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

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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 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. able to achieve marketable products, but I applaud the people who are working after this has been learned, then the skilled on lead substitutes. It has always seemed artisan can focus more on the products impossible to find something that can flux themselves. The answer to the riddle of over such a broad temperature range, give achieving newer and better products lies halfway decent color response, and be af­ within the processes used. fordable for potters who often must resort There are so many variations as to how to breaking apart old car batteries to obtain to perform each individual process, and their lead for glazes. If they succeed, per­ each one is a developmental tool for achiev­ haps potters like the ones with whom we ing a “well-bred” ceramic product. Without worked can replace their fine, pure lead each process, there is no specific product. with something less harmful. When an individual has a process all his Janet Buskirk, Portland, OR own, it allows him to speak in a language no one else can. His statement’s all his own. New and Ever-Emerging Views This has been my experience. People easily In our multicultural world, Patrick Crabb’s recognize my work as solely my own. They work [February 2002] demonstrates the never mistake it for someone else’s. power of the artist to interpret that multi- Continued

Ceramics Monthly April 2002 10 Ceramics Monthly April 2002 11 letters what good would it be? The reality of it all There were so many nuances to develop­ is that process and product are truly of ing my process that to document them all equal importance. would probably have driven me crazy. There are two types of buying clientele. I agree with Nils Lou that play is an That’s where the play aspect comes into Most only care about the final product, but important aspect of developing new pro­ the picture. Whether you call it work or there are customers who are interested in cesses, but in this instance, I would prefer play, or playwork, it’s all a process to how the creation was given birth. Regard­ to define the word play more as “free-spir- achieve an end product, much like jazz less of whether the client cares or not, with­ ited, experimental work.” musicians with their improvising. out the process, there would be no product. One can see the results of a given pro­ The drudgery of process versus free- Collectors of my work scold me for not cess, but when one ventures down an un­spirited play does make a difference in one’s signing and dating my wares. Perhaps my used process path, one can only speculate work, especially for artists who are addicted attitude is wrong, but I believe my signatureon the direction to travel. Whether the to the inspiration adrenaline rush. We all is my work. If someone were to have a destination (the result) is good or bad is sometimes need that; otherwise, everything process without any final products to show, determined only by the products. would be noneventful, boring, blase. Evelyn Carnes, Willis, MI

A Visit from the Muse Where do we find the muse? Outside, in the world, or inside, in our own hearts and minds? This past month, I found inspira­ tion for producing my own work in two inspiring happenings. By reflecting on the efforts of others, I came closer to finding the muse within. The first inspirational event took place during the Winter Olympics. Sarah Hughes probably wanted to win; however, she was able to forget about outcome and skate for the joy of skating. The second inspiration came from watching a television report on Tibetan monks creating mandalas from sand. The monks are producing these works in New York City in memory of the people who died September 11. In creating these elabo­ rate and detailed mandalas, the monks focus only on making the work of art, not on the finished product. After they are created, the sand in the mandalas will be allowed to blow away in the wind. How did these two events inspire me? How did they help me find the muse? They helped me appreciate the feel of the clay in my hands. They helped me remember to have reverence for the gift of hands for making the pieces. Most of all, they helped me remember to take delight in the move­ ment and rhythm of studio work. By focusing on the process of creativity and ignoring the outcome, I am able to find and stay in touch with the muse within. Marybeth Coulter-Best, Enid, OK

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 address, but these will be withheld on request. Mail to Ceramics Monthly, PO Box 6102, Westerville, OH 43086-6102; e-mail to [email protected] ; or fax to (614) 891-8960.

Ceramics Monthly April 2002 12

May 4. Curators Paula Owen and Dennis Smith were “intrigued by the upfront number of contemporary artists creating large heads in clay. “Scale imparts significance,” Owen commented. “An enormous, and often disembodied, head emphasizes power, intelligence, emotion, CM Announces Cover Contest spirit or senses. I think that artists also enlarge the head to emphasize the disjunction between mind and body.” Remember that Dr. Hook song “On the Cover of Rolling Stone?” Several years ago, a trio of Oregon potters even parodied it in our Letters Kayoko Hoshino column. Carol Lebreton, Jan Rentenaar and Ann Selberg thought “it Bowls, dishes and boxes by Japanese ceramist Kayoko Hoshino can be would be so killer [to] be in full-fledged color on the cover Ceramicsof seen through April 30 at Galerie Carla Koch in Amsterdam, Nether­ Monthly ’ (see the JunelJuly/August 1995 issue). Well nows your chance. We’ve decided to cap off our 50th volume year with a contest for the December 2002 CM cover. There are no limitations on the type of work(s) to be shown. All kinds (functional, sculptural, figurative, etc.) are welcome. To be considered, submit a maximum of three professional-quality, original (not duplicate) 2½ or 4x5 transparencies (well lit, with sharp focus and good depth of field), plus complete caption information, an artists statement and resume. Delivery deadline: September 16. Send to Cover Contest, 735 Ceramic PL, Westerville, OH 43081. You must include a padded envelope with sufficient postage for return of images.

Exhibition of Large-Scale Heads The Southwest School of Art and Craft in San Antonio, Texas, invited

16 artists to show their work in “Big Head: Ceramics on a Heroic Kayoko Hoshino bowl, 17 centimeters (7 inches) in height; at Galerie Carla Koch, Scale,” an exhibition of larger-than-life sculpture on view through Amsterdam, Netherlands.

lands. Although her works always imply function, they are not meant to be used. Made of gray-brown or black clay, they are often enhanced with subtle linear texturing.

A Matter of Ciay by Robert Tetu Last year, the city of London in Ontario, Canada, was host to the Canada Summer Games, a biennial sports event hosting athletes from across the country and drawing two million visitors for a two-week

Allan Rosenbaum’s “The Source,” 23 inches (58 centimeters) in height; Walter Dexter’s “Orange Symphony,” 10 inches (25 centimeters) in height; at at the Southwest School of Art and Craft, San Antonio, Texas. Jonathon Bancroft-Snell Interiors, Galleria London, in London, Ontario, Canada.

Ceramics Monthly April 2002 14 Ceramics Monthly April 2002 15 upfront shapes and expressions of the human body, Renshaw is constantly looking for ways to reproduce these as purely as possible. He considers the use of clay very human, which alone makes it an ideal material to schedule. When Jonathon Bancroft-Snell, a local designer and gallerycreate his stylized, abstract renderings of human subjects. owner, decided to mount an exhibition of ceramics to coincide with the games, he aimed very high indeed. Intending the show to be a survey ofContemporary African-American Ceramics contemporary Canadian ceramics, he asked some of his contributingNew works by Syd Carpenter, Leroy Johnson, Philadelphia; Sana artists to help him contact potential participants. In this somewhat Musasama, St. Albans, New York; Winnie Owens-Hart, Gainesville, ambitious venture, he approached dozens of the finest makers from Virginia; James Tanner, Janesville, Minnesota; Yvonne Edwards-Tucker, across the country. Some, like Carol and Richard Selfridge, John Chalke, Bruce Cochrane, and Ann Mortimer, are household names; some are soon to be well known. The resulting exhibition was entitled “A Matter of Clay.” More than 100 pieces represented over 50 artists from all 10 provinces and several of our Arctic territories. Although the show closed in September, it can still be viewed on the Internetwww.jonathons.ca at .

Nick Renshaw “Earthling Candyman,” an exhibition of life-size figures by ceramics artist Nick Renshaw, was on view at the Princessehof Museum in Leeuwarden, Netherlands, through January 6. Fascinated by the various

Paul Andrew Wandless’ “Easy Target,” 28 inches (71 centimeters) in height, clay, wood, tar and oil bar; at Pewabic Pottery, Detroit.

Tallahassee, Florida; and Paul Andrew Wandless, Indianapolis, were exhibited in “Contemporary African-American Ceramics” at Pewabic Pottery in Detroit. In conjunction with the show, Owens-Hart, a professor of ceramics at Howard University, lectured on “Reconstructing the Shards.” Dis­ cussing historical and contemporary African-American ceramics, she described the evolution of her own interest in clay: “Many Sundays were spent at the African Art Museum [in Washington, D.C.], when being interested in African Art was not in vogue. It was my belief that ceramics was at the beginning of all art and went hand-in-hand with the develop­ ment of mankind. Therefore, if there were any remnants of a civiliza­ tion, there were pots.”

Jere Grimm

Nick Renshaw’s “Candyman,” 160 centimeters (63 inches) in height, coil built, “Dreaming the Dark, Tales of the Winter Solstice,” an exhibition of glazed and low fired; at Princessehof Museum, Leeuwarden, Netherlands. architectural forms by Oregon ceramist Jere Grimm, was on view

Ceramics Monthly April 2002 16

upfront problems instead of repeating trite or contrived ones. They also display a masterful handling of materials and techniques, not as an end in themselves, but rather in the service of the artists ideas. through January 6 at Contemporary Crafts Gallery in Portland, Or­ “The strongest artists understand materials and their inherent possi­ egon. Inspired by the bookThe Return to Light: Twelve Tales from bilities and limitations, but above all, they recognize the materials Around the World for the Winter Solsticeby Carolyn McVickar Edwards, Grimm selected three of the tales as the basis for the sculptures in this

Randy O’Brien’s “Round Peg,” 12 inches (30 centimeters) in width, $330; at the Wayne Art Center, Wayne, Pennsylvania.

appropriateness for use in an object’s creation,” he continued. “Addi­ tionally, these works embody a strong connection between the maker’s idea and expression, allowing for no ‘disconnects’ that suggest a floundering of thought. Finally, these works carry a sense of feeling and caring on the part of the maker, and announce themselves as objects of personal expression; they resound with the artist’s confidence and verve, imagination and inventiveness.”

Neil Brownsword and Steve Dixon Figures by Neil Brownsword and vessel/figure combinations by Steve Dixon, both of England, were exhibited recently at Nancy Margolis Gallery in New York City. Dixon’s work combines “two long-standing

Jere Grimm’s “Dreaming the Dark I,” 22 inches (56 centimeters) in height, terra cotta with gold leaf, and wood; at Contemporary Crafts Gallery, Portland, Oregon.

series. As she was working on the architectural elements, she realized there was another layer of meaning to the work: “a metaphorical explanation of how art integrates with social structures to create those critical social structures that human communities have required for hope, grounding and spiritual sustenance throughout human history.”

National Crafts Competition “Craft Forms .2001,” a juried exhibition of contemporary crafts by 87 artists from 34 states, was on view through January 18 at the Wayne Art Center in Wayne, Pennsylvania. “As the 21st century opens, the most industrialized of our history, the 111 objects in this exhibition stand as testimony to a belief in the value of works of the hand,” observed juror Michael W. Monroe. “Despite our increasing reliance on computer technology, the intimate and physical qualities of the handmade object have never had more appeal. The pieces I selected pursue an original idea while interpreting older traditions and/or Steve Dixon’s “Goddess and Gorilla,” 18 inches (46 centimeters) in height; techniques in a fresh way, often finding inventive solutions to designat Nancy Margolis Gallery. New York City.

Ceramics Monthly April 2002 18 Ceramics Monthly April 2002 19 upfront “The figures are constructed from an array of fragments, including 19th-century kiln furniture excavated from my own backyard, and components cast from redundant factory molds. These are again clay traditions: those of the ceramic vessel and the narrative/figurativespecifically employed to reference the locality and industrial back­ image. A sociopolitical dialogue is incorporated into these forms, which ground of the people observed.” engage with contemporary events, issues and concerns, while at the Majolica Show in Vermont same time drawing on the visual traditions of western art and culture,” Dixon noted. “This narrative operates at several levels, from a direct“Painted Pots: The Art of Majolica,” a curated exhibition of works by 20 storytelling’ via the interplay of modeled and printed imagery, to theartists from across the United States and Canada, was on view recently underlying narrative of the vessel forms (which reference oil cans andat the Vermont Clay Studio in Waterbury Center. Among the featured barrels, as a veiled metaphor for oil wars and global power politics). works was a majolica platter by Toronto artist Dale Pereira. “My most recent work has focused on the duality of contemporary life and culture, our capacity for the highest technical and cultural achievement on the one hand, and the most appalling acts of brutality and genocide on the other.”

Dale Pereira platter, 32 inches (81 centimeters) in length, with majolica decoration, $800; at the Vermont Clay Studio, Waterbury Center.

Concurrent with the opening of the show was a demonstration workshop by curator Posey Bacopoulos.

Warren Mather “Circling the Square,” an exhibition of silk-screened plates by Massa­ chusetts artist Warren Mather, was presented recently at Fresh Pond Clay Works in Cambridge, Massachusetts. Mather has worked with clay for over 25 years; in the past 5, he has developed “the technical means to fire photographic, video and computer-drawn images in

Neil Brownsword’s “Wishing I was pretty,” 15 inches (38 centimeters) in height, ceramic collage, with metal and found objects.

Brownsword’s work, “as well as being autobiographical, ...often comments upon the lives of individuals I once worked with in the pottery industry. I often refer to this body of work as social documen­ tary, trying honestly to portray the experiences of these people trapped by their mundane home and working life. The graphic nature of someWarren Mather’s “Bartley’s,” 17 inches (43 centimeters) square, low-fire clay with underglazes and glaze; at Fresh Pond Clay Works, Cambridge, Massachusetts. objects is deliberate—employed not as a feeble attempt to shock, but to mirror the directness of observations witnessed first hand. The titles, ceramic glaze. My digital images are transferred onto silk-screens and lifted from overheard conversations or lines from pop songs, seemed to printed with ceramic underglaze onto wet clay.” summarize narrative structures in a few words, and provide greater According to Mather, his plates portray everyday life. “The forms accessibility into the work. resemble concave TV screens, a familiar shape that we associate with

Ceramics Monthly April 2002 20 upfront and collected,” stated curator Leslie Ferrin. “Thousands of artists, work­ ing in all media, have embraced the teapot, creating individual testimo­ nials to this appealing form. narrative sequence,” he explained. “The inward formed plates give entry “Expert craftsmanship is necessary to execute either functional or to stories that I have subjectively developed from digital photos of sculptural ideas, but even more challenging is integration of content, passing moments of ordinary life. surface and form within the technical limitations. In the end, it is the “The ceramic plate as vehicle for my images derives from the long search for a balance between craftsmanship and artistic content that has tradition of commemorating historical events on souvenir plates. In­produced the remarkable body of work of thousands of artists over the stead of presenting an idealized representation of an occasion, I explorepast 30 years.” the burgeoning of emotional tension. “The photos for these prints on plates were taken during the sum­ Mixed-Media Sculpture Show mer of 2001 within the immediate area of Harvard Square,” Mather “Found Objects and Mixed Media,” an exhibition of sculpture made noted. “‘Cafe moments’ were the stimulus for most of the photos. To from clay, other art media and manufactured objects, was on view this raw material of the universally recognizable situation of people at through February 23 at Pewabic Pottery in Detroit. The participating ease, intuitive enhancements of color, atmosphere and energy fieldsartists were Chuck Aydlett, State College, Pennsylvania; Tom Bartel, were added. Individual identities were masked to emphasize context over personality.”

Contemporary Teapot Exhibition “Teapots Transformed,” a curated exhibition of works by 30 artists, was on view recently at the Clay Art Center in Port Chester, New York. “In the past 30 years, the contemporary American teapot has become the most significant object of decorative and applied art being produced

Ellen Shankin teapot, 6Y2 inches (17 centimeters) in height, stoneware; at the Clay Art Center, Port Chester, New York.

Tom Bartel’s “Nursing Figure,” 24 inches (61 centimeters) in height, clay, with bottle nipples, casters and glasses; at Pewabic Pottery, Detroit.

