 "Wood and Salt Firing in a 5271 Cane Creek Rd., Bakersville, NC 28705; e-mail Noborigama" with John Bradford. September 3-4, [email protected] ; or telephone (828) 688-6982. unload 6 "Glazing and Decorating for the Firing of a Massachusetts, Beverly July 5-23 Three-week Noborigama" with Susan Beecher. September 18-19 hands-on workshop with Doreen Mastendrea. Con­ "Handbuilt Vessels" with John Rolfing. Fee: $220, plus tact Redbrick, 95 Rantoul St., Beverly 01915; or see clay. October 8-10, unload 11 "Glazing and Decorat­ www.redbrickarts.com . ing for the Firing of a Wood and Salt Kiln" with Linda Massachusetts, Stockbridge May22-23 "Making Christianson. October 23-24, unload 25 "Fire and Tiles: Flat Tiles, ReliefTiles and Simple Molds" with Laura Smoke," raku, saggar, pit, sawdust and fuming with Shprentz. Contact IS 183, Art School of the Berkshires, Tim Scull. Fee: $275. October 31 and November 14 13 Willard Rd., PO Box 1400, Stockbridge 01262; e-mail "Crystalline Glazes" with Tim Scull. Fee: $200, plus [email protected] ; see www.IS183.org ; telephone (413) clay. Fee (unless noted above): $385. Contact Canton 298-5252, ext. 100; or fax (413) 298-5257. Clay Works lie, 150 Cherry Brook Rd., Canton 00019; Massachusetts, Truro September 13-17 "Alter­ see www.cantonclayworks.com ; or telephone (860) native Firing Techniques: Raku, Saggar, Pit" with Tim 693-1000. Scull. Fee: $450. Intermediate through professional. Connecticut, Stamford October 29-31 "Func­ Contact Cherie Mittenthal, Castle Hill, 10 Meeting­ tional StonewarelSingle Firing" with Steven Hill. Fee: house Rd., PO Box 756, Truro 02666; e-mail $285. Limit of 15 participants. Contact Morty Bachar, [email protected] ; see www.castlehill.com ; tele­ Lakeside Pottery, 543 Newfield Ave., Stamford phone (508) 349-7513; or fax (508) 349-7511. 06905; e-mail [email protected] ; see Massachusetts, Williamsburg May2-8 "Ceramic www.lakesidepottery.com ; or telephone (203) Tile Making: From Trivets to Floors" with Amy Schusser. 323-2222. May 8-9 "Sculptural Clay" with Amy Schusser. Fee: Georgia, Athens May 8-9 "Constructing Pots $190, includes lab fee. May 16-22 "Clay for the with Paper Patterns, Wood Forms and Textures," dem­ Garden" with Sharon Pollock. May23-29 "Life Mod­ onstration with Randy Johnston and Jan McKeachie eling: Ceramic Sculpture of the Human Form" with Johnston. Fee: $125. For further information, contact Harriet Diamond. May 29-31 "Animal Sculpture in Good Dirt, 51 OB N. Thomas St., Athens 30601; e-mail Clay" with Harriet Diamond. Fee: $305, includes lab [email protected] ; see www.gooddirt.net ; or fee. Fee (unless noted above): $450. For further infor­ telephone (706) 355-3161. mation, contact Snow Farm, 5 Clary Rd., Williamsburg Georgia, Rabun Gap May 10-14 "The Art of 01096; e-mail [email protected] ; see Raku—Fire, Smoke and Kilnbuilding" with Steven www.snowfarm.org ; telephone (413) 268-3101; or Forbes deSoule. Contact the Hambidge Center, Box fax (413) 268-3163. 339, Rabun Gap 30568; see www.hambidge.org ; or Michigan, Kalamazoo September24-25 "A Ses­ telephone (706) 746-5718. sion with Dick Lehman." Fee: $75. E-mail Francis Illinois, Antioch May 7 "Thrown and Altered" Granzotto, Kalamazoo Community College: with Tony Winchester. Fee: $30; bring sack lunch. [email protected] ; or telephone (269) 488-4373. Contact Antioch Pottery Works, 25942 Heart-O-Lakes Minnesota, Minneapolis May 13 "Container Blvd., Antioch 60002; e-mail [email protected] ; or Gardening," demonstration by Matt Phillips. Fee: $8; telephone (847) 838-9949. NCC members and University of Minnesota students, Illinois, Oak Park May 22-23 Workshop with Ellen $5. May 21-24 Wood firing with Linda Christianson. Shankin. Fee: $125. Contact Terra Incognito Studios For further information, contact the Northern Clay and Gallery, 246 Chicago Ave., Oak Park 60302; see Center, 2424 Franklin Ave., E, Minneapolis 55406; www.terraincognitostudios.com ; or telephone (708) e-mail [email protected] ; see 383-6228. www.northernclaycenter.org ; telephone (612) Kentucky, Harrodsburg May 14-16 "Raku 339-8007. Kilnbuilding Workshop" with Marshall Thompson. Fee: Mississippi, Biloxi May 10-14 "Ninth Annual Horn $150, includes materials, firing, lodging and meals; Island Experience Workshop" with Dale Simmons. Fee: participants should bring bisqueware. Beginninglln- $500. To register, contact Shirley Herring, Ohr-O'Keefe termediate. October 22-24 "Potters' Retreat." Fee: Museum of Art, 136 G. E. Ohr St., Biloxi 39530; see $180, includes materials, firing, lodging and meals; www.georgeohr.com ; or telephone (228) 374-5547, participants should bring bisqueware. Intermediate! ext. 24. advanced. For further information, contact Don Missouri, St. Louis July 12 "The Architecture of Boklage, Open Ground, 981 Rye Ln., Harrodsburg the Teabowl" with Andrew Denny. Contact the Craft

