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Eighth National Decorative Arts—Ceramic Exhibition from the CM Archives Originally Published in July 1953 (Volume 1, Issue 7) Departments

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Eighth National Decorative Arts—Ceramic Exhibition from the CM Archives Originally Published in July 1953 (Volume 1, Issue 7) Departments editor Ruth C. Butler associate editor Kim Nagorski assistant editor Renee Fairchild assistant editor Sherman Hall proofreader Connie Belcher design Paula John production managerJohn Wilson production specialist David Houghton advertising manager Steve Hecker advertising assistant Debbie Plummer circulation supervisor Cleo Eddie circulation administrator Mary E. May customer service Mary R. Hopkins publisher Mark Mecklenborg editorial, advertising and circulation offices 735 Ceramic Place Post Office Box 6102 Westerville, Ohio 43086-6102 Telephone: (614) 523-1660 Fax: (614)891-8960 E-mail: [email protected] [email protected] [email protected] [email protected] Website: www.ceramicsmonthly.org 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 American Ceramic Society. subscription rates: One year $30, two years $57, three years $81. Add $18 per year for subscriptions outside North America; for faster delivery, add $12 per year for airmail ($30 total). In Canada, add GST (registration num­ ber 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 Department, PO Box 6102, Westerville, OH 43086-6102. contributors: Writing and photographic guidelines are available on request. Send manuscripts and visual support (slides, transparencies, photographs, drawings, etc.) to Ceramics Monthly, 735 Ceramic PI., PO Box 6102, Westerville, OH 43086-6102. 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. Fea­ ture articles are also indexed in the Art Index, daai (design and applied arts index) and other services available through public and university libraries. copies: For a fee, photocopies of past articles are available through Customer Service, The American Ce­ ramic Society, PO Box 6136, Westerville, OH 43086-6136; e-mail [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 Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for edu­ cational classroom use, please contact Copyright Clear­ ance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional purposes, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Senior Director, Publi­ cations, The American Ceramic Society, PO Box 6136, Westerville, OH 43086-6136, USA. back issues: When available, back issues are $6 each, plus $3 shipping and handling for first issue and $1 each additional issue (for international orders, shipping/han­ dling is $6 for first issue and $2 each additional issue). postmaster: Send address changes to Ceramics Monthly, PO Box 6102, Westerville, OH 43086-6102. Form 3579 requested. Copyright © 2002 The American Ceramic Society All rights reserved Ceramics Monthly April 2002 2 Ceramics Monthly April 2002 3 Ceramics Monthly April 2002 4 APRIL 2002 / Volume 50 Number 4 features 36 The Wood-Fired Pottery of Susan Beecher by Patricia Hubbard Pots that emphasize the gestural quality of clay 40 Harriet E. Brisson 50-year retrospective at Salve Regina University in Newport, Rhode Island 42 SllSan York by Richard Garriott-Stejska! Deceptively simple work focuses on subtleties and tension 46 Scripps College 58th Ceramic Annual by Elaine Levin Redefining abstraction in humorous, colorful and intellectual terms 49 Ramon Camarillo: Hawaiian Artist Goes East by Cathy Grubman An adventurous spirit—from suit and tie to mud and fire 53 Sheri Leigh by Morgan Britt Slab-built earthenware constructions 58 Caufield Pottery by Mel Jacobson Hard work and market sawy lead to a rewarding lifestyle 62 Indian Market New Directions in Southwestern Native American Pottery by Merrily Glosband 67 Doug Herren: The Strength of Silence by Kukuii Velarde Complex handbuilt forms with monochromatic surfaces 70 Summer Workshops 2002 Contact information for opportunities in the U.S. and abroad 106 Eighth National Decorative Arts—Ceramic Exhibition From the CM Archives Originally published in July 1953 (Volume 1, Issue 7) departments 10 letters 14 upfront 28 new books 74 call for entries 78 suggestions 80 calendar 94 questions 108 classified advertising 110 comment: The Function Of PotS by Dan Schmitt 112 index to advertisers cover: Peter Voulkos demonstrating at his last workshop; see page 24. Photo: Brad Phalin, courtesy Bowling Green State University. Ceramics Monthly