Bowling Green, Kentucky; Ron Dale, Oxford, Mississippi; Holly Hanessian, Mt. Pleasant, Michigan; Jim Koudelka, Portland, Oregon; Tom Phardel, Ann Arbor, Michigan; Deborah Sigel, Lancaster, Pennsyl­ vania; and Jane White, Ann Arbor. “Clay is my chosen material; ceramics is my chosen medium,” noted Tom Bartel, whose “Nursing Figure” is shown here. “I cannot do what I do with any other material or process; clay and its firing process usually Claudia Tarantino’s “Napkin and Knife Series #6,” 6 inches (15 centimeters) in height, porcelain. allow me to manifest my ideas best. As a material, clay is important to

Ceramics Monthly April 2002 22 Ceramics Monthly April 2002 23 upfront The work Voulkos produced in this workshoplike atmosphere con­ tradicted accepted ceramics traditions, and would be the subject of his first solo exhibition in Los Angeles at Felix Landau Gallery in 1956. me; however, I am not so bound to this material that I risk compromis­ This exhibition would mark a significant shift away from the functional ing what I wish to say. All materials have inherent advantages andceramics for which he was known, toward an interest in exploring mass, limitations. When clay alone is not enough, I use whichever material weightor and sculptural space. This, and his unstructured approach to process it takes to allow my work to say’ what it needs to say. teaching, ultimately contributed to his being fired from the Los Angeles “I have always been fascinated by human form and tend to use Countythis Art Institute in 1959. Voulkos immediately took a position at as a starting point in my work; yet my interests far surpass simply whatthe University of California, Berkeley, where he continued to teach until the body looks like,” he continued. “My work questions various stageshe retired in 1988. of life, which are determined primarily by the biological development of Throughout his academic and artistic career, he remained focused the body from birth to death. I see the human life cycle as an experienceon the discovery of ideas through an open dialogue with his material, containing many beginnings and endings, ‘births and deaths.’ whether he was working in paint, bronze or clay. “A pot, for me, is a “The connection between the beginning and ending of life vessel is a that has an opening that you can see inside, that can receive,” continual source of inspiration,” Bartel explained. “I am also interestedVoulkos said in a 1982 statement, “If it is a good pot, it also has some in the ways in which the passage of time affects human beings and I amsculptural qualities involved with space and form. Most of the forms I aware of how powerful time is; the changes that take place over time are make refer to pottery. Maybe that makes me a potter.. .but maybe the frighteningly subtle.” best label is abstract expressionist,’ if that means that I have to get my hands into my material before I know exactly where I am going. I am Peter Voulkos, 1924-2002 not a conceptual artist. I can’t just sit there and think of an idea. Most of Oakland, California, artist Peter Voulkos died of a heart attack on it comes out of my hands.... I have always used whatever comes to hand, February 16, while in Ohio for a workshop at Bowling Green State or into my head, that makes sense in my own work, that I can get some University. The workshop was titled “Peter Voulkos and Friends,” a energy from. fitting epithet for a leader in the field, whose work and teaching had “Technique is probably the most difficult tool to master, because it is such a significant impact on contemporary clay. a necessity, but can so easily become an obsession. Nothing can drown In 1952, Voulkos began his career, along with good friend Rudy Autio, at the Archie Bray brick company (now the Archie Bray Founda­ tion for the Ceramic Arts) in Helena, Montana. They were the first resident managers of the pottery attached to the brick works. The mission, according to Bray, was to “make available, for all who are seriously interested in the ceramic arts, a fine place to work.” The work being produced by Voulkos and Autio drew many people to the Bray and, as a result, gave the foundation a healthy start. The next year, Voulkos was invited by Karen Karnes and David Weinrib to teach a course at Black Mountain College in North Caro­ lina. During his stay there, he was attracted to the avant-garde attitudes and styles of Josef Albers, John Cage, Merce Cunningham, Robert Rauschenberg and others. By this point, Voulkos had gained a certain amount of recognition for his work in functional stoneware. He was quite prolific, and had received several awards [see the CM Archives article beginning on page 106], but his approach and interests were shifting from utilitarian to Assisted by John Balistreri (right), Peter Voulkos works on a large plate form at his sculptural concerns. last workshop, hosted by Bowling Green State University in Ohio. In 1954, Voulkos established a ceramics program at the Los Angeles County Art Institute (later renamed Otis College of Art and Design).out new ideas as fast as an obsession with technique. Technique is Starting with nothing in the way of studio equipment, he and Paulnothing if you have nothing to say with it.” Soldner, who was Voulkos’ first student, built all of the equipment for After retirement from academia, Voulkos continued to give work­ the facility. Voulkos’ program attracted many of the top students of the shops around the world. Because of the immediacy inherent in creating era, including Billy A1 Bengston, Stephen DeStaebler, Michael Frimkess,his work, it was ideally suited for workshop demonstration. His popu­ John Mason, Malcolm McCloud, James Melchert, Ron Nagle, Kennethlarization of the workshop as a widely used teaching tool was perhaps Price, Jerry Rothman and Henry Takemoto. The open and interactiveovershadowed by his reputation as an artist, but his impact on students, approach to instruction Voulkos instituted allowed them to explore whether in the gallery or classroom, is and will continue to be wide­ with more creative freedom than was available elsewhere and brought spread and infused with the energy portrayed in his work. the teacherlstudent relationship closer to that of collaborators, col­ leagues and friends. Regarding his teaching style, Voulkos is often Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ statements and slides or transparencies in quoted as saying, “I didn’t know much about teaching but I knewconjunction with exhibitions or other events of interest for publication. Mail to enough about freedom to leave their asses alone.” Ceramics Monthly, PO Box 6102, Westerville, OH 43086-6102.

Ceramics Monthly April 2002 24 Ceramics Monthly April 2002 25

such as Gerstley borate or lithium carbonate, to new books achieve beautiful and stable glazes.” The authors also point out that while their glazes are “intended to be durable, trouble-free, Mastering Cone 6 Glazes reliable and reproducible, that does not mean Improving Durability, Fit and that you can just throw things together in a Aesthetics sloppy manner or fire them any way your heart by John Hesselberth and Ron Roy desires and get glazes that look like ours. If you “It is an unfortunate fact that there arehope to duplicate our results, you must mix your thousands of glaze recipes circulating among glazes, apply them and fire your glazed pots with potters or printed in books that, for one reasoncare. Good craftsmanship is required.” 168 pages, or another, are totally including bibliography; glossary; appendixes on unsuitable for use onrecommended materials, the Seger unity for­ functional pottery andmula, programs for glaze calculation, testing may even be of ques­ laboratories for glazes, firing cycles for electric tionable durability for kilns, materials analyses, glazes used for develop­ less demanding sculp­ ment of rules, useful references for leaching data, tural or decorative limit formulas for Cone 6 glazes; and index. 42 work,” state the authors color photographs. Softcover, US$39.95. ISBN of this guide to stron­ 0-9730063-0-7. Frog Pond Pottery, PO Box 88, ger, safer studio-mixed glazes. “Unfortunately,Pocopson, PA 19366-0088; telephone/fax (610) many of these unsatisfactory glazes are being388-1254; [email protected] or . used on functional pottery.” Some “may haveIn Canada, contact Glaze Master Press, 15084 once been labeled as not for use with food or Little Lake Rd., Brighton, Ontario KOK1H0; or more generally for use on functional pottery;see website www.masteringglazes.com. however, that disclaimer has often been lost over time. More often, the durability question has Beyond the T'ien Mu Shan not been addressed. Ceramic Art of Chun Wen Wang “Many glaze developers do not recognize For potter Chun Wen Wang, “it is necessary that it is almost impossible to tell by visual to constantly concentrate on nothing but achiev­ examination whether or not the glaze is likely toing the quality of beautiful ceramic art not seen be durable. They assume that if it looks like since the Song dynasty. This is my expectation ‘good glass’ it will be durable. In fact, a signifi­ and this is why I am dedicating my life to my cant amount of testing is required to determinework. In order for me to reach the finest quality durability and, while some of that testing can beof ceramic art, I must first seek out, recognize done by a potter in her own studio, some requireand understand that history. I would then em­ complex analytical testing equipment.” ploy modern techniques After a look at the basics of glazing and firing, and experiments to im­ the authors discuss testing glazes for stability and prove their quality.” fit in seven “exposure” categories, including After a brief intro­ resistance to acids commonly found in foods, duction by Wang, the resistance to alkalis (such as dishwasher deter­ majority of the book is gent), resistance to knife marking, etc. Durable, devoted to illustrations food-safe glaze recipes for stoneware and porce­ of his microcrystalline-glazed porcelain vessels; lain that Roy and Hesselberth have developedeach is accompanied by glazing and firing infor­ are also provided. These glazes “are probably the mation. 192 pages. 367 color photographs. most tested to be published by and for potters US$100. ISBN 957-8964-16-1. WushingBooks since the time when glaze developers were tryingPublication Co., Box 47-74, Post Office, Taipei, to learn how to make lead-based glazes stable in Taiwan, ROC; telephone (02) 259 18 588; fax the early and mid 20th century,” they note. (02)25857658. “In doing this development work, we pur­ posely limited ourselves to materials which are Mojave Pottery, Mojave widely available and which have a reputation forPeople consistent composition....It was exciting to beThe Dillingham Collection able to demonstrate that truly remarkable glazes of Mojave Ceramics could be formulated from ‘mundane’ materials.by Jill Leslie Furst We remain convinced that there is little need to This well-illustrated book catalogs the Mojave work with unreliable or overly soluble materials,Indian figures and vessels collected by studio

Ceramics Monthly April 2002 28 Ceramics Monthly April 2002 29 new books drawn on literature ranging from 17th-century “Moj ave pottery art- Spanish documents to ethnographic accountsists frequently used from the 1970s. ‘emotional proportion,’ ceramist Rick Dillingham (1952-1994), which The Great Stories of the tribe, along with exaggerating the more were bequeathed to the School of American descriptions of family life and rituals, help ex­ culturally significant Research in Santa Fe. Perhaps the largest and plain their ceramics tradition. “In addition tobody parts. Heads and most complete collection of Mojave ceramics in pottery for storage, cooking and eating, the eyes were emphasized at existence, it serves as a record of this Southwest Mojaves also made effigies of humans and ani­the expense of arms and Native American tribe’s history and customs.mals,” notes Furst. “The human figures werelegs....Many figurines have the long, oval faces Because the deceased traditionally are cremated simply formed and painted, but not fired. Theythe Mojaves considered handsome, but many along with their private property, little about the are extremely fragile; many have lost an arm ormore approach the more common round shape. Mojave culture exists. To place the Dillingham a leg, for instance, requiring an act of imagina­These faces were regarded as acceptable and even collection in historical context, the author hastion to see them in original form. beautiful, if complemented with face paint in the proper patterns.” 254 pages, including cata­ log of the Dillingham collection and index. 50 color photographs, 23 black-and-white illustra­ tions and 2 maps. Softcover, $24.95. ISBN 0- 933452-65-9. SAR Press, PO Box 2188, Santa Fe, NM 87504; see website www.sarweb.org; or telephone (888) 390-6070.

Elke Huala Keramikskulpturen by Kaja Pfandler Written in German, with an English transla­ tion in the back, this monograph details the life and career of Austrian ceramist Elke Huala. Working mostly in stoneware and some porce­ lain, Huala produces sculpture about “death, birth, the woman, the human being, music— how it strengthens my feelings, how it drives me at work, how it seduces me to dally....Nature, faith, wars (evil). Still­ ness also is my theme at times. I need color, paint. My themes de­ velop from situations, dreams, things seen and experienced. I have a foible for poetry and painting. To transfer a poem that inspires me into clay is a challenge and something wonderful. It causes an incredibly liberating reaction.” 127 pages. 90 color and 18 black-and-white photographs. =€35 (approxi­ mately US$31). ISBN 3-9501437-0-X. Kaja Pfandler, Holzing 17, A-4775 Taufkirchen, Aus­ tria; or Elke Huala, Burgeggerstrasse 51, A-8530 Deutschlandberg, Austria; e-mail huala. elke.fritz@i-one. at.

Casa Manana The Morrow Collection of Mexican Popular Arts edited by Susan Danly Published in conjunction with an exhibition at Amherst College’s Mead Art Museum, this book documents the collection of art accumu-

Ceramics Monthly April 2002 30 Ceramics Monthly April 2002 31 new books decided to collect Mexican folk art “seems a Manana was a sympathetic gesture of goodwill simple enough decision, given the variety, brightand a visual declaration of allegiance to the colors and relatively low cost of the [wares they]indigenista rhetoric of the postrevolutionary era, lated during the 1920s by Dwight and Elizabeth would have seen in Mexico’s markets and curiowhich placed ‘Indian’ culture (including mate­ Morrow, while Dwight served as U.S. Ambassa­ shops, as well as their suitability to the local rial culture) at the heart of national identity. dor to Mexico. The ceramics, lacquer ware, neocolonial architecture of the Morrows’ Cuerna­Both...understood that textiles and metalwork decorated Casa Manana,vaca retreat,” notes James Oles. “But at the time,visual culture, along the couple’s retreat in Cuernavaca. In 1955, thethe decision was, if not radical, certainly politicalwith political and eco­ Morrows’ children donated 155 pieces from this in the broadest sense of the term. nomic negotiations, collection to the Mead Art Museum. “Elizabeth Morrow was creating a domestic could facilitate greater The introduction and the four essays com­counterpart to the public diplomacy of her understanding across prising the text place the Morrows’ collecting husband in his capacity as U.S. ambassador to the border.” 213 pages, activity in historical context. That the MorrowsMexico. More than just a place for escape, Casa including a list of works in the collection, con­ tributors, bibliography and index. 30 color and 90 black-and-white photographs. $32.95. ISBN 0-8263-2805-9. University of New Mexico Press, 1720Lomas Blvd., NE, Albuquerque, NM 87131- 1591; telephone (800) 249-7737.

How to Survive and Prosper as an Artist Selling Yourself Without Selling Your Soul by Caro 11 Michels “What artists need most is objective advice, but what they usually receive is reinforcement of a myth of what it is like to be an artist. All too often artists are charac­ terized as underdogs, and accordingly this image is reinforced throughout their ca­ reers,” states the author of this business guide, which “addresses artists’ roles in advancing and bettering their lot, tak­ ing control of their careers, learning to market their work, learning to exercise self-motivation, and approaching and managing their careers as other professionals deal with theirs.” First published in 1983, this edition (the fifth) has been updated to include information about online marketing and exhibition. Also covered are such topics as overcoming career blocks, launching or relaunching a career, pre­ sentation tools and packages, pricing work, pub­ lic relations, exhibition and sales opportunities, working with dealers, finding grants and gener­ ating income. The appendix provides contact information for organizations, publications, agencies, etc., that may be of help to artists. 384 pages, includ­ ing appendix of resources and index. Softcover, $17/Can$24.95. ISBN 0-8050-6800-7. Owl Books, 115 W. 18th St., New York 10011; see website www.henryholt.com.

Ceramics Monthly April 2002 32 Ceramics Monthly April 2002 33

“Reflections on Spring,” to 9 inches (23 centimeters) in height, wheel-thrown stoneware, with slips and glazes, wood fired to Cone 9-11.

The Wood-Fired Pottery of Susan Beecher by Patricia Hubbard

Susan Beecher’s experience with clay began in her childhood.the angle of the shoulder had to have a strong relationship to While canoeing on a small Michigan lake, she discovered white work. The space between the lid and the shoulder of the pot is so veins of clay from a stone quarry near her home. The creativeimportant. Also, I had to consider the thickness of the edge of the experience of making things from this clay left a positive impres­ lid, the edge of the shoulder and the foot, and the relationship of sion, and encouraged her to study pottery at several periods of her all those widths to each other were very important.” life. It was just ten years ago, however, that she began a second The influence of American history and folk art played a career as a potter. She now maintains a studio in New York Citysignificant role in determining the formal and cultural consider­ and in East Jewett, a rural town of the Catskill Mountain regionations of her pots. She is a relative of Harriet Beecher Stowe, the of New York. author of Uncle Toms Cabin, and was exposed early on to the folk- Her commitment to the functional object reflects her appre­ art genre at her grandmother’s house, which contained many ciation for communal gatherings around a table and a respect forexamples of handmade furniture, embroidery and early salt-glazed the environment. She talks about her wood-fired, ash-glazed pot­ crocks. “Those samples and forms had a very strong impact on tery as a visual metaphor for wind and water-flow patterns. me,” Beecher remarked. “I think I find the essence of those things Beecher concentrates on making pots that emphasize the ges­ in the folk quality of the decoration I’m doing now.” tural quality of clay, while paying close attention to detail. She She is enthralled with the interplay between clay, glaze and described the making of one of her favorite pots, “Falling Water”: slip, and has developed simple patterns—a calligraphic line, a “The form is deceptively simple in its appearance but it was, at long-legged seabird, etc.—to decorate her ware. The depiction of first, a very difficult form to make because the angle of the lid and animals is a recurring theme in Beecher’s work, as evidenced by a

Ceramics Monthly April 2002 36 “Falling Water Jar,” 12 inches (30 centimeters) in height, wheel-thrown and glazed stoneware, wood fired to Cone 9-11.

Ceramics Monthly April 2002 37 nine-piece cruet set, “Reflections on Spring,” with miniature animal figures decorating the tops of each object. The animal forms are associated with fertility and children. Her use of nonpredatory animals gives the tray a playful, endearing quality, while evoking the need for protection. The animal cruet set is an outgrowth of her concern regarding such issues as the opening up of the Arctic National Wildlife Refuge to oil drilling and the effects it will have on the environ­ ment. In her artist’s statement at a recent solo exhibition at m.t. burton gallery in Surf City, New Jersey, she urged viewers to join her in the support of the environmental-action group Natural Resources Defense Council. A direct result of her wood-firing experience is Beecher’s aesthetic decision to create forms with broad, angled surfaces to emphasize the effects of ash flow on glazes. Her slip decoration is also evolving into a frieze style to join lid and container in a storyteller fashion. She also sees the groupinglinteraction of mul­ tiple forms as a viable format for her to continue a dialogue on communal and environmental concerns within the context of wood-fired pottery.