Ceramics Monthly May 2004 96 Ceramics Monthly May 2004 97 New York, Woodstock October 16-17, unload23 calendar Loading and firing an anagama with Jolyon Hofsted. Fee: $200, includes glaze, firing and lunch; partici­ pants must bring Cone 10 stoneware bisque. All skill Alliance, 6640 Delmar Blvd., St. Louis 63130; see levels. Contact Janet Hofsted, Maverick Art Center, www.craftalliance.org ; or telephone (314) 727-1177. 163 Maverick Rd., Woodstock 12498; e-mail Montana, Helena September 13-17 " Using Indig­ [email protected];ortelephone(845) 679-9601. enous Materials" with Morgan Ringer. Contact the North Carolina, Asheville May 27-29 Hands-on Archie Bray Foundation for the Ceramic Arts, 2915 workshop with Bernadette Curran. Fee: $225, in­ Country Club Ave., Helena 59602; see cludes registration fee. Contact Cynthia Lee, Odyssey www.archiebray.org ; or telephone (406) 443-3502. Center for the Ceramic Arts, 236 Clingman Ave, New Jersey, Lodi May 8 "Porcelain Jewelry Mak­ Asheville 28801; e-mail [email protected] ; ing" with Pauline Lurie. May 15 "Taming the Electric see www.highwaterclays.com ; telephone (828) 285- Kiln" with Richard Zakin. May 22 "Raku Firing" with 0210; or fax (828) 253-3853. David Hughes. Fee: $120. Fee (unless noted above): North Carolina, Bakersvilie May 22-27 and May $90. Contact David Hughes, Clay Education Center, 7 29-June3 "Pine Root Pottery Wood Firing" with Mark Rte. 46 W, Lodi 07644; or telephone (800) 723-7264. Peters. Fee: $500, includes materials and firing. All skill New Mexico, Las Cruces May 7-8 Lecture and levels. For further information, contact Mark Peters, workshop with Karen Terpstra. Fee: $20; members Pine Root Pottery, 1108 Pine Root Branch Rd., Bakersville (any guild), $10. Lecture is free. Contact Las Cruces 28705; e-mail [email protected] ; see Potters' Guild, PO Box 2352, Mesilla Park, NM 88047. www.pinerootpottery.com ; ortelephone (828) 688-1332. New Mexico, Ramah September 10-26 "Wood/ North Carolina, Brasstown May 2-8 "Clay Ba­ Salt Kilnbuilding." Fee: $300, includes firing and meals; sics—Useful Pots" with Lucy Hamilton. May 16-22 participants must bring bisqueware. Lodging: $20/ "The Art of Raku" with Lynn Jenkins. May 23-29 day. E-mail Maqui: [email protected] . "Earth, Wheel and Fire—Wheel Basics" with Jan Mor­ New York, East Hampton August 7-8 "Form and ris. Fee/session: $358. Contact John C. Campbell Folk Process" with Pete Pinnell. Contact the Clay Art Guild School, One Folk School Rd., Brasstown 28902; e-mail of the Hamptons, 51 Round Pond Ln., Sag Harbor, NY [email protected] ; seewww.folkschool.org ; or 11963; e-mail [email protected]; or telephone/ telephone (828) 365-5724. fax (631) 725-4605. North Carolina, Seagrove May 14-16 "Tool Mak­ New York, Nassau June 21-23 "Ceramics Restora­ ing and Extruded Forms" with Michael Sherrill. Fee: tion" with Brian Adams. Fee: $485. Limit of 10 partici­ $300. Contact the North Carolina Pottery Center, 250 East pants. June25-27 "British Ceramics—Creamware and Ave., Seagrove 27341; e-mail [email protected] ; see Pearlware, 1740-1850," nine lectures and demonstra­ www.ncpotterycenter.com ; ortelephone (336) 873-8430. tions. Fee: $445. Contact East Village, PO Box 539, Oregon, Gresham June 10-17 "Making and Firing Nassau 12123; or telephone (518) 766-2422. Workshop" with Linda Christianson. Fee: $300. Bring New York, New York May 8 "Effective Glazing" 10 bisqued pieces. Contact Stephen Mickey, Mt. Hood with Sarah Emond. Fee: $120; members, $105; bring Community College, 26000 S.E. Stark St., Gresham bisqueware. Intermediate/advanced. Contact Jeri 97030; e-mail [email protected] ; seewww.mhcc.edu ; Wagner, Craft Students League, YWCA-NYC, 610 or telephone (503) 491-7309. Lexington Ave., New York 10022; e-mail