April 2002 5 upfront 14 CM Announces Cover Contest Competition requirements and submission deadline 14 Exhibition of Large-Scale Heads Sculpture invitational at the Southwest School of Art and Craft in San Antonio, Texas 14 Kayoko Hoshino Vessel forms at Galerie Carla Koch in the Netherlands 1 4 A Matter of Clay by Robert Tetu Invitational at Jonathon Bancroft-Snell Interiors, Galleria London, in London, Ontario, Canada 16 Nick Renshaw Life-size figures at the Princessehof Museum in Leeuwarden, Netherlands 16 Contemporary African-American Ceramics Works by seven artists at Pewabic Pottery in Detroit 16 Jere Grimm Architectural sculpture at Contemporary Crafts Gallery in Portland, Oregon 18 National Crafts Competition Juried exhibition at the Wayne Art Center in Wayne, Pennsylvania 18 Neil Brownsword and Steve Dixon Figurative work at Nancy Margolis Gallery in New York City 20 Majolica Show in Vermont Curated exhibition at the Vermont Clay Studio in Waterbury Center 20 Warren Mather Silk-screened plates at Fresh Pond Clay Works in Cambridge, Massachusetts 22 Contemporary Teapot Exhibition Curated exhibition at the Clay Art Center in Port Chester, New York 22 Mixed-Media Sculpture Show Constructions by eight artists at Pewabic Pottery in Detroit 24 Peter Voulkos, 1924-2002 Ceramics Monthly April 2002 6 Ceramics Monthly April 2002 7 culturalism in a concrete way so that audi­ letters ences can begin to see how disparate parts work together to create a unified vision. This blending of myth, artifacts and sym­ bols in powerful sculptures gives each of us Applause for Lead Substitutes a new and ever-emerging view of our very I am writing in response to Eric Mindling’s complex and beautiful world. Up Front article: “Getting the Lead Out in Vivian B. Blevins, Piqua, OH Mexico” (March 2002 CM). My studio partner, Jeanne Charles, and I have spent Revisiting Ideas quite a bit of time visiting potters in Great article by Richard Garriott-Stejskal in Mexico. We once spent a few days in the FebruaryCeramics Monthly—and won­ Atzompa, Oaxaca (one of the towns he derful work! I was really caught by what he mentioned), visiting a family of potters. said in the last paragraph about revisiting They made pitchers that were glazed with a older work and ideas. This past November, green, lead-copper glaze. I asked about their I finally got the chance to fire in the Uni­ glaze, and was assured that it was “nothing versity of New Mexico anagama in Madrid. but the finest pure lead.” It was a 27-year-old dream come true,so When we visited, the whole family was much so that I have committed myself to glazing and firing. Their glaze would not just wood and soda firing at Cone 10. stay in suspension, so the glazer kept one Back to my point about the article. Last arm constantly immersed to stir it. Their week, I was looking at an old salt-glazed pot young children helped with this, and were that I did as a student back in 1978. Sud­ often walking around with raw glaze on denly, I had the realization that now (24 their hands while holding a piece or two of years later) I have the skills and understand­ candy. One of their older children was ing to finally accomplish what I was trying clearly developmentally disabled, and an­ to do back then. other suffered from an unknown and con­ I spent the next two days in my studio, stant gastrointestinal problem. furiously making a much more mature We asked the elder potters in the family series based on that old piece. (I knew there if they were concerned about the lead and was a reason I had kept it...and several its toxicity. They pointed out their own others too!) robust health and said there was not a So, congratulations to Richard Garriott- problem. We talked to them some more Stejskal on your article, and thanks as well! about lead, and they pointed to the ciga­ Dan Feibig, Corrales, NM rettes we were smoking and asked if they were bad for our health? Boy, did we feel Comment Reflections like the rich tourists lecturing the natives! Since reading Nils Lou’s Comment “Play­ The sad thing for us was that members ing with Clay” (October 2001) and Galen of this family were clearly harmed by the H. McGovern’s Comment “Process Versus lead they used. But they are a very poor Product” (January 2002), I’ve come to the family, entirely illiterate, and even if they following conclusions: In the beginning, did believe that the lead was toxic, they the artist must focus on the process to be would have had no other options.
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