The author Patricia Hubbard is a ceramics artist from Brooklyn, New York; she also teaches ceramics at the Horace Mann School. “Squared Box with Fish,” 8 inches (20 centimeters) in height, stoneware, with slips and Rob’s Green Glaze, fired to Cone 9-11

Beecher’s studio in East Jewett, New York.

Ceramics Monthly April 2002 38 Wheel-thrown bowl, 5 inches (13 centimeters) in height, stoneware, with Tan-Gold Glaze, wood fired, by Susan Beecher, East Jewett, New York

Beecher's White Stoneware Bauer Flashing Slip Briscoe Blue-Green Glaze (Cone 9-11) (Cone 9-11) (Cone 9-11) G-200 Feldspar...... 60lb Soda Ash...... 5.7% Unwashed Wood Ash...... 50 % Cedar Heights Goldart...... 150 Zircopax...... 10.5 Cedar Heights Redart...... 50 Edgar Plastic Kaolin (EPK)...... 150 Edgar Plastic Kaolin (EPK)...... 41.9 100% Hawthorne Fireclay...... 60 Kentucky Ball Clay (OM 4)...... 41.9 Add: Cobalt Carbonate...... 1% Flint (200 mesh)...... 60 100.0% Bentonite...... 2 % Silica Sand...... 60 Add: Bentonite...... 2.0% Rob's Green Glaze 540 lb Mix to the consistency of thick milk; apply to (Cone 9-11) leather-hard or bisqued surfaces. Fish Sauce Slip Gerstley Borate ...... 5.34% (Cone 9-11) Whiting ...... 18.87 Kona F-4 Feldspar...... 23.51 % Old Yellow Glaze Cornwall Stone...... 75.79 Bentonite...... 9.40 (Cone 9-11) 100.00% Grolleg Kaolin...... 43.68 Dolomite...... 20.04% Add: Copper Carbonate...... 10.57 % Flint...... 15.61 Zircopax...... 15.20 Bentonite...... 2.00% Pyrophyllite...... 7.80 Nepheline Syenite...... 60.68 100.00% Kentucky Ball Clay (OM 4)...... 4.08 Tan-Gold Glaze 100.00% (Cone 9-11) Use on leather-hard or bisqued surfaces. Color Add: Red Iron Oxide...... 0.95 % Whiting...... 31.58% variations are possible with the addition of Bentonite...... 2.85% Alberta Slip...... 52.63 oxides or stains. Edgar Plastic Kaolin (EPK)...... 15.79 100.00% Add: Dark Rutile...... 5.26% Bentonite...... 2.00%

Ceramics Monthly April 2002 39 Harriet E. Brisson

A 50-year retrospective of works by Massa­ chusetts artist Harriet E. Brisson was pre­ sented recently at Salve Regina University in Newport, Rhode Island. After teaching art at Rhode Island University in Provi­ dence for nearly 30 years, Brisson retired in 1998. She is now fully focused on her art. “Total chance is chaos. Complete order is static. The balance between the two is dy­ namic. I am searching for this balance in my work,” she observed. “Fifty years ago, I began to throw bowls. I made my first tea­ pot at the Rhode Island School of Design, where I majored in ceramics. “I made tiles, squares, triangles, penta­ gons, completely ordered. Chance patterns were created on the surfaces by the inter­ action of flames moving across the raku-, sawdust- and wood-fired clay,” Brisson con­ tinued. “These were put together in grids. The chance flame patterns were arranged to make larger shapes spreading across the “Hakone,” 30 inches (76 centimeters) in height, with copper slip, total grid. They became paintings’ created burnished, raku fired, 1978, $1000. of clay, glaze and fire in new relationships of form. “I made cubes. They became soft, softer, more free, evolving into spherical forms. The glaze flowed in new shapes, swirled together and produced new color as it in­ teracted with the intense heat of the fire. Form, flame, wood ash, soda vapor and melting glaze were one in a closer balance of chance and order.”

“Mount St. Helens,” 8 inches (20 centimeters) in height, glazed stoneware, wood fired to Cone 11,1998, $500.

Ceramics Monthly April 2002 40

“Seventy-Three Shards,” 91/2 inches (24 centimeters) in height, porcelain shards and steel.

Susan York by Richard Garriott-Stejskal

The sculpture of New Mexico artist Susan York is deceptively salt on its tail. For days she chased birds around the yard. “Even­ simple at first glance. Paper-thin slabs of white clay hang on the tually, I learned to breathe quietly like the birds. I learned to wait wall in beautifully crafted metal brackets. They are small. And, silently. One day a bird landed nearby, nudging his beak into the yet, they seem to dominate the wall. In one, “Tilting Stack,” the ground beside my foot. I was very still, breathing slowly, silently. metal base is slightly off horizontal. The slabs are stacked on Everything around me had receded and time slowed down. The edge—all leaning to the right. There is a sense that they are going looming Russian olive trees, the green hose coiled against the to slide and slip, one after another shattering on the floor. The wall, even the prickly grass seemed very far away. The salt shaker smooth, paperlike, clay slabs invite touch, while the thin edges was in my hand and it looked large as I held it above the bird’s and sense of fragility suggest you keep your hands in your pocket. graceful body. I could feel the salt shifting inside of the shaker as I It has been said that to know the adult, look to the child. In tilted it upside down. Slowly, very slowly, salt granules sparkled in York’s case, the following story tells volumes about her tenacity the air and floated down to rest on the brown tail feathers of the and approach to life. She was born in Newport, Rhode Island, bird. He lifted his beak out of the ground and looked up. I could and grew up in Albuquerque, New Mexico. When she was eight, see every feather of the bird’s wings as they opened and floated her mother told her that she could catch a bird if she sprinkled into the sky.”

Ceramics Monthly April 2002 42 York attended the University of New Mexico, where she was part of an exchange program with the University of Massachu­ “39 Shards,” 16 inches (41 centimeters) in height, porcelain and steel. setts, and received her B.F.A. in ceramics. After graduating, she apprenticed with Los Angeles ceramist Helen Slater (see “Work­ ing with an Apprentice” in the February 2000 CM), then moved to Santa Fe where she made pots, was active in New Mexico’s artist-in-residence program and was the director of Arts with Elders, a community outreach program for seniors. It was about this time that York had a kind of epiphany. She saw a show of Russian constructivists, and her work changed radically. She began to explore the golden mean (a ratio for a rectangle of 1 to 1.618 thought by the Greeks to be divinely inspired) through a series of slab pieces. These were made of white stoneware painted sparingly with unfired underglazes and mounted under glass. They looked as if they were done on fine handmade paper. Initially, she modeled her pieces on work by Malevich, Kandinsky, Lissitsky and others. “Later, I discarded these pieces, but in the process of making them I came to understand complete symmetry thrown off by the most subtle line or shape. “During that series, I enjoyed fooling people with technique. Is it paper? Is it cloth? I airbrushed paper or tape onto the clay, trying to confuse the issue even more. I was more interested in technique at that time,” York recalled. Twenty years after earning a B.F.A., she went back to school for an M.F.A., studying with Tony Hepburn at Cranbrook Acad­ emy of Art. Initially, Hepburn would not let her work with clay. He said she was too facile with it. He wanted her to focus on the concepts underlying the work, not on its construction. “In a way, he freed me from clay by not allowing me to use it. Then I could make work that began with the feeling I wanted to evoke in the viewer. It didn’t begin and end with an object hanging on the wall or sitting on a pedestal. That kind of thinking and conceptualiz­ ing gives the piece life. It becomes more than a beautiful, well- crafted object; it’s alive.” What York seems to realize is that picking up something as small as a paper clip off a desk changes a whole room. “It’s something that you can sometimes only feel—like the fleeting remembrance and forgetting of a dream.” For an exhibit at Cranbrook where three panes of glass rested against a wall, she “rebuilt the wall behind the glass so that it barely tilted. Not everyone noticed it, but I think nearly everyone felt it. It tilted forward about 4 inches over 14 feet.” In 1997, York had an opportunity to work at the Europees Keramisch Werkcentrum (EKWC) in ’s-Hertogenbosch. “I had wanted to go to the Netherlands since my undergrad years. I’d seen a picture of Rietveld’s chair and was deeply struck by it. Later, I used his chair image as part of a piece. When I got there, I felt I had come home (in an artistic sense). I joked at the time that I had traveled a very long way to come home. “While I was at the EKWC, I also did research on Rietveld and the de Stijl period. I worked at the center, then traveled to “Porcelain Square,” 6 inches (15 centimeters) in height, porcelain shards, with steel base. Amsterdam or Utrecht, and researched in the library or went into the storage depots with the curators to closely look at Rietveld’s

Ceramics Monthly April 2002 43 work. What had looked to me (from a book in Albuquerque) to be almost mechanical was really a handmade work by a craftsman. Rietveld’s chairs were each a unique creation. The measurements differed from chair to chair, and he added different things, like cutting centimeter squares out of the back of one. “As I studied them, I realized that “Tilting Stack (75 shards),” 6 inches (15 centimeters) high, porcelain and steel. Rietveld took the geometric images of the de Stijl paintings and made them three dimensional. I began deconstructing his chair, first in draw­ ings, and then I made one to scale in translucent porcelain. It laid on the floor. At this point, I really was fascinated by the transition from 2D to 3D. At what moment does flat become form? It’s a little like capturing the space in between inhalation and exhalation. “That’s the basis for the shard series. I draw first, finding a shape that works in subtle tension with the wall and the metal form it rests on. The shape is drawn from the pure geometric forms of the constructivists. I looked at their work for a long time (particularly Malevich), and learned about understated, nearly imperceptible tension. It’s something that you can sometimes only feel. For her “shard” pieces, York first makes a drawing, and cuts out shapes holding them against the wall. Slabs are made from different porcelain slips (mostly commercial) poured onto plaster bats. Once the porcelain reaches a leather-hard state, she begins to cut out her forms. Each shard is the same and yet unique, as York is not overly careful in refining the edges or avoiding slight warping. “I cut out the piece over and over. I enjoy the repetition, the mindless repetition, losing myself so that it becomes a purely physical act.” The finished shards are fired anywhere from Cone 6 to as high as Cone 14. “My references aren’t physical. They’re mostly balance, the golden mean and tension. I often use the golden mean as a container. I know it’s a ratio that has beauty for me. I did a series one time using only the golden mean. It was somewhat like trying to understand the transition from 2D to 3D that I’m working on now. I wanted to know what was so great about the Golden Rectangle that the Greeks used it over and over. I came to under­ stand the beauty, balance and tension of its form. “Now I’ve distilled the process. Though the viewer may won­ York cuts “shards” from thin sheets, made by pouring the porcelain over plaster. der what the material is, my treatment of it is direct. It’s just thin, unglazed porcelain. I’m mainly interested in the purity of form and the relationship of the shards to the wall or the floor.” York’s work commands attention, not with size, but by side­ stepping everything you know to be true. Even a small one can somehow take a shortcut directly into your being. A patch of sunlight on a floor suddenly assumes a palpable presence. Noth­ ing is ever the same.

Ceramics Monthly April 2002 45 Scripps College 58th CERAMIC ANNUAL by Elaine Levin

A dozen ceramists interpreted abstraction for the 58th Scripps College annual exhibition, “Fundamentally Clay: Ceramic Abstraction 2002,” on view in the Ruth Chandler Williamson Gallery, Claremont, California, through April 7. As a concept in art, abstraction has been somewhat difficult to define. Curator Nancy Selvin helps the viewer by placing a dictionary definition at the show’s entrance. Yet the term and her choice of the dictionary words of explana­ tion are really just a tease. What this exhibition demonstrates is the ability of the participating ceramics artists (Bean Finneran, Larkspur, California; Dennis Gallagher, Oakland; Yoonchung Kim, Escondido, California; Yih-Wen Kuo, Sycamore, Illinois; Brad Miller, Woody Creek, Colo­ rado; Kevin Nierman, Berkeley; Kathleen Royster, Salt Lake City; Robert Sperry, Seattle; Andree Thompson, “Memphis,” 24 inches Berkeley; Angela Verdon, Derby, England; Jamie Walker, Seattle; (61 centimeters) in height, and Susan York, Santa Fe, New Mexico) to redefine abstraction in basalt clay and rubber, by Jamie Walker, Seattle, Washington. humorous, colorful and intellectual terms. The roots for this direction in clay lie in the 1950s; Peter Voulkos, John Mason and Paul Soldner, with others, made clay speak about the character of the material. Slashed, sliced, cut and gouged, the vessels produced by the abstract expressionist potters expressed the character of a most flexible and forgiving material. The contemporary works dealing with abstraction retain aspects of this organic quality but in a much more restrained fashion. Architectural references and allusions to objects in nature make an even stronger showing. Architectural ideas appear to inform Yih-Wen Kuo’s sculp­ tures. Multilayered glazes create a suggestion of landscape, while adjoining columns topped by round forms imply turrets. Kuo told Selvin that he writes “on the inside of my slabs before I close the form,” recording his feelings of the moment. Unavailable to the viewer, the diarylike messages add an emotional element impossible to see through the tiny windows punctuating each form. Taken as a whole, “Untitled #7” poses the unsettling ques­

Ceramics Monthly April 2002 46 tion as to whether his enclosed structures with their tiny apertures are the answer to safer, more secure dwellings of the future. Brad Miller’s wall-mounted sectional forms turn to aspects of sea life or other biomorphic forms found in nature. The action of the ocean’s tides appears to influence “Pushing,” whose spotted, dark protuberances seem in motion, like the swaying leaves on stalks of seaweed. The sculpture springs out from the wall, defy­ ing gravity, challenging and gesturing into the viewer’s space, imparting a strong sense of movement. Small, intimate and on pedestals for eye-level inspection, Brit­ ish ceramist Angela Verdon’s burnished bone-china constructions tempt the viewer to run a finger over their undulating surfaces. Each of her smooth, white shapes appears as a quiet but insistent tableau of abstract forms. Jamie Walker’s “Memphis” is a giant version of the spiky form used in a game of jacks. Like Claes Oldenburg’s enlargements of common objects, Walker, too, draws attention, with humor, to a familiar form. Though not the artist’s intention, the sculpture “Shard Wall” answers the question of what to do with broken pottery due perhaps to an earthquake, a bad firing or the discovery of an

“Pushing,” 35 inches (89 centimeters) in height, handbuilt stoneware, steel, by Brad Miller, Woody Creek, Colorado.

“Untitled #7,” 24 inches (61 centimeters) in height, handbuilt, by Yih-Wen Kuo, Sycamore, Illinois.

Ceramics Monthly April 2002 47 “Skins: Modulation,” wet slip over actual violin, “Untitled,” 12 inches (30 centimeters) in height, handbuilt chair and garments, part of a performance piece and burnished bone china on polished Cumbria slate, by Andree Thompson, Berkeley, California. by Angela Verdon, Derby, England.

ancient civilization. Kevin Nierman has completely filled four panels, 9 feet high and 2 feet wide, with shards and whole forms of raku-fired bowls, cups, pitchers and jars. Moving upward from their base, the pleasing textures and shapes set up a rhythm that echoes the potter’s schedule of throwing, drying, bisquing, glazing and firing. At the opening, a performance piece was staged on a small platform in a corner of the gallery. Andree Thompson, in collaboration with classical violinist Marty Simonds, demonstrated the transitory nature of wet clay and live music. At the end of the musical interlude, slip was poured over the seated violinist. Those who did not witness “Skins: Modulation” will see the remains in the form of drying slip over the chair, the violinist’s clothing and the violin (a substi­ tute for the original instrument). The drying slip on all these objects, according to Thompson, calls atten­ tion to the passage of time and the “potential for beauty and growth through transformation...a part of the human condition.” In her catalog essay, Selvin describes the use of abstract forms by the show’s artists as “contemplative and provocative investigations of color, material and form.” This contemporary generation’s interpretation addresses issues of time, space, reality and the fragility ofc life.\ ‘c a ci*As Selvin notes,“l abstraction, with• 1 allit its • per- ... , “Shard Wall,” .108 inches , (274 .centimeters) . in height, glazed and raku-fired clay r with aluminum, plywood and epoxy, by Kevin Nierman, Berkeley, California. mutations, allows us great freedom of response.”