Pennsylvania, Richboro May 15-16 "Raku Fir­ [email protected] ; see www.ywcanyc.org ; telephone ing" with Rodney Meyer. Fee: $100. May 29-30 (212) 755-4500; or fax (212) 223-6438. "A Workshop for Potters" with Jack Troy. Fee: $275. May21-23 "PMC Artisan Certification." Fee: $450, Contact the Pennsylvania Guild of Craftsmen, 10 includes materials, tools, firing and PMC Guild member­ Stable Mill Trail, Richboro 18954-1702; e-mail ship. May 22-23 "Techniques in Precious Metal Clay." [email protected] ; seewww.pacrafts.com ; telephone Fee: $250, includes materials, tools and firing; beginner/ (215) 579-5997; or fax (215) 579-0650. intermediate. Contact Vera Lightstone, 347 W. 39th St., Rhode Island, Providence October 8-10 "Raku New York 10018; e-mail [email protected] ; see Rhody-O Artists' Workshop," raku design, glazing www.silverclay.com; or telephone (212) 947-6879. and firing with Randy Brodnax. On-site Cone 10 June 3-4 "Handbuilt Porcelain Ware" with Kevin kilnbuilding with Thomas Ladd. Contact Kate Champa, Hluch. June 24-25 "Animated Functional Pottery" 37 Creighton St., Providence 02906; e-mail with Bernadette Curran. Contact 92nd Street Y Art [email protected] ; telephone (401) 351-1683; Center, 1395 Lexington Ave., New York 10128; see e-mail Dew Claw Studios: [email protected] ; www.92y.org ; or telephone (212) 415-5500. or see www.rakurhody-o.org . New York, Port Chester May 22-23 "Handbuilt Texas, Dallas October 2 and/or October 3-5 "The Pouring Pots: Investigating Form and Function" with Language of Functional Pottery" demonstration and/ Sam Chung. Fee: $150. Contact the Clay Art Center, or hands-on workshop with Sam Clarkson and 40 Beech St., Port Chester 10573; or telephone (914) Alleghany Meadows. Fee: $350; members, $250; one- 937-2047. day demonstration, $100; members, $50; three-day New York, Rochester May 15-16 "Noborigama hands-on workshop, $275; members, $225. Contact Wood Firing" with Michael Carroll. Fee: $95. Contact the Craft Guild of Dallas, 14325 Proton Rd., Dallas Margie Slinker, Genesee Pottery, Genesee Center for 75244; e-mail [email protected]; see the Arts & Education, 713 Monroe Ave., Rochester www.craftguildofdallas.com ; or telephone (972) 14607; e-mail [email protected] ; see 490-0303. www.geneseearts.org ; or telephone (585) 271-5183. Texas, Mesquite May 7-8 "Kiln Maintenance Semi­ New York, Wainscott June 4-6 "Kilnbuilding," nar." Fee: $90, includes lunch and manual. Contact hands-on workshop building an 80-cubic-foot sprung- Paragon Industries, 2011 S. Town E. Blvd., Mesquite arch kiln with Jay Lindsay. Fee: $350. Contact the Clay 75149-1122; see www.paragonweb.com ; or telephone Art Guild of the Hamptons, 51 Round Pond Ln., Sag (800) 876-4328. Harbor, NY 11963; e-mail [email protected]; tele­ Utah, Logan May 3-14 "Wood-Fired Earthen­ phone/fax (631) 725-4605. ware" with Richard Parker. May 17-28 "Wood-Fired New York, Water Mill 7u/y 10-11 "Thrown, Altered Ceramics" with Dan Murphy. Contact Dan Murphy, and Press Molded" demonstration with Bruce Cochrane. Utah State University, Dept, of Art, Logan 84322- Fee: $250. July 24 "Teabowls: Form and Function," 4000; e-mail [email protected] ; see demonstration with Jon Keenan. Fee: $150. Contact www.usu.edu/artdept; telephone (435) 797-3460; or Clay Art Guild of the Hamptons, 51 Round Pond Ln., fax (435) 797-3412. Sag Harbor, NY 1 1963; e-mail [email protected]; Vermont, Bristol September 10-13 "Wood Firing or telephone/fax (631) 725-4605. and Salt Glazing" with Robert Compton. Fee: $560,

Ceramics Monthly May 2004 98 Ceramics Monthly May 2004 99 ning. For further information, contact Shelley Schell, calendar Haliburton School of the Arts, Box 839, Haliburton, Ontario KOM1 SO; see www.haliburtonschoolofthearts.ca ; or telephone (866) 353-6464. includes materials, firing and meals. Contact Robert Canada, Ontario, London May2-June 5 "A Natu­ Compton Pottery, 2662 N. 116 Rd., Bristol 05443; ral Progression," works by Allan Burgess, Meg Bur­ e-mail [email protected] ; see gess, Rachelle Chinnery, Walter Dexter, Gordon www.robertcomptonpottery.com ; telephone (802) Hutchens, Kathi Jefferson, Laurie Rolland, Kinichi 453-3778. Shigeno and Clive Tucker; at Jonathon Bancroft-Snell Vermont, Shelburne May 15-16 "Two Days, Two Interiors, 355 Wellington St. Potters," demonstration workshop