Ceramics Monthly April 2002 48 Ramon Camarillo: Hawaiian Artist Goes East by Cathy Grubman

Raku artist Ramon Camarillo appointments and break­ has a lot of secrets. But don’t through surprises. worry. “Makamaka!” He’ll Given his stature (he’s tell all. around 5½ feet tall), it’s When I met Camarillo at hard to match the man to Creative Clay Studios in Al­ the medium. That’s because exandria, Virginia, he was he throws big. Very big. In- dressed in a Hawaiian shirt your-face big. Pots big and beach shorts, looking less enough to hold their own like a potter and more like a in the lobbies of banks and guy who was about to hang five-star hotels, or in the ten on a surfboard—and cer­ grand foyers of the homes tainly younger than his 41 of the rich and famous, years. However, when it which includes baseball comes to pottery, he has a lot player Mark McGwire. to say, and if you are patient His pots are also a com­ and welcome his spirit of bination, a marriage of three “Aloha,” you will learn all cultures: Japanese, Hawai­ his secrets. ian and, well, East Coast. In his Hawaiian En­ They combine the tradi­ glish—pronouncing raku as tional methods that he “raw-koo”—he happily ex­ learned in Hawaii with new plains how he gets that crim­ tools and techniques—for son red and those black-as- example, his sparse toolbox night areas near the base and contains the standard, tried- rim of his giant pots (with and-true wooden ribs, along “newspapers, lots of flames with an old credit card. He and a good tight lid”). Want “Tsunami,” 18 inches (46 centimeters) in height, wheel thrown, raku fired hand burnishes some pots, to throw a pot as high as the while others are sprayed entire length of your arm in with Crystal Clear enamel. one fell swoop? No problem. He’ll show keeping a legacy alive, of storytelling and ofHe’s not a rigid by-the-book kind of guy. you how to center 25 pounds of clay with­ sharing. He doesn’t hold back because the On a whim, he will try a new technique out unduly stressing your back. idea is to move forward.” suggested at a late-night raku session, or Camarillo can also teach you how to And this guy is going full throttle. will unabashedly cull ideas from the pots of build a state-of-the-art raku kiln for under Otto Heino or Bernard Leach. “They have $300; how to burnish a 2-foot-high vase Willing to Change a lot to show us,” he says. using a blowtorch and a metal rib; where to Like the ocean tides, Camarillo’s de­ buy chemicals at the best price; and how’ to meanor remains one of never-ending en­ Roots safely ship pots across country. Any moreergy, but he’s a bit less predictable, more Camarillo was born in Honolulu and questions? He’ll answer as best he can. open to exploration and discovery. He talksraised in Pearl City on the island of Oahu. Laura Silberman of Potomac, Maryland, about ceramic art with some irony, heaping His artistic career serendipitously began a participant in one of his kilnbuildingon respect, while treating it like an unsanc-with a movie. “In high school during lunch, workshops last year, says Camarillo’s phi­ tioned science experiment going on behindwe used to watch surfing movies,” he re­ losophy of art is reminiscent of the Native the high-school gym. It is a healthy rela­ calls. “There were throwing wheels on the Americans: “Ramon works with the idea of tionship—one that is filled with both dis­ side—lined up against the wall. I was curi­

Ceramics Monthly April 2002 49 ous, you know, like any kid.” Under the tutelage of art teacher Carol Kuahara, he was soon up to his elbows in clay: “I still use some of the techniques she taught me.” But pottery-making was not a full-time endeavor, just a hobby back then. While selling his daywork piecemeal, Camarillo earned an undergraduate degree in market­ ing and a master’s degree in business ad­ ministration from Hawaii Pacific University. “I graduated in 1994,” he says, “but I couldn’t find work in Hawaii. I ended up captaining boats out of Waikiki on dinner cruises. Finally, I decided to come to the D.C. area to find work. My sister lived here, and she sent me a copy ofThe Wash­ ington Post classified ads....It was as thick as a book.” Of his classmates, “I think I’ve gone the farthest out there,” he adds and laughs at the double entendre. “Some of the guys left Throwing forms upside down allows Camarillo to leave the base (which will be the top) a bit thick for support the islands for California. I went across the while throwing the bottom; the top is thinned when he finishes the form in the upright position. country. Hawaiians think it’s cold and snow­ ing all the time in the East. It was a shock at first, but I tell them this is a good place Always Something New Watching him work was mesmerizing; to be.” During a recent morning session at Cre­watching him watching his work was equally Settling in Vienna, Virginia, Camarilloative Clay, Camarillo referred to a com- riveting. His gaze followed the graceful took a suit-and-tie job at a bank but quicklyputer-generated picture of a large, stylized curves—hulas, he calls them—of the clay realized he would rather get his hands dirty Grecian urn with a tiny, almost nonfunc­as it began to take shape, checking, re- with clay than with photocopy ink. Whether tional foot that he had seen in a magazine.checking, contemplating, planning ahead, he is potting, teaching or performing (he After looking at the picture rightside up, envisioning the design. also sings and plays the ukulele in a four-he realized if he turned it upside down, His intention was to shape the pot so man group called The Aloha Boys, a tradi­ he might be able to reproduce the shape. that the top would become the flat bottom tional/contemporary Hawaiian band), art He began by slapping a 25-pound of the vessel. The base would eventually is his life now. mound of clay—instead of raku clay, heserve as the top of the finished vase, so he His job as “resident artist” at two north­ uses a commercial stoneware (Soldate 60) left 2 inches of wet clay to be thrown the ern Virginia arts centers—Creative Clayright out of the bag—onto an electric wheel. next day. Once the top-cum-bottom half Studios and the Lee Art Center—allows As he threw, the clay moved up but not outwas dry enough, he flipped the pot over, him a dialogue with all sorts of clay lovers, to form a thick cylinder, about 30 inches reattached it to the wheel head, and started from the high-school beginner to the well- tall, with a diameter of about 8 inches. It throwing the rim of his Grecian urn. The seasoned professional to the serious patron. was so tall his armpit practically became a final piece stands about 30 inches (76 cen­ “Ramon’s workshops always sell out,” says tool to compress the rim. Initially, there timeters) high. George Brown, director of the 4500-square- was a lot of water splashing about, but once foot Creative Clay Studios. “Why are they he had thrown and collared the clay to its Burnishing and Glazing so popular? Because Ramon’s personality is full height, he did not add any more, which To burnish his pots, he uses a rather outgoing and magnetic. He has an uncannyaccounts in part for the pot’s integrity andunconventional method. First, while the ability to creatively share information.” ability to soar. leather-hard pot rotates on the wheel, he

Ceramics Monthly April 2002 50 sprays it with water. Then, holding a metal rib in his right hand and a blowtorch in his left, he compresses the surface with the rib as the heat from the torch evaporates the moisture. Final touches are given with, of all things, a shot glass that he rolls over the surface. In Camarillo’s studio, anything is up for grabs as a potential tool! Texture is added not by imprinting, carv­ ing or adding clay, but by layering glazes on bisqueware so that effervescent drips bubble and run across the smooth surfaces. Work­ ing with just five slips and glazes, he puts “them on thick. I put them on thin. I over­ lap them. I try them with underglazes. You could spend an entire lifetime with just five glazes and get fantastic results.”

Firing In Hawaii, Camarillo fired his work us­ ing the open-pit method. In Virginia, he The first step in making a trash can into a raku kiln is to cut an opening near the bottom for the burner port. uses a trash can kiln, which is economical, both in construction cost and in control­ ling heat loss. “I can get ten firings from one can of propane,” he notes. If one is available, he uses an electric kiln to preheat the glazed pots. This is im­ portant, because he wants to make sure they are as dry as the desert; no moisture means better results and less cracking. Meanwhile, the raku kiln is also heating up. He brings the pots up to temperature “real fast.” After five minutes on the kiln shelf, “I turn up the heat. I watch to see the flame coming out of the top of the kiln— out through a little chimney hole. I also listen; the sound that the gas flame makes can tell me when the pot is ready.” Once the glazes have melted, the pot is taken out with a pair of tongs and quickly transferred to a nearby trash can filled with shredded newspaper. The lid is immedi- r r The galvanized trash can and lid are both A hole is cut through the lid and the fiber ately clamped on. Hes proud of the factlined with refractory fiber blanket. for a chimney. that his firings release very little smoke. From soup to nuts, a single pot takes from 30 to 45 minutes to fire, which allows Camarillo to complete about nine or ten

Ceramics Monthly April 2002 51 firings in a day. “Fast and furious would describe the process,” he says. Given the size of Camarillo’s works, it is amazing they are wheel thrown in one piece; most artists would construct such large vessels by joining two or three thrown sections or by handbuilding. More amazing is that they are raku fired at Cone 06. His breakage? Zero percent. “After all these years,” he says, “I know what not to do. The only breakage I get is when I drop one carrying it home,” he says ruefully, describing a particularly painful incident when he lost a beloved pit-fired pot. “It was sad—I felt like crying—but what are you gonna do? It is a pot. I can make it again.”

White Crackle Glaze (Cone 06) Frit 3134 (Ferro)...... 85% Kaolin...... 15 100%

Luster Duster (Cone 06) Frit 3134 (Ferro)...... 67% Nepheline Syenite...... 33 100% Add: Copper Carbonate...... 10% Tin Oxide...... 5% Bentonite...... 2%

Black Copper Luster (Cone 06) “Waikiki,” 25 inches (64 centimeters) in height, wheel-thrown stoneware, Frit 3134 (Ferro) ...... 75% with glazes, raku fired. Nepheline Syenite...... 25 100% Add: Black Copper Oxide...... 15% Black Iron Oxide...... 15%

Lithium Slip (Cone 06) Lithium Carbonate...... 28.5% Kaolin...... 14.4 Silica (flint)...... 57.1 100.0% Add: Copper Carbonate...... 3.9% Bentonite...... 3.0%

Red Green Glaze (Cone 06) Frit 3134 (Ferro)...... 50.0% Custer Feldspar...... 50.0

100.0% “Lithium Moon,” 16 inches (41 centimeters) in height, wheel-thrown stoneware, with glazes, raku fired, by Ramon Camarillo, Vienna, Virginia. Add: Copper Carbonate...... 3.2%

Ceramics Monthly April 2002 52 Sheri Leigh by Morgan Britt

Nestled in the crook of the California-Ne- vada border and highest peaks of the Sierra Nevada mountain range lies beautiful and pristine Lake Tahoe. Clear blue waters, gran­ ite outcroppings, tall pines and fresh moun­ tain air are the backdrop for the small campus of Sierra Nevada College in Incline Village, Nevada, just footsteps away from the waters of the lake. It is here that associ­ ate professor Sheri Leigh teaches basic ce­ ramics courses, directs the summer art workshop program and, whenever time al­ lows, creates large-scale slab sculpture. She begins construction with four white- ware slabs, rolled ½ to ¾ inches thick, each about 24 inches long and the width of the slab roller. They are left to dry until leather hard, stiff enough to carry their own weight without sagging. The extra thickness also allows for incising and smoothing with a Surform plane without compromising struc­ tural integrity. A T square is used to cut a large rect­ angle from one slab, taking into account the maximum height of the kiln when de­ termining the height of the finished piece. She holds a fettling knife at an angle to make beveled cuts. Next, the surface is smoothed with a large, stiff rib made out of galvanized steel. She then cuts a second piece to form another side. The point is to assemble two sides so the piece can be stood up vertically. For similar texturing, the two sections are laid next to each other on the table. Using the T square for a true line, she may incise both slabs with the crenellated edge of a plastic tool picked up at a building supply store. “Finding tools for different textures is as much a part of the creative process as making the actual piece,” she laughs. “I can’t resist side trips to thrift stores, hardware stores, wherever I think I

“Tettigoniidae,” 25 inches (64 centimeters) in height, handbuilt earthenware, with low-tire glazes. might score a find. My friends cringe whenPaul Soldner. I wasn’t sure why. Paul’s work I drive past a potential gold mine and the was very different from mine, yet I under­ word shopping pops out of my mouth. stood her intention after working with Paul. They know a five-minute stop is more thanHe became an integral part in helping me likely to end up as hours.” understand myself as an artist. Once texturing is complete, the slabs “Early on, I was hired by David Furman are set aside to stiffen further. If, when at Pitzer College to be his lab assistant, flipping the slabs over to score the edges for another turning point in my education. joining, she sees a crease that will threaten David’s work was very much aligned with the sculpture’s structural integrity, she willmy own—precise and controlled. His in­ score deeply, spray with water and use scraps put addressed the finite details of my work, of clay from the initial slab to patch. She the technical side, whereas Paul influenced never uses slip. my overall outlook as an artist. He has “If you score deep enough to make provided me a lifetime of opportunity crumbs, then spray water on the scoring, itthrough his never-ending support with job makes slip all by itself,” Leigh explains. applications and encouragement.” “The most important advice I have to offer Leigh feels blessed to have had the expe­ about slab construction is deep commit­ rience of studying with so many great teach­ ment. The deeper the score, the stronger ers. “Betty taught me a lot about how to be the seam. There is an amazing amount ofa professional artist, and has also been very weight on these seams, which creates a great supportive. David is a lifelong friend and deal of stress. My seams have to be able to mentor, and gave me a solid foundation sustain their bond throughout the entirewith his constructive criticism of my work. drying and firing process.” Anne is the one that inspired me to work To join the two pieces, she deeply scores with the slab.” the edges, sprays with water and applies Once Leigh is satisfied with the sculp­ pressure both by hand and by paddlingture’s form, it is sprayed with a fine mist along the seam. The inner corner is thenand covered in plastic until time allows for reinforced with a thin coil of clay. The the next stage. Though her plate is full, she outer corner may be refined with the wouldn’t have it any other way. “I know a Surform and rib, or retextured with the lot of artists who are perfectly content to crenellated tool. The top edge may also be spend hour after hour in their studio, alone carefully checked with a level. The whole and working away on their art. I couldn’t piece is then misted with a spray of water. handle that. I love my job and I love my

“Tettigoniidae,” opposite view, 25 inches At this point, the sculpture becomes a students. I love being able to help another (64 centimeters) in height, earthenware. massive jigsaw puzzle. Each slab addition person discover the artist within, and would must be cut with precise accuracy. Again not feel complete without having the outlet and again, edges are scored and sprayed, to teach.” coils are added to reinforce interior seams, A thick tome featuring illustrations of corners are refined with the Surform, andanimals, insects and crustaceans comes into surfaces are smoothed with the rib. play next. Leigh explains that, years before, Each addition is spontaneous. This isa student had brought the book to her the point in the process where she sees Paul class, and she fell in love with the drawings. Soldner’s influence surface. Leigh studiedThe next day found her searching book­ with Soldner to earn an M.F.A. in 1986.stores to purchase a copy for herself. She Her style was to control almost every phase considers the illustrations essential to the in the development of her work, while success of her sculpture. “These drawings Soldner’s philosophy is to be loose, gestural are invaluable in helping me create crea­ and to relinquish control to the fire. tures. They depict the subject from several Leigh received a B.F.A. at the University different angles. If I were to just look at of Colorado, Boulder, having studied with photographs, I would have to mentally con­ Betty Woodman and Anne Currier. “Bettyvert the three dimensional into two before insisted I apply for graduate school with I start carving. This way, the objects are

Ceramics Monthly April 2002 54 Left and above: Two views of “Pangolizect,” 25 inches (64 centimeters) in height, handbuilt whiteware with low-fire glazes.

already two dimensional, and all I have to do is add relief when I carve the pieces.” With that, the next stage begins. She chooses several different creatures and loosely draws them with a needle tool on the surface. She refines the marks into a basic outline, then cuts through the walls and removes the cutouts. Again, each place­ ment decision is based on the previous move. Two lizards may curve around one another. A pair of sea turtles may swim up the textured side. The cutouts are wrapped and set aside until the next block of unin­ terrupted time presents itself. After smoothing the edges of the cut­ outs, Leigh begins the final stage of con­ struction. An extruded coil is attached around the edge of each cutout opening. The seams are blended together; strategi­ cally placed holes are pierced with a needle tool. After the glaze firing, wire strung through the holes will be used to suspend creatures in the openings.

Ceramics Monthly April 2002 55 Construction begins with whiteware Slabs are rolled and cut at the same time In order to maintain continuity in surface texture, two slabs slabs, rolled V 2 to ¾ inches thick. for even shrinkage during drying. are laid side by side and worked as one slab.

To ensure a strong bond, joints are scored deeply, sprayed with water, then pressed and Once two sides are joined, construction paddled together. The inside of the joint is reinforced with a coil of clay. progresses with the form upright.

Once the form is completed, a handheld Figures are first drawn with a needle tool, The outline of the figure in the wall is rasp is used to smooth surfaces and then cut from the wall and removed; the smoothed and detailed with coils to frame refine the corners. cutouts are set aside to be altered later. the suspended cutout.

Ceramics Monthly April 2002 56 Left and above: Two views of “Okeanos,” 25 inches (64 centimeters) in height, glazed earthenware, by Sheri Leigh, Incline Village, Nevada.

dry, they are held up to the actual opening where they will be suspended to check for size, shape and clearance. The inside of the sculpture is then sprayed with black paint to create a visual void. Finally, the figures are wired into their individual spaces. “I take so much flak from other artists for using earthenware clay and acrylic The next step is the part Leigh enjoys attachment holes in the cutout openings,paint,” says Leigh. “Everyone is so caught most. Working with a thin slab, about ½ and set aside to dry slowly. They will be up in the worship of high-temperature glaz­ inch thick, she cuts shapes slightly smaller bisque fired to Cone 04 on top of the origi­ ing, as though your work is not valid if you than the cutout patterns saved from thenal cutouts, as they are extremely delicatearen’t doing high-fire work. They call me base. She textures each from a myriad of in the green state. After the bisque firing, Sheri Lowfire as a joke, but I wouldn’t do it “found” tools to fit the theme, and attaches any cracks are repaired with Duncan Patchany other way. Both the clay and the acryl­ scales or fins. Each tiny piece is carefullyAttach, then the pieces are refired. ics give me the flexibility to put my right scored and attached to the thin slab. Every The slab construction is then glazed with brain ideas into left-brain representation.” detail is taken into careful consideration.two complementary commercial glazes and When asked what message she’s trying At the same time, she is anticipating the the attachment holes checked for clogs be­ to impart with her work, Leigh bursts into colors she will use, sometimes cutting the fore the glaze firing. A third firing is done laughter. “I guess I just want to be able to figure into sections that will be wired to­ for the gold luster brushed on the extruded make people smile. That makes me smile. gether later. coils framing the cutout openings. Really, I just love doing what I do. Every When she is satisfied with the result, the The bisque-fired figures are then painted part of it is a journey and a mini vacation figures are pierced with holes to match the in a variety of bright acrylic colors. Oncein my mind.”

Ceramics Monthly April 2002 57 Caufield Pottery by Mel Jacobson

Platter, 22 inches (56 centimeters) in diameter, wheel-thrown stoneware, fired to Cone 10 in reduction.

The son of a New York City fireman, Kevin Caufield grew up Following high school, he attended a small community college thinking that his life would be the same as his father’s, but fate and soon discovered he was not suited to further academic pur­ would intervene. The fact that he could not walk a narrow planksuits, so he sought the clay studio. As the department assistant, he with a heavy weight on his back in a certain number of secondslearned to make glazes and fire an old gas reduction kiln. Realiz­ disqualified him. New York City politics, at that time, kept him ing that he wanted a career in ceramics, he retained his tech from retaking the fitness test, so he sought a new life. position at the college in the clay studio, but also took a full-time High school in the 1970s allowed plenty of time for electives, job in retail sales to support himself. On the college job, he learned and Caufield had taken a ceramics class, but he didn’t like it at more about daywork, while the retail job taught him the art of first. Eventually, he learned to throw, and his interest in clay grew.selling, customer relations and understanding simple bookkeep-

Ceramics Monthly April 2002 58 ing. Still, the way to make a living as a full-time potter eluded him. His thoughts often went back to the New York Fire Department. Again, fate intervened. Caufield was invited to go to a “SuperMud” conference at Penn State University with his college teacher. While there, he attended a work­ shop on apprenticeships. A woman from Ecldes Pottery in Northern Wisconsin made a pitch, and Caufield took a swing at it. In response to his letter, he received a very complex application form; he found that he needed slides, recommendations and a complete history, plus he had to go to Bayfield, Wisconsin, to interview. He didn’t even know where Bayfield was when he left New York City, heading to Wisconsin in an old car. Caufield spent two weeks in the Eckles’ studio, throwing, glazing, helping with kilns and discovering the world of apprentice­ ship. Bob Eckles accepted Caufield and asked him to move to Bayfield. Over the course of a two-year apprenticeship, he learned what it takes to be a full-time pot­ ter. “I did not want to leave,” Caufield recalls. “The studio became my home, and I just wanted to stay forever.” But Eckles expects his students to leave after two years; they also must sign a noncompete contract, promising not to start a pottery within 150 miles of Bayfield. In 1981, Caufield moved to St. Paul, Minnesota, to start his career as a full-time independent potter. He built a kiln in a garage and made a modest living by selling his pots through galleries. When he and Amy Miglini (who is also an artist) met, they started a life together in a warehouse studio in downtown St. Paul. As they struggled to make a living, Caufield be­ came convinced that he had to continue his college career, that he must have an M.F.A. if he was to succeed. Many of his friends, including Kurt Wild, a retired professor of ceramics from the University of Wisconsin, River Falls, believed that Caufield had built a fine ca­ reer and was already a superb potter. His tools and experience were far beyond most potters coming from Top: Basket, 20 Inches (51 centimeters) in height, M.F.A. programs. Wild helped persuade Caufield that a life mak­ wheel-thrown and handbuilt stoneware, with wood ash glaze, fired to Cone 10 in reduction. ing pots and building a strong client base was within his grasp. Marriage followed, and the partnership of Caufield Pottery was Above: Oil pot, 7 inches (18 centimeters) in height, born. Soon, with the couple’s combined retail skills and new ideasthrown and assembled stoneware, with crackle slip for sales, profits began to build and a new life emerged. and Shino glaze, fired to Cone 10 in reduction.

Ceramics Monthly April 2002 59 Platter, 20 inches (51 centimeters) in diameter, wheel-thrown and altered stoneware, with Shino glaze, fired to Cone 10 in reduction.

Vessel, 17 inches (43 centimeters) in height, wheel-thrown stoneware, with Shino glaze, fired to Cone 10 in reduction. The “Renaissance Fair” of the Twin Cities became a major retail outlet for them. The ability to interact with customers, keep good records, fill orders and generally run a business led them further down the path of a quality life as full-time potters. The “fountain boom” gave Caufield an opportunity to build the business further. He signed a contract with a major catalog, and filled orders for thousands of handmade fountains. The foun­ tain sales generated enough income for the couple to buy a pristine rural property, where they built a large car kiln of the Nils Lou design, and established a 2900-square-foot studio. Caufield is one of those high-production workers who can make many, many pots in a day. Numbers per day are critical to making a business work. On any given day, it would not be unusual to see that he has thrown over 200 pots. During peak periods, he is known to work through the night. The studio is well organized, with a clean throwing area and wheeled racks for moving pots to the kilns for both bisque and Teabowl, 3 inches (8 centimeters) in height, wheel thrown and faceted, glaze firings. All tables and workbenches have heavy wheels so the fired to Cone 10 in reduction. studio can be converted into display space as needed. On several occasions, corporations have rented the studio for special meet­ ings and dinners, with the Caufields making commissioned ce­ ramic gifts for all attending. Intelligent merchandising has been a key to the success of their business. Often, the Caufield Pottery will have theme shows;

Ceramics Monthly April 2002 60 e.g., a weekend exhibition with only sets of dishes on display. Clients could walk through the show and see at least 12 different patterns/styles of dishes, each set on a table with cloth spread, flatware, flowers and accessories. Orders could be placed for any set displayed. Caufield’s abilities and commitment to clay are a testimonial to skill, learning the craft and finding a way to make a living. He has the versatility to make many small production pieces, then move on to large architectural pots. Kevin and Amy Caufield, and now baby Ian, have a life that many would envy. It has come through hard work, team effort and a thorough understanding of the variety of skills that are necessary to living the life of the full-time production potter.

Kevin Caufield

Teapot, 9 inches (23 centimeters) in height, wheel-thrown and assembled stoneware, with wood ash glaze, fired to Cone 10 in reduction, by Kevin Caufield, Lindstrom, Minnesota.

Ceramics Monthly April 2002 61 INDIAN MARKET New Directions in Southwestern Native American Pottery

by Merrily Glosband

Early southwestern Native American potters, creating beautiful functional pieces both for everyday and ceremonial purposes, would undoubtedly be surprised by current developments in their medium. It might be difficult for them to understand that today’s pottery need not serve a functional purpose, may draw inspiration

Burnished jar, 101/2 inches (27 centimeters) in height, from many cultures and eras, and might even cost as much as a with iron slip, by Alice Cling, Navajo. luxury sports car. Instead of transporting water or storing seeds, contemporary works made by Native American potters beautify homes, offices and museums. They are rarely (if ever) called upon to perform either mundane or sacred functions, as in the past. These changes in use, as well as in motifs and styles, have not been sudden— rather, they are the culmination of continuous internal and exter­ nal influences, coupled with individual artistic expression. Beginning with the ancient traditions of the Hohokam, Mogollon and Anasazi peoples, pottery adapted to the needs of the population. The composition of the locally available clay dictated certain construction methods and firing techniques, which were handed down from generation to generation. As early as the 16th century, Spanish influence resulted in permanent changes in Southwest pottery. Equally profound changes appeared with the tourists—European and East Coast travelers in search of the western frontier experience—who began to arrive by railroad in the 1880s. At the same time, local trading posts provided durable substitutes, such as metal buckets and pans, for traditional wares. By the 20th century, the focus had shifted away from functional pottery and toward decorative ob­ jects (souvenirs).

“Snow Cloud,” 131 /2 inches (34 centimeters) in height, by Nathan Begaye, Hopi/Navajo.

Ceramics Monthly April 2002 62 “Seed Jar,” 6Y2 inches (17 centimeters) in height, white clay, with black slip, by Dorothy Torivio, Acoma.

During the past 80 years, Santa Fe’s Indian Market has also it is still possible to buy quality pottery from roadside stands, been a major contributing factor to changes in production. SWAIAmore and more of this work is featured in galleries, museum (Southwestern Association for Indian Arts), the organization thatshops and upscale stores. Even some of the pueblo shops resemble administers Indian Market, has encouraged Native American pot­mainstream fashion boutiques. ters to reach new levels of artistic expression. Strict guidelines for Perhaps the most surprising influence today is the Internet. entry help to maintain high levels of quality and ensure that Whereas all Native American pottery once was considered the prod­ participants are of Native American descent. (An additional benefituct of remote regions, inaccessible to the majority of the world’s is increased pride in and awareness of the culture and heritage ofpopulation, now it is possible to meet the artist and view works participating individuals and tribes.) Of last August’s 1200 par­ from the privacy of one’s own home via the World Wide Web. ticipating artists, 350 qualified in a variety of ceramics categories. Many of today’s Native American potters have their own websites. An estimated 100,000 visitors attended the two-day event. Each region, each pueblo, each clay tradition brings with it Art galleries in Santa Fe, Taos and, indeed, throughout the finite realities of the past, which are often incorporated into United States, also promote fine contemporary and antique Na­contemporary modes of production. For example, clay from the tive American pottery, and may also be considered in part respon­immediate environs of the Santa Clara Pueblo is often best uti­ sible for the changing attitudes of both buyers and artists. Although lized when mixed with sand. This composition of clay/sand has

Ceramics Monthly April 2002 63 become part of the tradition of Santa Clara Pueblo. The clay body lends itself best to thick-walled constructions that can “Illusive Wind,” 5 inches (13 centimeters) in height, be either left smooth and undecorated, or carved, then coated by Autumn Borts, Santa Clara. with slip, and burnished. Although Native American potters continue to use traditional smoke-firing techniques to pro­ duce blackwares, redwares are sometimes fired in electric kilns. This has more to do with practicality than with tradi­ tion. The kiln produces a slower and more stable environ­ ment for increasing heat and decreasing humidity, resulting in less breakage. Similarly, clay in the vicinity of Acoma Pueblo is most often tempered with ground (crushed) shards that add body strength during construction and firing. By adhering to this tradition, the potter keeps a spiritual connection to the past and also utilizes the existing local clay to its best advantage. Some Acoma potters are also using electric kilns for early- stage drying andlor firing, with good results. There are no rules about maintaining these traditions, but most Native American potters find that the spiritual nature of their art and their heritage cannot be ignored. In fact, Acoma potters are especially pleased to include ancestral shards in their work, as it is thought to bring luck to the firing. Because of the fragility of the clay during the prefiring

Above: Bottle 8Y2 inches (22 centimeters) in height, stages, and the very nature of smoke-firing techniques, break­ by Les Namingha, Hopi/Zuni. age continues to be a factor, and help from any source,

Above right: “Stepped Rim Bowl,” 7 inches physical or spiritual, is appreciated. (18 centimeters) in height, micaceous clay, Contemporary potters working with micaceous clay also by Lonnie and Larry Vigil, Nambe. have discovered, often by trial and error, slight adaptations that improve the ratio of success. Although some continue to use traditional techniques exclusively, others are changing the nature of the clay with which they work. By shaving additional slivers of mica into the already mica-rich clay, they may enhance the glittering visual effect, while the tem­ pering effect of the mica allows thinner walls. The best of today’s micaceous clay artists are producing pieces with im-

Ceramics Monthly April 2002 64 peccably uniform walls in forms that stretch the imagination as well as the strictures of the clay. The three traditions mentioned above—those of Santa Clara Pueblo, the Acoma Pueblo, and the potters working with micaceous clay—were all seen in the exhibition “Indian Market: New Directions in Southwestern Native American Pottery” at the Peabody Essex Museum in Boston. Of the 26 pots shown, all but 6 had been recently acquired, building on the museum’s Native American collection, which dates back to the 18th century.

Santa Clara Clay Tradition Contemporary versions of traditional black and red Santa Clara pots were represented in the exhibition by the pottery of Autumn Borts and Virginia Garcia. Borts produces coil- built pots that are carved with crisp patterns enveloping the surfaces. Because the work is so detailed, the number of pots she makes in a year is very limited. Virginia Garcia’s pottery uses the same traditional clay and slip techniques as Borts. The plum-colored storage jar shown in the exhibition was the result of her experiments with the pit-firing techniques of the past. It is commonly known that adding dried powdered manure at the end of the process produces blackware. She manages to stop the process somewhere in between the reds of an oxidation firing and the blacks of reduction to arrive at the lush plum or chocolate brown color seen on this jar.

Acoma Clay Tradition One of the color palettes found on traditional Acoma Pueblo pottery calls for black pigment on a thin-walled white clay form. Perhaps the best example of an artist trans­ forming traditional pottery of the past into artwork for the 21st century could be seen in the electric design of Dorothy Torivio’s seed jar. The repetitive pattern conforms with com­ puterlike precision to the curve and rotation of the three- dimensional “canvas,” giving the impression of perpetual motion. The painstakingly detailed design was accomplished by her ability to reduce the surface into manageable quad­ rants, then shrink the space in her mind into ever-smaller pieces. This would be quite a remarkable undertaking in any format, but is even more demanding on a three-dimensional curved surface.

Micaceous Clay Tradition Three potters in “Indian Market” use micaceous clay in their work, but there the similarity ends. Each of the three comes from a different tradition, and each experiments with

Above right: Plum-colored jar, Vfa inches (19 centimeters) in height, by Virginia Garcia, Santa Clara.

Right: Platter, 191 /z inches (50 centimeters) in diameter, micaceous clay, by Joel McHorse, Navajo/Taos. the clay in different ways. Lonnie Vigil, from Nambe, createscombustibles used for the firing, combine to produce a luxurious large bowls and jars; Joel McHorse, of Navajo/Taos descent, pro­ surface flecked with black fire clouds. duces a wide variety of shapes including platters and jars; and Hubert Candelario was also an architecture student. His work Hubert Candelario, of San Felipe, tests the limits of structural reflects his fascination with design and structure, with topography design with deeply carved melon jars. and texture, symmetry and precision in three dimensions. Lonnie Vigil was working in Washington, D.C., for the Bu­ reau of Indian Affairs when he decided to return to his home at Other Clay Traditions Nambe Pueblo. Without a family tradition to build upon, he Other clay traditions were also represented in the “Indian started with the basics: looking for clay. Since 1990, micaceous Market” exhibition. Alice Cling uses Navajo pinon pitch smoothed clay has been his only medium. Two of Lonnie’s micaceous potsover the freshly fired warm surface of her pots to create a variably were in the show: one a gracefully proportioned large storage jar, colored subtle pigmentation. and the second a large bowl with a stepped rim, produced in Nathan Begaye’s maverick sense of form, texture, color and collaboration with his brother Larry, who carved the border of design are evidenced by his large jar, “Snow Cloud”; the connec­ clouds and mountains. tions between his work and a particular tradition are often more While most Native American artists choose one or two forms, tenuous than those of the other contemporary Native American motifs or concepts as a basis for elaboration, a few choose to test artists highlighted here. their abilities in many areas. Joel McHorse is one of the latter. He While Les Namingha, a descendant of the famous potter actively experiments with different forms, sometimes reflecting Nampeyo, conforms to tradition in his use of building tech­ his background as a sculptor and architecture student, sometimes niques, his method of painting and use of clay slips are very much reflecting his artistic birthright as the son of silversmith Joel of the present. His abstract expressionist surface treatments hint Patrick McHorse and potter Christine McHorse. For the massive at messages that might have been, had they an audience capable of platter in the “Indian Market” exhibition, Joel McHorse had to deciphering the iconography. adapt standard fabrication techniques. The large, almost-flat sur­ To be sure, the potters of the past would be surprised by the face of this form necessitated special treatment at every stage of accomplishments of their contemporary counterparts, but they production, from the initial coil building to the pit firing. All would also be proud of the legacy they left, as well as of the factors, including the micaceous clay, the coating of slip and thesplendid creations by today’s talented Native American potters.