with Aysha Peltz and Canada, Ontario, Toronto through May 16 "2004 Todd Wahlstrom. Fee: $195, includes materials. Contact Sheridan Graduating Students Exhibition." June3-28 Julie Whitney, Shelburne Craft School, 54 Falls Rd., "Containers of Beauty"; at the Gardiner Shop and Shelburne 05482; e-mail [email protected] ; School, 60 McCaul St. seewww.shelburnecraftschool.org ; telephone (802) 985- through June 6 "Eternal Egypt: Masterworks of the 3648; or fax (802) 985-8438. Ancient Art from the British Museum"; at the Royal Washington, Suquamish September25-26 "Doug Ontario Museum, 100 Queen's Park. Jeck: Clay Heads." Fee: $150. Contact Brenda Beeley, May 1-July 4 Yin-Yueh Chuang, "Persistence in ClaySpace on Puget Sound, PO Box 1339, Suquamish Nature." June 25-August 8 "Toronto Potters 12th 98392; see www.clayspaceonpugetsound.com ; e-mail Biennial Juried Exhibition"; at Harbourfront Centre, [email protected] ; telephone (360) 598-3688. 235 Queen's Quay W. Washington, Tacoma July 9-11 "Architectural Ce­ Canada, Quebec, Quebec City through May 23 ramics" with Peter King .June 18-20 "Noted Northwest Maurice Savoie; at the Materia Center, 367 Charest Potters," demonstration workshop with Patrick Horsley Est. Blvd. and Don Sprague. Fee/session: $195. Contact the Clay May 6-August 29 "Picasso and Ceramics"; at the

Art Center, 2636 Pioneer Way E. ; Tacoma 98404; see Mus6e national des beaux-arts du Quebec, Parc des www.dayartcenter.net ; or telephone (800) 952-8030. Champs-de-Bataille. Wisconsin, Appleton July 11-18, 18-25, 25- China, Jingdezhen May 25-October 10 "The August 1 One-week workshops on ceramics restora­ Jingdezhen: 1000 Years Celebration of Porcelain, Stu­ tion with Gerlinde Kornmesser. Fee: $1600, includes dent Exhibition"; at Jingdezhen Sanbao Ceramic Art lodging, firing, materials and meals. All skill levels. Institute, International Art Center. Contact Gerlinde Kornmesser, China Mending and Denmark, Skaelskor May 1-9 "Wood Kilns—Fast Restoration Course, 1705 Glenview Rd., e-mail Fire and Soda Kiln" with Ann-Charlotte Ohlsson. Fee: [email protected] ; see www.gkresoration.com ; DKr 1600 (US$256); students, DKr 1000 (US$160). telephone (847) 724-3059 or (847) 867-2054; or fax Participants must bring bisqueware. May 17-21 "China (847) 724-3060. Paint—Form and Motives" with Kurt Weiser. Fee: DKr Wisconsin, Fish Creek May3-6 "Figure Modeling 1900 (US$304); members, DKr 1200 (US$192); stu­ in Clay" with Kirsten Christianson. Fee: $150, plus dents, DKr 1000. September 17-26 "Cross Draught materials. May 17-20 "Ceramicsfor Sushi" with David Kiln—Wood Firing." Fee: DKr 500 (US$80). Partici­ Caradori. Fee: $160, plus materials. Contact Peninsula pants must bring bisqueware. October 18-22 "The Art School, PO Box 304, 3900 County Hwy. F, Fish Vitrified Print" with Paul Scott. Fee: DKr 1900; mem­ Creek 54212; e-mail [email protected] ; bers, DKr 1200; students, DKr 1000. Contact see www.peninsulaartschool.com ; telephone (920) Guldagergaard, Heilmannsvej 31 A, 4230 Skaelsk 0r; 868-3455; or fax (920) 868-9965. e-mail [email protected]; see www.ceramic.dk; tele­ Wisconsin, Kewaunee September 20-24 and phone 45 5819 0016; or fax 45 5819 0037. September27-October 1 "Mata Ortiz: Southwestern England, Ipswich, Suffolk May 28-31 or Septem­ Ceramics" with Juan Quezada and Michael Wisner. ber 17-19 "Throwing and Related Techniques" with Fee: $775, includes materials and firing. Contact Dick Deborah Baynes. Fee: £295 (US$544); 2 days only, Bell, Barnsite Art Studio and Gallery, 109 Duvall St., £195 (US$360). October 24-30 Workshop with Kewaunee 54216; e-mail [email protected] ; or Deborah Baynes. Fee: £405 (US$747). Beginning telephone (920) 388-4391. through advanced. Includes materials, firing, lodging and meals. Contact Deborah Baynes, Deborah Baynes International Events Pottery Studio, Nether Hall, Shotley, Ipswich, Suffolk 1P9 1PW; e-mail [email protected] ; see Belgium, Brasschaat May 23 "Third International www.potterycourses.net ; telephone (44) 1473 Ceramics Biennale"; in the Park of Brasschaat. 