“Seed Pot,” approximately 4 inches (10 centimeters) in height, by Hubert Candelario, San Felipe.

Ceramics Monthly April 2002 66 Doug Herren: The Strength of Silence by Kukuli Velarde

Doug Herren with “Tripod Ewers,

Doug Herren’s daywork is very physical, the definite stillness and silence, proof ofing—an endeavor that was as laborious as both in the labor involved, as well as in theveiled struggle and acceptance. scooping rock-solid, frozen ice cream. look of the final product. Monumentally I am a drama junkie. I harvest my dra­ (Doug is not exactly the talkative type.) I massive, it possesses a quality not often mas to produce my own work and, there­ began with mere curiosity, and concluded seen in the context of contemporary art: fore, it was quite interested in finding outwith deep admiration and respect. is silent. It does not scream Doug’s life. more about this artist. While we were both The residency program at the Clay Stu­ Drama is not ignored, though. It is there, resident artists at the Clay Studio in Phila­ dio offers space to 12 artists; they work in a but not as an obvious factor. When I firstdelphia, over a period of almost four years, common area, sharing experiences in clay encountered Doug’s work, I didn’t knowI learned more about him and his work and life. Everyone liked Doug. We all rec­ about his practice of meditation, yet I felt through observation than direct question­ognized his kindness and cooperative per­

Ceramics Monthly April 2002 67 dium. Drawing, for instance, does not present the same kind of physical three- dimensional manipulation, which is a plea­ sure intrinsic in working with clay.” “It is a pleasure to struggle, or does the pleasure build in conquering the struggle? Are you a masochist or a warrior?” “Through struggle one gets better, real­ izing ideas that foster more ideas. One ac­ quires skills that open the possibilities to try more difficult things.” “To be able to conquer the struggle?” At this point, Doug finally is looking at me with his version of “evil eyes.” I offer him one of my delicious partially hydroge­ nated cookies, a fat-saturated peace offer­ ing. He accepts it. “Not exactly. Conquering is not a part of it at all. When I begin sitting to meditate and even now after so many years, the body “Tripod Ewers,” to 26 inches (66 centimeters) in height, handbuilt stoneware, with low-fire glazes. speaks; pains appear. Staying still is a struggle, a struggle that is not there to be conquered but to be accepted without re­ sonality, but were a little puzzled by his I snack on butter cookies, while he eats sistance. Once we stop struggling, we are distant gaze, his silence. Fellow resident carrots and celery. I am intrusive; he isready for the next stage. Leroy Johnson joked about this: “Doug is a polite. Doug is comfortable talking about “It is a continuous journey we are bound blessed spirit. He doesn’t need wings to be his work, but completely at a loss talking to follow. In the same way, there is struggle an angel; he is pure energy.” about himself. in the process of creating, a struggle that I Doug is from a small town (Pratt, Kan­ It just so happens that I know he has choose not to fight or avoid, but to join. I sas, population about 6000), and is reluc­ been a Buddhist for quite a while. It seems want to make it part of myself and allow it tant to talk about himself, but I am to me that Buddhism is a way of living, and to take me forward.” stubborn. I wanted to know more aboutmaking art is an expression of life. I de­ I had been taught to think that con­ not just the work but also the person. For cided to give him a chance to relax. quering and defeating is what it all boils instance, he always smiles, never whines, “Tell me about your work. What are down to. All of a sudden a lesson was never wishes ill to anyone. He does notyour major considerations at the momentlearned. When I looked at him, his eyes know resentment, nor rancor. of beginning a piece?” were smiling again. He didn’t know that I “You are Buddhist, right?” (I know, I “The plasticity of the medium is a pri­ was grateful. The best lessons are those not am a bull in a china shop.) mary consideration in all my work. I dointended as such. He loolcs down, “I’d rather not talk about little in the way of surface decoration be­ “Two years ago, I was diagnosed with that.” yond monochromatic treatments in orderhypothyroidism. I had struggled with a “Why not? To understand the work, itto maintain focus on the variety of forms,physical deficiency that I could not explain is good to know about the person who textures and volumes this medium allowsbut accepted, endured and learned to live made it.” me to render.” with. It was frustrating to begin a line of He sipped his green tea, while I took “But why clay?” thought within the work and see it slowly advantage of the opportunity to add an “It is a matter of discipline...that is why fade away before it congealed. It was hard extra lump of sugar to my already high-in- I stick to this one material and welcome not to be able to focus and have to work in carbohydrates Lipton tea. the struggles that are inherent in the me­ short bursts. I would feel like I was begin-

Ceramics Monthly April 2002 68 “Table Stand,” 40 inches (102 centimeters) in height, stoneware, with glazes and inset graphite plate.

ning from scratch every time instead of accumulating experience.” Hypothyroidism is a glandular defi­ ciency, which among other symptoms may cause panic attacks, low blood pressure, lack of energy and concentration. Even though it was not diagnosed until recently, Doug realizes that it began in his adolescence. To get through high school, undergraduate studies at the University of Wichita and graduate work at the University of Louisi­ ana, he resorted to yoga and meditation. “Today, things are different. I feel that the clouds that suffocated me and my work have finally disappeared. “Candlestand,” 32 inches (81 centimeters) in height, stoneware, with low-fire glazes, by Doug Herren, Philadelphia, Pennsylvania. “I have gotten to the point that I can actually make difficult pieces in terms of structure and form,” he continues. “I push myself toward greater complexity and limit His current works evoke functional ob­ Seated in front of a television recently, I repetition, unless it is strictly related to jects, yet they have become something decided to turn off the volume. All of a understanding the form and its potentialelse—hybrids of the massive and ethereal, sudden, the images honestly became for development. of monumentality and silent nonintrusive-“louder.” I could see the extra bit of hair “Now the prosaic, nonintrusive orienta­ness. Surfaces are skinlike. Forms incorpo­ spray that the news anchor had used to tion of my wheel-thrown work, combinedrate and contrast a broad range of effects, tame his hair. You want honest TV? Turn with my handbuilding techniques, has givenfrom the pillowy qualities achieved by off the volume. Sometimes sounds are mis­ way to pieces of more heroic dimension throwing, to the more calligraphic, archi­ leading. Do we really understand the and ambition.” tectural qualities of handbuilding. strength of silence?

Ceramics Monthly April 2002 69 summer workshops 2002

Don Reitz (left) and Rudy Autio finish the surfaces of their sculptures during a workshop at Bowling Green State University in Ohio. This summer, Reitz will be conducting sessions at Anderson Ranch Arts Center in Colorado, and in Seabeck, Washington; Autio will be among the leaders at a wood-firing workshop in Penryn, California.

Various types of workshops are offered each sum­ forfiring in 5-chamber kiln; e-mail or telephone Jason studio access, meals and lodging. "Inspiration Point mer. Most are hands-on experiences; however, ses­ Hess (July 23-August 7, everyday). Fee/session: $420, Visual Art Camp for Serious Art Students" ages 12- sions of one-haif to two days may be demonstration includes materials, firing and 3 university credits. All 17 (grades 6-11 in the 2002-03 school year), throw­ only—a few are strictly lectures or discussions. Skill skill levels. Contact Jason Hess, Northern Arizona ing and handbuilding are 2 of 8 courses offered (July levels are ranked beginning, intermediate, advanced University, PO Box 6020, Flagstaff 86011; e-mail 28-August 3); fee: $325, includes application fee, and professional. While nearly all workshops are [email protected] ; telephone (928) 523-2398; or materials, meals, lodging and field trips. Students good experiences, the quality of presentation varies fax (928) 523-8047. For information on campus must have a teacher/principal recommendation. For widely. If possible, ask others who have attended housing, telephone (928) 523-3978. further information, contact Laura Waters, 320 CR previous sessions for their feedback, then contact the 210, Eureka Springs 72632; e-mail [email protected] ; organizers for specifics. Arkansas, Eureka Springs see website www.paradise-pottery.com/artcamp ; or Workshops in various media; participants may choose telephone (479) 253-1292. Arizona, Flagstaff 2. Ceramics courses will be "Fun and FunkyTeapots" "Salt-Glaze Workshop" with Jason Hess, throwing with Dan Funk; and/or "Technical Ceramics: Build California, Cloverdale and firing techniques, plus clay-body formulation Your Own Raku/Pit Kiln and Make Your Own Glazes "Pneumatic Purging Plaster Mold Making" with (July 8-22, every day). "Noborigama Wood Firing" for Cheap!" with James Wallace (June 17-20); fee: Kenyon Lewis, making air-purging molds designed with Jason Hess, participants must bring bisqueware $400, includes application fee, materials, 24-hour for hand pressing, plus making rubber molds (June

Ceramics Monthly April 2002 70 15). For further information, contact the Tile Heritage materials and firing. "Mata Ortiz: Southwestern Ce­ Foundation, PO Box 1850, Healdsburg, CA 95448; ramics" with Michael Wisner(June29-30). "Residual e-mail [email protected]; telephone (707) Salt Kiln/Building and Firing" with Skeff Thomas (July 431-8453; or fax (707) 431-8455. 20-21). "Pouring Vessels," lecture and demonstra­ tion with John Neely (August 17-18). "Printing with California, Davis Colored Clays" with Mitch Lyons (August 23-25); "Tile Making and Mosaic Workshop" with Donna fee: $125, includes some materials. Skill require­ Billick, slab construction, carving, impressing, under­ ments vary. Fee (unless noted above): $ 100, includes glaze painting, and mosaic techniques using broken some materials and firing. Contact Bebe Alexander, tile (July 6-7). Contact the Tile Heritage Foundation, The Arvada Center for the Arts, 6901 Wadsworth PO Box 1850, Healdsburg, CA 95448; e-mail Blvd., Arvada 80003; e-mail [email protected] ; [email protected]; telephone (707) 431 - telephone (303) 431-3080, ext. 3109; or fax (303) 8453; or fax (707) 431-8455. 431-3083.

California, Gualala Colorado, Carbondale "Shrines and Altars" with Kaye Like, handbuilding Throwing and altering forms with hollow-ware addi­ and glazing, creating shrines and altars (July 19-28, tions, developing a glaze palette in Cone 6 oxidation, 1 week or 1 weekend); fee: $65 per day; or $300 for with Geoffrey Wheeler (June 3-7). Surface enrich­ week, includes materials, firing, 1 meal and camping. ment on earthenware using additive and reductive All skill levels. Contact Kaye Like, Brandybuck Stu­ techniques, plus painting on functional forms with dios, PO Box 266, Pt. Arena, CA 95468; e-mail underglazes and stains, with Ron Meyers (August [email protected] ; telephone/fax (707) 882-2269. 12-16). Fee/session: $325. Contact the Carbondale Clay Center, 135 Main St., Carbondale 81623; e-mail California, Idyllwild [email protected] ; see website "San lldefonso Pueblo Pottery" with Diane Calabaza www.carbondaleclay.com ; telephone (970) 953- Jenkins and Krieg Kalavaza; or "Zuni Pueblo Pottery" 2529; or fax (970) 963-4492. with Milford and Randy Nahohai (July 8-13); fee/ session: $470, includes materials, firing and daily Colorado, Cortez lunch. "Acoma Pueblo Pottery" with Dolores Lewis A participant preparing a smoking chamber during a "Of Ancient Hands: A Mesa Verde Black-on-White Garcia and Emma Lewis Mitchell (July 15-20); fee: workshop with Jane Perryman in Hundon, England. Pottery Workshop" with Gregory S. Wood and Paul $475, includes materials, firing and daily lunch. "Mata Ermigiotti, processing clay, handbuilding, decorat­ Ortiz Pottery" with Cesar and Gaby Dominguez (July forms (August 26-30). Contact the Tile Heritage ing, making tools, slips and colorants, kiln construc­ 15-20); fee: $470, includes materials, firing and daily Foundation, PO Box 1850, Healdsburg, CA 95448; tion and firing techniques, using only native materials lunch. All pueblo pottery workshops include e-mail [email protected]; telephone (707) that were available to prehistoric potters (June 23- handbuilding with native clays, stone burnishing, 431 -8453; or fax (707) 431 -8455. 29); fee: $995, includes materials, firing, lodging and decorating with plant and mineral paints, and pit meals. All skill levels. Contact Laurie Austin, Crow firings. "Ceramics Survey: Surface and Form," focus­ California, Penryn Canyon Archaeological Center, 23390 Rd. K, Cortez ing on interaction of clay and glaze, and many firing "Woodstoke 2002," demonstrations, slide presenta­ 81321; e-mail [email protected] ; see website techniques, including wood fire, salt-glazed stone­ tions, some hands-on work, with Rudy Autio, Tom www.crowcanyon.org ; telephone (800) 422-8975 or ware, Cone 10 reduction, Kazegama, charcoal fire, Collins, Rodney Mott and Paul Soldner; also includes (970) 565-8975, ext. 142; or fax (970) 565-4859. wood-fired raku, low-fire salt, sawdust and pit firing. firing of multiple-chamber wood-burning kiln with Instructors: Jesse Bay, Patrick Crabb, Steve Davis, voluntary participation by students and low salt fir­ Colorado, Grand Junction Greg Kennedy, Tony Marsh, Cara Moczygemba, Kevin ing. Participants must bring bisqueware for firing. "Thin-Shell Saggar," throwing and altering, burnish­ A. Myers and John Toki (July 16-22); fee: $835, (June 14-18); fee: $375. Camping: $50. Contact the ing, terra sigillata, saggar firing, low-fire salt fuming, includes materials, firing, lodging and meals. Skill Penryn Workshop, 1394 Orange Hill Ln., Penryn raku, with Terry Shepherd; participants must bring 4- requirements vary. Contact Greg Kennedy, Idyllwild 95663; see website www.penrynworkshop.com ; or 6 Cone 07 bisqued forms (May 31 -June 2); fee: $240; Arts, PO Box 38, Idyllwild 92549; e-mail telephone (916) 663-2815. members, $220; includes clay and firing. "Oriental [email protected] ; telephone (909) Brushwork, Calligraphy" with Diana Woods, work­ California, Pt. Reyes Station 659-2171, ext. 365; or fax (909) 659-5463. ing with raku-fired forms; participants must bring 4- Handbuilding, burnishing and beach pit firings with 6 Cone 07 bisqued pieces (June 29-30); fee: $150; California, Los Angeles Molly Prier (July 26-August 2); fee: $435, includes members, $135; includes some brushes, glaze mate­ One-week workshop on Casas Grandes-style pottery materials and firing. All skill levels. Limited to 8 rial and firing. "Clay Recess," stoneware, low-fire salt with Jorge Quintana (July 1-5); fee: $350, includes participants. Contact Molly Prier, PO Box 337, Pt. fuming, raku, plus figurative clay sketching, with materials and firing. Location: Arroyo Seco Park. Reyes Station 94956; telephone (415) 663-9230 Rodney Mott; participants must bring tools (August Telephone Rose Figuerva, (818) 951-1230. (days); or (415) 669-7337 (evenings). 3-7); fee: $385; members, $347; includes clay and California, San Diego firing. "Stoneware, Low-Fire Salt Fuming" with Kathy California, Mendocino Koop, throwing and altering, group sculpture project, Handbuilding figurative forms with Cara "The Big Picture," mosaics with Donna Billick (June salt fire; participants must bring 3-4 Cone 07 bisqued Moczygemba, including demonstrations on textur- 17-21). "Creating Unique Stonelike Clay Textures pieces (August 10-11); fee: $160; members, $145; ing slabs using sprigging, latex molds and slip-casting and Colors" with Brad Miller (June 24-28). "Sure Fun includes clay, slips, glazes and firing. Skill require­ components (June 22); fee: $45; CASD members, with the Surform Blade" with Jim Connell (July 1-5). ments vary. Contact Terry Shepherd, Western Colo­ $35. E-mail Debbie Nolan at [email protected] ; or "Clay, Myth and Fairy Tale" with George Kokis (July rado Center for the Arts, 1803 N. Seventh St., Grand telephone (858) 571-5856. 8-12). "Color and Line" with Rimas VisGirda (July Junction 81501; e-mail [email protected] ; tele­ 15-19). "Function, Form and the Painted Line" with California, San Jose phone (970) 243-7337; or fax (970) 243-2482. Nancy Barbour and Beth Robinson (July 15-19)." Flash "Tile-Making Workshop" with Pat Wehrman (June Firing, Multifired Raku and Sandblasting" with Harvey Colorado, Lakewood 2); fee: $60; OVCAG members, $50. Location: Sadow (July 22-26). "Art for Children's Sake" with ClayMaker, 1240 N. 13th St. E-mail the Orchard "Smoke-Fired Pottery Workshop" with Sumi von Kim and Kent Rothman (July 22-26). "Large-Scale Valley Ceramic Arts Guild at [email protected] ; Dassow(June 5-July 24, Wed. 6:30-9:30 P.M.). "Top Handbuilding" with Krista Grecco (July 29-August or telephone Irene Jenkins (408) 739-9435. of the Rockies Raku Workshop" with Marjorie 2). "Handbuilding with Wheel-Thrown Elements" Westermann at her studio in Tennessee Pass; partici­ with Woody Hughes (August 5-9). "Intensive Throw­ California, Walnut Creek pants must bring 6-10 bisqued forms (July 13); fee: ing Workshop" with Joyce Michaud; "Stretching the "SurfaceTreatments" with Sebastian Hushbeck(June $44; members, $38. Contact Washington Heights Material and the Maker" with Bill Abright (August 30). "Honing Your Throwing Skills" with Michael Art Center, 6375 W. First Ave., Lakewood 80226; or 12-16). "Configuration: Variations on a Theme" Berkley (July 13-14). "Tile-Making Techniques," telephone (303) 987-5436. with Margaret Keelan (August 19-23). "Cliffs of hands-on workshop with Ed Blackburn (July 28). Clay" with Stephen DeStaebler (August 26-31). "Mask Making and Body Molds," hands-on session Colorado, Mesa Verde For further information, contact Mendocino Art with Andree Thompson (August 25). All skill levels. "Anasazi Pottery at Mesa Verde" with Gregory S. Center, 45200 Little Lake St., PO Box 765, Mendocino Contact Walnut Creek Civic Arts Education, PO Box Wood, prehistoric approach to clay processing, tool 95460; e-mail [email protected] ; see website 8039, 1313 Civic Dr., Walnut Creek 94596; e-mail making, handbuilding, burnishing, painting, deco­ www.mendocinoartcenter.org ; telephone (707) 937- [email protected] ; telephone (925) 943- rating, and trench kiln firing (June 8-15); fee: $395, 5818; or fax (707) 937-1764. 5846; or fax (925) 937-2787. includes materials, firing, group campsite, archaeo­ logical field trips and T-shirt. All skill levels. Location: California, Newark Colorado, Arvada Mesa Verde National Park. For further information, "Cast Cement and Mosaic" with Dmitry Grudsky, "DysFUNctional/Sculpture" with Marie E.v.B. Gib­ contact Ancient Arts®, PO Box 27, Masonville, CO designing, molding, embedding, framing, casting bons (June 12—July 10, Wed. eves.). "Wood Firing" 80541; e-mail [email protected] ; see website and grouting techniques using various materials and with Vicky Hansen (June 22-23); fee: $ 110, includes www.AncientArts.org ; telephone/fax (970) 223-9081.

Ceramics Monthly April 2002 71 Colorado, Pagosa Springs Charlie and Linda Riggs (August 12-19). "Women's Florida, Sopchoppy "Anasazi Pottery at Chimney Rock" with Gregory S. Workshop Series: The Storytellers" with Biz Littell, "A Spirited Approach to Clay" with George Griffin, Wood, prehistoric approach to handbuilding, bur­ Judith Carol Day and psychologist Colin Smith (Au­ individualized functional stoneware, single-fire oxi­ nishing, painting, decorating and trench kiln firing gust 22-26); fee: $1200, includes materials, firing, dation, fast-fire wood, business as an art form (1 (July 29-August 1); fee: $225, includes materials, lodging and meals. "Advanced Raku" with Jim Rom­ week in June); fee: $400, includes materials, firing firing and archaeological tour. All skill levels. For berg (August 31-September 6). Skill requirements and lodging. Beginning and intermediate. Limited to further information, contact Tom Ferrel, Chimney vary. Fee (unless noted above): $ 1555, includes some 4 participants. Contact George Griffin Pottery, One Rock Archaeological Area: e-mail materials, firing, 24-hour studio access, lodging and SunCat's Ridge, Sopchoppy 32358; or telephone [email protected] ; ortelephone (970) meals. Academic credit available. For further infor­ (850) 962-9311. 264-2268. Or contact Ancient Arts®, PO Box 27, mation, contact Judith Carol Day, Laloba Ranch Clay Masonville, CO 80541; e-mail [email protected] ; Center, PO Box 773628, Steamboat Springs 80477; Florida, West Palm Beach see website www.AncientArts.org ; telephone/fax e-mail [email protected] ; telephone (970) 870- " Kids Summer Funshop," sessions in clay for ages 7- (970) 223-9081. 6423; or fax (970) 870-6452. 14 (June 11,18,25, July 2,9,16,23 and 30,10 A.M .- 12 P.M. or 1-3 P.M.); fee: $149, includes materials. Colorado, Penrose Connecticut, Avon Contact Craft Gallery, 5911 S. Dixie Hwy., West Palm "Earth, Water, Wind and Fire I," focusing on the Hands-on workshop with Susan Beecher, altering Beach 33405; or telephone (561) 585-7744. traditional materials, forming, decorating and firing wheel-thrown forms (July 27-28); fee: $190; mem- methods used by the ancient Anasazi and pueblo Georgia, Cave Spring potters (June 16-23). Beginning and intermediate. "Cone 6 Oxidation Workshop," handbuilding, throw­ "Earth, Water, Wind and Fire II," focusing on more ing, extruder, glaze chemistry (July 8-12). Contact complex projects and methods, including micaceous Johnston Pottery, PO Box 133, Cave Spring 30124; ware, blackware, polychrome, black-on-white pot­ [email protected] ; telephone (706) 777-8546. tery, etc.; "Earth, Water...I" or similar experience Illinois, Antioch recommended prior to taking this workshop (June Sessions on handbuilding, throwing, high-fire and 25—July 2). Beginning through advanced. Instructor: raku, with Susan Goldstein and Jill Grau Tortorella Vern Roberts. Fee/session: $275, includes most mate­ (June 17-August 5, once a week or full time); fee: rials and firing. Two-hour undergraduate or graduate credit available for $70. For further information, $265, includes materials and firing. All skill levels. contact Vern Roberts, Coyote Arroyo Studios, 1753 Contact Jill Tortorella, Antioch Pottery Works, 25942 13th St., Penrose 81240; e-mail [email protected] ; Heart-O-Lakes Blvd., Antioch 60002; e-mail [email protected] ; telephone (847) 838-9949; or or telephone (719) 372-6846. fax (847) 838-6546. Colorado, Pueblo "Transforming Extruded Slabs into the Extraordi­ Illinois, Sugar Grove nary" (June 24-28). "The Marriage of Extrusions and "Ceramics Master Class," throwing with Jeff Oestreich Handbuilding Shapes" (July 8-12 or 22-26). "Taking (June 3-8); fee: $380, includes clay (25 lb) and bisque the Rude Out of Extrude; Alternatives to Throwing" firing. Intermediate. Contact Doug Jeppesen, (August 5-9 or 19-23). Instructors: Jean and Tom Waubonsee Community College, Rte. 47 at Latka. All skill levels. Fee/session: $525, includes Waubonsee Dr., Sugar Grove 60554; e-mail lodging and copy of Ceramic Extruding. Contact Tom [email protected] ; see website http:// Latka, International School of the Studio Extruder, chat.wcc.cc.il.us/~djeppese/oestreich.html; or tele­ 229 Midway, Pueblo 81004; e-mail [email protected] ; phone (630) 466-2505. see website www.ceramicsite.com; ortelephone (719) Indiana, Indianapolis 543-0720. "Low-Fire Clay and Glaze" with David L. Gamble, Colorado, Snowmass Village handbuilding(June24-29,9A.M-8P.M.);fee: $756, "Mata Ortiz: Southwestern Ceramics" with Juan includes materials, firing and lodging. Partial-tuition Quezada and Michael Wisner; instruction in English scholarships available. All skill levels. Contact Kathy and Spanish (June 3-14); fee: $970. "Anatomy of Andry, University of Indianapolis, 1400 E. Hanna Form and Volume in Functional Pots" with Mark Chris Staley demonstrates throwing a bowl during a Ave., Indianapolis 46227; e-mail [email protected] ; Pharis (June 3-14); fee: $720. "Pottery: Back to workshop at Santa Fe Clay in Santa Fe, New Mexico. telephone (317) 788-3253; or fax (317) 788-6105. Basics" with Donna Anderegg and Peg Malloy (June Indiana, New Harmony 17-28); fee: $820. "The Narrative Vessel: Your Crazy Handbuilding, throwing, glazing, kiln design, plus Life" with Wesley Anderegg (June 17-28); fee: $670. bers, $ 170; includes 25-lb bag of clay. All skill levels. raku, sawdust, low- and mid-range oxidation firings, "Altering Form: Handbuilding and Throwing" with ContactTammy Degray, Registrar, Farmington Valley and stoneware firings, with Les Miley (June 17—July Harris Deller (July 1-12); fee: $670. "Painted Pots: Arts Center, 25 Arts Center Ln., Avon Park N, Avon 19, Mon., Wed., Fri.); fee: estimated $850, includes Introduction to Majolica" with Stanley Andersen 06001; e-mail [email protected] ; telephone 3 college credits (noncredit fee available). Intermedi­ (July 1-12); fee: $720. "Handbuilding: The Figure in (860) 678-1867, ext. 101; fax (860) 674-1877. ate and advanced. Contact Les Miley, University of Clay" with Peter VandenBerge and Camille Evansville, 1800 Lincoln Ave., Evansville, IN 47722; VandenBerge (July 15-26); fee: $820. "Pottery and Connecticut, Brookfield e-mail [email protected] ; ortelephone(812)479- Glazes" with Peter Pinnell (July 15-26); fee: $720. "Tea, Tools and Techniques" with Peter Callas (June 2043, Mon., Wed., Fri. mornings. "Clay Constructions" with Andrea Gill and John Gill 1-2). "Relief Tiles and Simple Molds" with Laura (July 29-August 9); fee: $820. "Celebrating the Wheel: Shprentz (June 15-16). "Ceramic Garden Planters" Iowa, Ames Stoneware Pottery" with Marlene Jack and Jeff with Linda Nadas (July 20-21). "Throwbuilding Tea­ "Images and Clay" with Ingrid Lilligren, linocut em­ Oestreich (August 5-16); fee: $820. "Resonating pots" with George Davison (July 27-28). Fee/session: bossing, decals, etching, stencils and layered resist Objects" with Christina Bertoni and Jill Oberman $220. For further information, contact Dee Wagner, imagery, plus throwing and handbuilding demon­ (August 12-23); fee: $820. "The Clay Story" with Brookfield Craft Center, PO Box 122, Brookfield strations, and raku, electric and gas firings (June 17- David Dahlquist and Don Reitz (August 19-30); fee: 06804; e-mail [email protected] ; telephone (203) 28); fee: $532. Intermediate. Location: Iowa State $870. "A Lifetime in Clay" with Paul Soldner (August 775-4526; or fax (203) 740-7815. University. E-mail Ingrid Lilligren at [email protected] ; 26-30); fee: $720. Fees include materials and firing. or telephone (515) 294-8883. All sessions meet weekdays only. Skill requirements Connecticut, Guilford vary. Contact Doug Casebeer, Anderson Ranch Arts "Tea Bowls" with Malcolm Davis (June 14-16). Iowa, Riverside Center, PO Box 5598,5263 Owl Creek Rd., Snowmass "Throwing and Surfaces" with David MacDonald "Persian and Turkish Tile and Design" with Jafar Village 81615; e-mail [email protected] ; (August 16-18). Intermediate through professional. Mogadam (June 17-21). Contact the Tile Heritage telephone (970) 923-3181; or fax (970) 923-3871. Fee/session: $315. Contact Lisa Wolkow, Guilford Foundation, PO Box 1850, Healdsburg, CA 95448; Handcraft Center, PO Box 589, Guilford 06437; e-mail [email protected] ; telephone (707) Colorado, Steamboat Springs e-mail [email protected] ; telephone 431-8453; or fax (707) 431-8455. "Kosai Ware: Vapor Glazing with Gold" with Biz (203) 453-5947; or fax (203) 453-6237. Littell (June 4-11); fee: $2100, includes firing, lodg­ Sowa, Swisher ing and meals. "Advanced Throwing, Surface and Connecticut, Middletown "Building a New Design Wood Kiln" with Gary Firing" with Randy Brodnax (June 14-21 or July 21 — "Architectural Ceramics," hands-on workshop with Hootman, plus loading and firing large anagama 28). "Functional Form as Sculptural Art" with Tom Peter King (August 9-11); fee: $325. Contact (June 2-15); fee: $250, plus shared wood expense. Coleman (June 24—July 1). "Raku and Rhythm and Wesleyan Potters, 350 S. Main St., Middletown 06457; All skill levels. Tent camping and 3 sleeping rooms Blues" with Billy Ray Mangham (July 10-17)."Porce­ e-mail [email protected] ; see website available. Contact Gary Hootman, PO Box 301, 2241 lain Pots: Color on White" with Susan Filley (July 31- www.wesleyanpotters.com ; or telephone (860) Clay Studio Ct., Swisher 52338; e-mail August 7). "Saggar Firing and Special Effects" with 347-5925. [email protected] ; or telephone (319) 857-4873.

Ceramics Monthly April 2002 72 Kentucky, Springfield Handbuilding, mold making, plus pit and raku firings with Wyman Rice and Marshall Thompson (July 26- 28 and August 2-4); fee: $300, includes materials, firing, lodging and meals. All skill levels. Contact Don Boklage, Open Ground, 981 Rye Ln., Harrodsburg, KY 40330; e-mail [email protected] ; ortele- phone (859) 375-2411.

Louisiana, Monroe "Crystalline Porcelain Workshop" with Donald Holloway, making, glazing and firing forms, plus photographing crystalline ware (July 15-20); fee: $240, includes materials and 1 meal. Participants bring personal tools. Intermediate through profes­ sional. Limited to 6-8 participants. Application dead­ line: June 1. Contact Donald R. Holloway, Crosscraft Originals, 18 Jana Dr., Monroe 71203-2736; e-mail [email protected] ; or telephone (318) 343-9220 or 343-7658.

Maine, Camden "Bas-Relief Tile Making and Low-Fire Glaze Tech­ niques" with Randy Fein, tile design, carving and glazing (June 28-30). Contact the Tile Heritage Foun­ dation, PO Box 1850, Healdsburg, CA 95448; e-mail [email protected]; telephone (707) 431- 8453; or fax (707) 431-8455.