7883000; or fax (44) 1473 787055. Canada, Alberta, Calgary through May 15 Ken England, Liverpool May 1-31 Ashraf and Sue Wilkinson. Willie Campbell; at the Croft, 2105 Fourth Hanna; at Bluecoat Display Centre, Bluecoat Cham­ St., SW. bers, School Ln. Canada, British Columbia, Vancouver May 6-31 England, London through June 5 Jane Blackman. "Asian Heritage Month Group Show," ceramics by Robert Cooper. June 11-July 24 Walter Keeler; at Priscilla Chan, Mas Funo, Sam Kwan and Sandra Ramos. Contemporary Applied Arts, 2 Percy St. June3-28 Aaron Nelson, "New Dimensions in Dinner- through July 4 Richard Slee. through February 5, ware"; at the Potters Guild of British Columbia, 1359 2005 "Making It Yours: Ceramics"; at Crafts Council, Cartwright St., Granville Island. 44a Pentonville Rd. Canada, Ontario, Burlington through June 6 through August 22 "Heaven on Earth: Art from "Selections from the Hamilton and Region Potters Islamic Lands"; at Hermitage Rooms, S. Bldg., Somerset Guild Permanent Collection." through December 19 House, Strand. "Recent Acquisitions 2003." May 8-June 13 "Clay June 9-July 9 "Pharoah's Creatures: Animals from Landscapes." June 6-September26 "Courtyard Exhi­ Ancient Egypt"; at Rupert Wace Ancient Art Limited, bition 2004—Mimi Cabri: Recent Work." June 20- 18 Old Bond St. September 19 "Bruce Cochrane: Survey." June25-26 June 18-July 31 Richard Slee; at Barrett Marsden Workshop with Mimi Cabri. Contact the Burlington Gallery, 17-18 Great Sutton St. Art Centre, 1333 Lakeshore Rd., Burlington, Ontario England, Newark June 26-27 "Annual Earth and L7S 1A9; telephone (905) 632-7796; or see Fire Ceramic Extravaganza"; at Rufford Ceramic Cen­ www.burlingtonartcentre.on.ca . ter, Rufford County Park near Ollerton. Canada, Ontario, Haliburton May 3-7 England, St. Ives through May7"A Baker's Dozen, "Handbuilding Garden Pottery" with Thom Lambert. Thirteen Former Bernard Leach Students"; at St. Ives Fee: CAN$255.40 (US$193), includes materials. Begin­ Ceramics, One Lower Fish St. Continued

Ceramics Monthly May 2004 100 Ceramics Monthly May 2004 101 della Fratta, Studio of Luca Leandri, Vocabolo calendar Fratta 157, loc. Papiano, Marsciano; e-mail [email protected] ; see www.lucaleandri.it ; telephonelfax (39) 758 785 111. England, Sherborne through May 15 "Ceramics Italy, Milan through June 28 "Hunt For Paradise: with Humour," works by Jean-Michel Doix, Claire Court Arts of Iran (1501-1576)"; at Museo Poldi Ireland, Jude Jelfs, Anna Lambert, John Maltby and Pezzoli, Via Manzoni 12. Marilyn Richeda. May 22-June 26 Stoneware by Rich­ Italy, Tuscany May 14-31 One-week hands-on ard Batterham; at Alpha House Gallery, South St. workshop with Denys James; one-week hands-on terra- England, Tenbury Wells May 28-31, September sigillata workshop with Giovanni Cimatti. See 3-5 or September 10-12 Workshop with Martin www.denysjames.com/excursionslitaly. Homer. Fee: £210/£31 5 (US$382/$573); includes Japan, Kyoto and Shigaraki May 8-June 9 materials, firing, lodging and meals. All skill levels. Four-week study program sponsored by the University Contact Martin Homer Pottery, Lower Aston House, of Georgia. For further information, e-mail Glen Aston Bank, Tenbury Wells, Worcestershire WR15 Kaufman:[email protected];ortelephone(706) 8LW; e-mail [email protected] ; see 542-1660. www.homerpottery.co.uk ; or telephone (44) 1584 Japan, Mishima through May 21 Uraguchi 781 404. Masayuki; at Yufuku Mishima Gallery, 3-2-18 Omiya- France, Nanqay through July 4 Robert Deblander, cho, Mishima. Elisabeth Joulia, Jacqueline Lerat and Yves Mohy; at Japan, Shigaraki through July 30 "Figure of Spir­ Galerie Capazza, Grenier de Villatre. its—The Pottery of Papua New Guinea"; at the Mu­ France, Paris through May 10 "Avante-premi£re," seum of Contemporary Ceramic Art, Shigaraki Ceramic works by Coralie Courbet, Michel Gardelle, Jean Linard, Cultural Park, 2188-7 Chokushi, Shigaraki-cho. Mathieu Robert and Mary Vigor; at Ateliers d'Art de Laos, Luang Prabang, Ban Chan January 15- France le Galerie, 22 avenue Niel. February 2, 2005 Hands-on workshop, including through June 12 Morten L0bner Espersen; at Clara throwing/forming methods and wood firing an un­ Scremini Gallery, 99 rue Quincampoix. derground, scorpion-shaped earthenware kiln with May 11-July 31 "The Magnificence of Fire: Master­ Denys James and the local potters from Ban Chan pieces of the Imperial Chinese Porcelain of Jingdezhen, pottery village. Fee: US$3163, includes airfare, mate­ 12th—18th Century"; at the Cultural Chinese Institute, rials, firing, lodging, some meals, tours and excursions. 1, boulevard de la Tour-Maubourg. Deposit due July 15, 2004. Contact Denys James, France, Saint Quentin la Poterie through May 17 Discovery Art Travel, 182 Welbury Dr., Salt Spring Christian Destieu, "Memories of Images," ceramic Island, British Columbia V8K 2L8 Canada; e-mail murals, through January 8, 2005 "Art of the Bowl." [email protected] ; see www.denysjames.com ; May20-July 8 Sylvie Piaud, "The Dance of Colors"; at or telephone (250) 537-4906. Terra Viva Galerie, rue de la Fontaine. Netherlands, Amsterdam May 1-June 6 Kayoko France, Tregny (Yonne) through June 13 "Con­ Hoshino, "New Objects"; at Galerie Carla Koch, temporary Ceramists." June 19-July 18 "Homage to Prisengracht 510 sous. Gilles Duru"; at La Maison du Chanoine, Le ChaTneau. May 1-June 13 Satoru Hoshino, "Ceramic Ob­ Hungary, Budapest July 2-11 "Bronze-Age Cre­ jects"; at Galerie De Witte Voet, Kerkstraat 135. ative Summer Camp." Fee: 44,000 HUF (US$375). Netherlands, Delft through May 8 Philippe Dubuc. Contact Keramiapark, Bartok Bela ut 136, 1224 through June 5 Wietske van Leeuwen. May 15-June Budapest; e-mail [email protected] ; see 26 Peter Beard; at Terra Keramiek, Nieuwstraat 7. www.keramiapark.hu ; or telephone (36) 36 224 13 or Netherlands, Deventer through May 22 Helene (36) 70 533 4435. Lathoumetie and Xavier Duroselle"; at Loes & Reinier, Hungary, Kecskemet May 3-16 "Handbuilding Korte Assenstraat 15. and Wood Firing Porcelain" with Peter Masters. Fee: Netherlands, Leeuwarden through October 24 200,000 HUF (US$966), includes materials, firing and "Deliciously Decadent! Tableware from the 20th and lodging. Contact International Ceramics Studio 21st Centuries"; at Princessehof Leeuwarden, Grote Kecskemet, Kapolna str. 13, Kecskemet H-6000; see Kerkstraat 11. www.icshu.org ; or telephone (36) 76 486 867. Republic of China, Taiwan through June 13 Italy, Certaldo September 4-17 Workshop with "The First Taiwan Ceramic Biennale"; at Taipei Caroline Meier. September 7-13 "Soda Firing" County Yingge Ceramics Museum, 200 Wenhua Rd., with Terry Davies. September 18-October 2 Work­ Yingge Taipei. shop with Ellen Shankin. Contact La Meridiana, Loc. Scotland, Edinburgh May 10-June 2 Takahiro Bagnano 135, 50052 Certaldo, Florence; e-mail Kondo; at the Scottish Gallery, 16 Dundas St. [email protected] ; see www.pietro.net; or telephone Scotland, Fife May 7-June 27 Porcelain by (39) 571 66 00 84. Hortense Suleyman; at Crawford Arts Centre, 93 October 13-16 "Color and Textures of Tuscany" North St., St. Andrews. with Steven Hill. For further information, contact Turkey, Istanbul September 16-October 7 First Lynne Burke: e-mail [email protected] ; see week: hands-on workshop, including handbuilding, www.potteryabroad.com . colored porcelain and decals with Mehmet Kutlu. Italy, Faenza June 28-July 3 "Ceramic Basics," Second week: hands-on workshop with Erdogen Gulec including glaze decoration and raku firing with An­ and Denys James. Fee: US$2975, includes airfare, gela Reggidori and Clelia Reggi. August 2-7 "Con­ lodging, breakfast, tours and studio visits. Deposit due structing Large Sculptures" with Guido Mariani. June 15. Limit of 12 participants. Contact Denys James, September27-October2 "HighTemperature," work­ Discovery Art Travel, 182 Welbury Dr., Salt Spring ing with Cone 6-8 stoneware and porcelain with Island, British Columbia V8K 2L8 Canada; e-mail Giovanni Cimatti. Limit of 12 participants. Contact [email protected] ; see www.denysjames.com ; Consorzio Provincale per la Formazione Professionale, or telephone (250) 537-4906. Via S. Giovanni Battista, 11, 48018 Faenza; e-mail [email protected] ; see For a free listing, submit announcements at least two www.cpfp.it; telephone (39) 546 26760; or fax (39) months before the month of opening. Add one month 546 660381. for listings in July; two months for those in August. Italy, Marsciano May29-June3, September 6-12 Mail to Calendar, Ceramics Monthly, 735 Ceramic or October 4-9 "Stages of Raku Ceramics—Arts and PI., Westerville, OH 43081; submit online at Holidays." Fees and skill requirements vary. Lodging at www.ceramicsmonthly.org/submissions.asp ; e-mail bed-and-breakfast inn: €35 (US$44)/day. Instruction to [email protected] ; or fax to (614) in Italian and English. Contact Elisabetta Corrao, Casale 891-8960.

Ceramics Monthly May 2004 102 Ceramics Monthly May 2004 103 questions Answered by the CM Technical Staff

Q I have some clay that was dug from property I own in Michigan. So far, it makes a very nice glaze at Cone 10 in reduction. This slip glaze is a ringer for an ash glaze in surface. The color is pumpkin where thin and green where thick. It throws beautifully and is still porous and fires to a cream color at Cone 03. The color of the body is new to me. All of the earthenware I've ever seen came straight out of the ground either red or orange. Also, no impurities that would seem to cause problems have surfaced so far. Can you explain why it remains a cream color? What fluxes might be present that allow it to be an orange/green color at Cone 10 instead of the brown color I see so often?—K.M. Most clays have iron in them—in fact, it would be very rare to find a clay without any iron content. How much iron depends on how much is picked up as the clay is transported from the original site where it is formed. If there is little iron available as the clay is moved by water or ice, then little will be incorporated into the clay—hence the light color of the clay you have found. It all depends on the the geology of the path. The more iron that is present in the path, the darker the red color of the clay. Kaolin clays are primary clays. They are mined from the original place of decomposition, therefore containing very few impurities. Typical kaolins contain 0.4-0.6% iron content. Most other clays are secondary clays, which have been moved from their original place of decomposition by water, wind or ice. These types of clays can pick up other materials that do contain impurities while being moved. Cedar Heights Redart, a typical earthen­ ware clay, has about 7% iron. Fireclays contain approximately 1.5-2% iron. Most of the ball clays we use have about 1 % iron, more or less. There are always exceptions. Perhaps your clay was washed down from the original deposit during glacial times—water running over ice would not come in contact with much iron, for example. When using this clay as a slip glaze, the orange color that you see is typically from iron and the green may be from alkalies reacting with the iron. We see this color very often during wood firings. When wood ash builds up on pots, the alkalies in the ash combine with the iron during the melting stage to cause the green color. An exact answer can be found by having some of the clay analyzed to reveal the amount of differ­ ent materials that it contains.

Ron Roy Ceramics Consultant Brighton, Ontario, Canada

Have a problem? Subscribers’ questions are welcome, and those of interest to the ceramics community in general will be answered in this column. Due to volume, letters may not be an­ swered personally. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081, e-mail to [email protected] or fax to (614) 891-8960.

Ceramics Monthly May 2004 104 Ceramics Monthly May 2004 105 Ceramics Monthly May 2004 106 Ceramics Monthly May 2004 107 Comment mechanics and fallacies of porcelain by Tom Turner

After using it for 39 years—full time for 30 years—I would like to throw out (no pun intended) some thoughts on porcelain. My first introduction was at Illinois State when Larry Carnes would mix bowls of porcelain and make wonderful little pots with gor­ geous glazes on them. The equal-parts body he used was Edgar Plastic Kaolin, Kentucky OM 4 ball clay (yes ball clay, and it was very white), feldspar and flint. I continued to use this porcelain when I was salting in the early 1970s and even added some sand and fireclay. It wasn’t that I wanted to use porcelain, but I wanted color, and a white canvas seemed better than a gray one. I’ve never been after translucency, but have been more concerned with a body that really threw well and was pretty white. Whatever knowledge I have af­ ter 42 years of working in clay is the result of a lot of reading, testing and, most impor­ tantly, others sharing their knowledge with me. So I see this as an opportunity to give back to the field as it has given to me. In the mid-1970s, I decided to try a new formula and didn’t want to pay for English kaolins, especially since I was teaching at Clemson University in South Carolina and Georgia Kaolin Company was right next door. At the time, I thought it strange that Georgia Kaolin Company shipped tanker ships of ka­ olin slip to England and the United States imported the English kaolins. I worked with the Georgia Kaolin Company and used Tile 6 and Kaopaque 20 for the kaolin part of the body. A change was made at one point to the Tile 6 for industrial standards and it was slightly less plastic. That’s when I added 5% Kentucky OM 4 ball clay. I used it that way for nearly 30 years. I believe the materials got dirtier through the years and the porcelain got grayer, but I never thought about chang­ ing until last year when they stopped manu­ facturing Kaopaque 20. It was made for the paper industry to make paper glossy. I called the mine and talked to the engineers and they recommended I go to English kaolins. Now think about it; a Georgia Kaolin Com­ pany engineer suggesting I use English kaolins. I wasn’t going to argue at that point.

Ceramics Monthly May 2004 108 Ceramics Monthly May 2004 109 comment

What used to be Georgia Kaolin Company is now part of a huge company named Imerys and they own English China Clays, Georgia Kaolin, Kentucky-Tennessee Clays, and I’m not sure who else. I asked if I could get some samples of English kaolins from the supply company that mixes my clay for me. They were very helpful and, three months later, I had a new porcelain better than anything I had ever thrown, trimmed or fired. Once again, I am after a throwing body that is as white as I can get it, but stands well, dries well, trims well and fits my glazes well. If you go for translu- cency, you give up throwing ability and strength; if you go for plasticity, you give up whiteness; if you go for strength, you give up translucency. So, the challenge for me was to get as much plasticity as possible and still keep it as white as I could. When mixing any body, variation of particle size determines movement. If all the particles are very fine, they don’t want to move on each other, they may not want to stand up, and they usually will want to warp during drying. If they are all coarse, then they leave huge voids and usually don’t have the plasticity we want for throwing. By using a variety of particle sizes, we are able to make a body that really moves on itself, stands up, dries better and resists warping. We also have to be concerned about flocculation and deflocculation when choos­ ing materials for clay bodies and porcelain. It is more important for porcelain, because clays usually are on the acidic side already. My suggestion is to stay away from sodium based materials when choosing the fluxes because of the potential leaching of the sodium that can cause deflocculation. When a body is deflocculated, it doesn’t want to stand tall, and instead wants to slump. A flocculated body stands much more rigid and stays where you put it. I add Epsom salt to help floccu­ late the body and only at one tenth of one percent. So my concerns were maximum throwing ability, as much whiteness as that body could give me, smooth trimming quali­ ties, uniform drying and a shrinkage that would benefit glaze fit. Amazingly, I got all of this and translucency, too. Years ago, we were very concerned about the cost of our materials, not realizing that they are the smallest investment we make in

Ceramics Monthly May 2004 110 Ceramics Monthly May 2004 rn comment our work. This was part of my decision 30 referring to protoporcelain, or porcelaneous but not translucent—is it not porcelain? years ago to use Georgia kaolins as opposed stoneware. Granted, through the years, in­ When we add colorants to porcelain, is it no to English kaolins, which were about twice dustry has learned many ways to wash, filter longer porcelain? The Chinese porcelains that the price. Today, I have a very different atti­ and remove impurities to make extremely are thin and translucent are usually thrown tude about the cost of my porcelain, as I see white porcelains, but let’s not have blinders very thick from a nonplastic porcelain, and it as the main ingredient of my business. on. Industry doesn’t throw! They press and then trimmed as thin as possible. As far as I Now, if the clay used to produce a one-pound cast. Casting and hydraulic pressing elimi­ am concerned, bone china is low-tempera- mug costs 30 to 60 cents and the finished nate the need for plasticity, which is where ture porcelain formulated for extreme trans- mug sells for $20-$30, the cost of a pound the color is added to porcelain. I think we lucency. Bone ash is a low-temperature flux of porcelain begins to mean very little. Yes, I could almost say that the more plastic a clay, that promotes whiteness and translucency. realize we charge for time and talent, but the more impurities, and therefore more color. “China” is a nickname for porcelain, because does the cost of the wet porcelain really mat­ I use Veegum T for my plasticizer and it is it was first found and made in China. ter that much? My new porcelain is a little still the whitest, most plastic ceramic mate­ I would like potters to think a little more more money than the regular Grolleg bodies rial I know. Because it is a ceramic material, about terminology, as well as what is said and because it uses a kaolin that is much cleaner, it becomes part of the body when fired. Or­ printed. Is there only one type of stoneware? smoother, and more plastic than Grolleg, with ganic plasticizers burn out in the firing. One firing temperature? One type of kiln? I no ball clay. Standard Ceramics Supply has it Another fallacy is that porcelain has to be think not! Therefore, can we also say that in production, and the difference in cost is fired to extremely high temperatures. I say it there are many types of porcelain? I’m hop­ about 20 cents per pound. does not. I also formulate my porcelain to be ing that this starts some dialogue that will There have been comments in articles mature at Cone 6 for people working in the open our minds to all the possibilities of about how a body cannot be porcelain if it midranges. If it’s white and vitreous, is it not material, process and form. has ball clay in it. I think that’s a naive, porcelain? Porcelain is used for dental crowns, academic attitude not based on reality. Look spark plugs, toilets, bath tubs, sinks and ho­ the author Tom Turner is a full-time pot­ at historical porcelains from China and Ja­ tel ware, to name only a few applications. A ter in Lewis Center, Ohio. For further informa­ pan. Many aren’t even white—and I’m not porcelain mortar and pestle is thick, strong, tion, see www.peachblowpottery.com.

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