Maine, Deer Isle Low-fire majolica with Linda Arbuckle (June 2-14). Three-dimensional narrative sculptures with Sunkoo Yuh (June 16-28). "Architectonic Clay" with Dan Anderson (June 30—July 12). "Personal Aesthetics" with Chris Staley (July 14-26). "Pots That Contain and Pour" with Julia Galloway (July 28-August 16); fee: $800; living accommodations: $405-$1995. "Tile/Mosaic/Relief and Surfaces" with Angelica Pozo (August 18-30). Skill requirements vary. Fee (unless noted above): $600. Living accommodations: $300- $ 1355. Contact Stuart Kestenbaum, Haystack Moun­ tain School of Crafts, PO Box 518, Deer Isle 04627; Kristina Karlsson stokes as John Chalke monitors the firing of his kiln near Sundre, Alberta, Canada. e-mail [email protected]; telephone (207) 348-2306; or fax (207) 348-2307. Massachusetts, Harwich Port san Beecher (July 12-14). "Handbuilding—Extend­ "IntensiveThrowing" (July 15-19,22-26, August 5- ing the Boundaries of Personal Expression" with Maine, Monroe 9 or 12-16; 9 A.M.-1 P.M.); fee: $225, plus materials. Mikhail Zakin (July 20-21). "Functional Pottery and "Side by Side," workshop for children and adults, "Big Pots Weekend," throwing large forms on the Single Firing" with Steven Hill (August 10-12). "Trea­ includes primitive firing (June 21 -23). "On the Wheel," wheel (August 17-18, 9 A.M.-1 P.M.); fee: $150, sures from Shards: Garden Mosaics" with Marlene throwing intensive includes raku firing (June 28-30). plus materials. "Glazing for and Firing Reduction Marshall (August 24-25). For further information, "Clay Intensive," handbuilding, throwing, glazing, Kilns," participants must bring Cone 10 bisqueware contact IS183 (formerly Interlaken), PO Box 1400, plus primitive, raku and stoneware firings (July 7- (August 26-28, 9 A.M.-1 P.M.); fee: $125. Instruc­ Stockbridge 01262; e-mail [email protected] ; see 13 or August 12-18). "Clay Breathing" (July 29- tor: Keith Kreeger. Intermediate and advanced. Con­ website www.ISI83.org ; telephone (413) 298-5252, August4). "MasksSpeaking" with SquidgeLiljeblad tact Kreeger Pottery, 586 Rte. 28, PO Box 396, ext. 100; fax (413) 298-5257. Davis and writer Barbara Maria (August 30-Sep- Harwich Port02646; e-mail [email protected] ; Massachusetts, Truro tember 1). Fee: $675/week; or $325/weekend; telephone (508) 432-6398; or fax (508) 432-7078. includes lodging and meals. All skill levels. Instructor "Throwing, Beginning and Intermediate" with Keith (unless noted above): Squidge Liljeblad Davis. Con­ Massachusetts, Housatonic Kreeger (July 1-5); fee: $220, includes bisque firing. tact Starflower Studios, 941 Jackson Rd., Monroe One-month workshops on Japanese throwing and "Sculpture from Thrown Forms" with Dimitri Hadzi 04951; e-mail squidge@starflower_studios.com; trimming techniques, with emphasis on production; (July 8-12); fee: $240, includes bisque firing. see website www.starflowerstudios.com ; telephone each session includes firing a wood-burning kiln "Handles" with Mark Shapiro (July 15-19). "Altering (207) 525-3593. (June-August). All skill levels. Contact the Great Thrown Forms" with Gay Smith (July 22-26). "Slip Barrington Pottery, Rte. 41, Housatonic 01236; tele­ Decoration" with Ron Geering (July 30-31, 9 A.M.- Maine, Portland phone (413) 274-6259; or fax (413) 274-6260. 2 P.M.); fee:$120, includes some materials and firing. "Slabbed Forms" with Toby Rosenberg (June 8); fee: "Wax Resist" with Gail Turner (August 1-2, 9 A.M.- $40. See website www.portlandpottery.com ; or tele­ Massachusetts, Nantucket 2 P.M.);fee: $120, includes some materialsandfiring. phone Portland Pottery (207) 772-4334. "Combining Clay Methods: Reinventing Reality," "Molded Porcelain Tableware" with Matthew Tow­ workshop with Piero Fenci, plus lecture on "Chasing ers (August 5-9). "Saggar Firing" with Crystal Ribich Maryland, Baltimore Beauty: The Quest for Quality" (July 8-12). Contact (August 12-16). "Carbonized Clay" with Mikhail "Raku Workshop" with Richard Hirsch (June 15-16); NISDA, PO Box 958, Nantucket 02554; e-mail Zakin (August 19-23). "Glazing and Reduction Fir­ fee: $180; members, $160. All skill levels. "On the [email protected] ; see website www.nisda.org ; ing" with Cary Atsalas and Jess Tsoukalas (August Wheel" with David MacDonald (June 29-30); fee: or telephone (508) 228-9248. 26-30); fee: $150, includes firing. Skill requirements $ 170; members, $ 150. Intermediate through profes­ vary. Unless noted above, sessions run 9 A.M.-1 P.M. sional. Contact Leigh Taylor Mickelson, Baltimore Massachusetts, Rowe Fee (unless noted above): $230, includes bisque Clayworks, 5707 Smith Ave., Baltimore 21209; e-mail "The Way of Clay" with Alan Steinberg (May 31- firing. Contact Mary Stackhouse, Castle Hill, Truro [email protected] ; or tele­ June 2). All skill levels. Living accommodations avail­ Center for the Arts, PO Box 756, Truro 02666; e-mail phone (410) 578-1919, ext. 18. able. Contact Rowe Conference Center, Kings Hwy. [email protected] ; telephone (508) 349-7511; Rd., PO Box 273, Rowe 01367; or telephone (413) or fax (508) 349-7513. Maryland, Frederick 339-4954. "Altering Thrown Forms," lecture and workshop Massachusetts, Williamsburg with Nan Rothwell (June 7-9); fee: $185. "Ceramic Massachusetts, Stockbridge "Throwing Into Handbuilding: Vessels and Sculptural Decoration" (July 15-19 and 22-26); fee: $635. "Ceramics Studio Intensive I: Throwing Functional Form" with Erica Wurtz (June 21-23). Summer art "Glaze Application" (August 10-11); fee: $130. Forms and Cone 6 Reduction Firing" with Ellen Grena­ program for high-school students; ceramics is 1 of 7 College credits available for an additional fee. Con­ dier and Jeff Zamek (June 17-23). "Ceramics Studio sessions offered (June 30—July 18 and/or July 21- tact Joyce Michaud, Ceramics Program, Hood Col­ Intensive II: Production Throwing and Oxidation Fir­ August 8); fee: $2585 per 3-week session; $4985 for lege, Art Dept., 401 Rosemont Ave., Frederick ing" with Helen Burton and Liz Daly (June 24-30). full six weeks. "Wheel Time: Beginning and Interme- 21701-8575; telephone (301) 696-3456. "Altering Methods for Functional Potters" with Su­ Please turn to page 96

Ceramics Monthly April 2002 73 ceramics for use and ceramics as expression. Pre­ May 14 entry deadline call for entries liminary selection juried from 2 slides per entry; up Mableton, Georgia " 15th National Juried Art Exhi­ Application Deadlines for Exhibitions, Fairs, to 3 entries. Final selection juried from actual bition" (July 13-August 17), open to works in all works. Cash awards. Contact Office for Interna­ media. Juried from up to 3 slides. Entry fee: $25. Festivals and Sales tional Competition, Exhibition Dept., WOCEF, Cash awards. For prospectus, send SASE to South Icheon World Ceramic Center, Gwango-don San Cobb Arts Alliance, 5239 Floyd Rd., Mableton 69-1, Icheon, Gyeonggi-do, South Korea 467- 30126; or see website at www.artshow.com/ International Exhibitions 020; e-mail [email protected] ; see mablehouse. website www.ceramicbiennale.org or May 15 entry deadline June 30 entry deadline www.worldceramic.or.kr ; telephone (82) 31 631 Pueblo, Colorado "Downtown Art Project" (1 year), Stoke-on-Trent, England "Ceramics Futures 6512; or fax (82) 31 631 1614. open to outdoor, 3-dimensional work. Juried from Awards" (touring 2003), competition in three cat­ slides (with SASE). Awards: $1500 Award of Excel­ egories: designers/individuals, design students and United States Exhibitions lence and $500 People's Choice. Contact Sangre schools. Open to ceramic designs "where shape, deCristo Art Center, 210 N. Santa Fe Ave., Pueblo pattern, function and decoration combine to reflect April 5 entry deadline 81003; or telephone (719) 295-7216. solo living, informal eating and new cuisines"; Byesville, Ohio "Bowl O' Rama" (May 14-June 8), June 10 entry deadline winning designs will be prototyped and exhibited competition open to ceramic bowls. Juried from Manchester, Vermont "Asian Origins" (October in Spring 2003. Juried from maximum 4 A3 slides. Juror: Kirk Mangus, professor of ceram­ 4-November 24), open to Asian-inspired works foamboard plus 200-word description/detail; no ics, Kent State University. Fee: $15 for up to 2 in all media. Juried from 3 slides. Entry fee: $20. For product submissions. Contact Amanda Orchard, entries; $5 each additional slide. For prospectus/ prospectus, send SASE to Frog Hollow, National Ceramic Industry Forum, School of Art and Design, further information, send SASE to Bowl O' Rama, Show, PO Box 816, Manchester 05254; e-mail Staffordshire University, Stoke-on-Trent ST4 2XN; Laguna Clay Company, 61020 Leyshon Dr., [email protected] . e-mail [email protected] ; or see Byesville 43723; e-mail [email protected] or June 30 entry deadline website www.ceramicindustryforum.co.uk. [email protected] ; see website at Waterbury Center, Vermont "Emerging Artists" July 13 entry deadline www.lagunaclay.com . (October), open to ceramists who do not have Faenza, Italy "The 53rd International Competition April 10 entry deadline gallery representation. Juried from slides. For pro­ for Contemporary Ceramic Art" (May 24-Decem- Southport, North Carolina "22nd Annual July Na­ spectus, contact the Vermont Clay Studio, 2802 ber 31). Juried from 3 slides per entry; up to 3 tional Show" (July), open to 2- and 3-dimensional Waterbury-Stowe Rd., Waterbury Center 05677; entries. Awards: Premio Faenza, €26,000 (ap­ works. Juried from slides. Juror: Polly Hammett. e-mail vermontclaystudio.com; or telephone (802) proximately US$22,900), plus special mentions. Awards: $ 1000 best of show. For prospectus, send 244-1126. For further information, contact Museo SASE to Associated Artists of Southport, PO Box July 1 entry deadline Internazionale delle Ceramiche, Via Campidori 2, 10035, Southport 28461; or download prospec­ New Canaan, Connecticut "CRAFT USA 2002" 48018 Faenza; e-mail [email protected] ; see tus from www.arts-capefear.com/fsgallery . (November 17-December 22), open to all craft website www.micfaenza.org ; telephone (39) 546 April 15 entry deadline media. Juried from slides. Juror: Holly Hotchner, 697315 or (39) 546 697311; fax (39) 546 27141. Creedmoor, North Carolina " National Teapot Show director, American Craft Museum. Fee: $25. Cash January 13-February 7, 2003, entry deadline V" (June 15-September 15). Juried from slides awards. For prospectus, send SASE to CRAFT USA Icheon, South Korea "CEBIKO: The Second World (with SASE). No entry fee. Awards: minimum $3000 2002, Silvermine Guild Arts Center, 1037 Silvermine Ceramic Biennale 2003 Korea" (September 1- cash. Contact Cedar Creek Gallery, 1150 Fleming Rd., New Canaan 06840; or telephone (203) 966- October 30, 2003), open to works in 2 categories: Rd., Creedmoor 27522; telephone (919) 528-1041. 9700, ext. 26. Continued

Ceramics Monthly April 2002 74 call for entries

July 19 entry deadline Burlington, Vermont "Italian Connections" (Sep­ tember 20-November 3), open to works in all media inspired by Italy's culture, landscape, history and people. Juried from slides. For prospectus, send SASE to Frog Hollow, 85 Church St., Burlington 05401; e-mail [email protected] ; ortelephone (802) 863-6458. July 20 entry deadline Philadelphia (Manayunk), Pennsylvania "Flowing Vessels" (September 6-29), open to works in all media. Juried from slides. Entry fee: $20 for 2 entries. For prospectus, send SASE to Gardo's Gal­ lery, 4369 Cresson St., Philadelphia 19127; e-mail [email protected] ; ortelephone (215)483-1311. August 10 entry deadline Biloxi, Mississippi "George E. Ohr National Arts Challenge" (November 8-January 3, 2003). Juried from slides. Juror: Paul Soldner. Entry fee: $30. Awards: $4000 in cash prizes. For prospectus, contact the Ohr-O'Keefe Museum of Art, 136G. E. Ohr St., Biloxi 39530; e-mail [email protected] ; see website www.georgeohr.org ; telephone (228) 374-5547; or fax (228) 436-3641. September 1 entry deadline St. Charles, Illinois "Hidden Faces: An Exhibition of Masks" (October 21-November 16). Juried from slides. For prospectus, send SASE to the Fine Line

Creative Arts Center, 6N158 Crane Rd. # St. Charles 60175; or telephone (630) 584-9443.

Regional Exhibitions

June 15 entry deadline Dallas, Texas "Texas Mud" (November), open to clay artists who are current or former residents of Texas. Juried from 10 slides (with SASE), resume and brief artist's statement. Contact the Dallas Cen­ ter for Contemporary Art, Texas Mud, 201 Swiss Ave., Dallas 75204; telephone (214) 821-2522.

Fairs, Festivals and Sales

April 5 entry deadline Chautauqua, New York "Crafts Festivals 2002" (July 12-14 and/or August 9-11). Juried from 3 slides of work, plus 1 of booth. Entry fee: $ 15 per show. Booth fee: $225 per show. For prospectus, send business-size SASE to Devon Taylor, Festivals Director, Chautauqua Craft Alliance, PO Box 89, Mayville, NY 14757-0089. April 15 entry deadline Marion, Ohio "Celebrate Summer: Marion's Art and Music Festival" (June 22). Juried from 5 slides or photos (with SASE). Entry fee: $10. Booth fee: $30. Awards: over $1000. Contact Bronwen Babich, Chair, Celebrate Summer, 1465 Mt. Ver­ non Ave., Marion 43302-5695; e-mail [email protected] ; telephone (740) 389-6786, ext. 6341; or fax (614) 292-5817. May 15 entry deadline Centerville, Ohio "2002 Fine Arts Market" (July 21). Juried from 3 slides of work plus 1 of booth (with SASE). Entry fee: $5. Booth fee: $30. Contact Fine Arts Market, Asahel Wright Community Center, Centerville Arts Commission, 26 N. Main St., Centerville 45459; see website www.ci.centerville.oh.us ; telephone (937) 433-7155.

For a free listing, please submit information on juried exhibitions, fairs, festivals and sales at least four months before the event’s entry deadline (add one month for listings in July and two months for those in August). Regional exhibitions must be open to more than one state. Mail to Call for Entries, Ceramics Monthly, PO Box 6102, Westerville, OH 43086-6102; e-mail to [email protected] ; or fax to (614) 891-8960.

Ceramics Monthly April 2002 76 Ceramics Monthly April 2002 77 suggestions From Readers

Pillow Pads Here’s a way to recycle all those accumulated plastic grocery bags and loose packing materials, such as shredded paper and Styrofoam peanuts: Fill a plastic bag with the loose material and staple it shut. The resulting “pillow pads” are handy to throw in the bottom of boxes when shipping pottery, as well as keeping that loose stuff contained while you’re storing -Jeanneit.— Stolberg, Sitka, AK

Scraps In order to maximize kiln space, I make a series of small items, thrown quickly off the hump out of recycled clay and glazed with test recipes. They take little time and use free space in the kiln that would otherwise be empty. I also use the scraps leftover from slab work for cookie- cutter ornaments and wind chimes. I sold enough last year to pay for a new de-airing pugmill.— Susan Dimm-Fry, West Chatham, MA

Little Ribs I throw miniature pots and am always look­ ing for little tools that I can use for throwing, forming, etc. I recently discovered that plastic guitar picks make great ribs. They come in different thicknesses, which makes some of them pliable and others stiff. For taller pieces, they can be attached to a dowel or bamboo stick. Cut a slit in the dowel or stick and slip the pick into the cut.—Veena Raghavan, Falls Church, VA

Bucket Head All potters know that 5-gallon buckets are perfect storage containers for glazes. Many times, I have friends and relatives give me unwanted buckets. If lids are not available, I use shower caps, which provide a snug replacement. Shower caps are usually free toiletry items at hotelsl motels.—Debbie Mishurda, Indianapolis, IN

Getting Lippy Use a slim-line lipstick tube to cut holes in clay. It’s even self-cleaning. After several holes, just twist up and out pops the clay. No alter­ ations are necessary, as the tube is already cut on a slant.—Kathy Sandberg, Plymouth, MI

Share your ideas with others. Previously un­ published suggestions are welcome individu­ ally or in quantity. Ceramics Monthly will pay $10 for each one published. Include a drawing or photograph to illustrate your idea and we will add $10 to the payment. Mail to Ceramics Monthly, PO Box 6102, Westerville, OH 43086- 6102, e-mail to [email protected] or fax to (614) 891-8960.

Ceramics Monthly April 2002 78 Ceramics Monthly April 2002 79 will include a preconference workshop, international calendar ceramics exhibition, film festival. Contact Jingdezhen Events to Attend—Conferences, Sanbao Ceramic Art Institute, 14 Courtwright Rd., Etobicoke, Toronto, Ontario, Canada M9C 4B4; e-mail Exhibitions, Workshops, Fairs [email protected] ; see website at www.chinaclayart.com ; ortelephone (416) 695-3607. China, Jingdezhen July 26-28 "Porcelain Sympo­ Conferences sium and Invitational Exhibition" will include lectures, demonstrations, workshops, and tours of contempo­ California, Davis May 3-5 "CCACA 2002: The rary studios and ancient kiln sites. For further informa­ Ceramic Sculpture Conference," 13th annual Califor­ tion, contact Jingdezhen Sanbao Ceramic Art Institute, nia Conference for the Advancement of Ceramic Art, 14 Courtwright Rd., Etobicoke, Toronto, Ontario M9C will include presentations and demonstrations by Su­ 4B4 Canada; e-mail [email protected] ; see san Banks, Peter Callas, Jeffrey Downing, Beverly website www.chinaclayart.com ; or telephone (416) Mayeri, Lisa Reinertson and Richard Shaw, plus exhibi­ 695-3607. tions. Fee: $185; students, $135. Contact John Greece, Athens August 26-September 2 "Interna­ Natsoulas Gallery: e-mail [email protected] ; see tional Academy of Ceramics (IAC) 50th Anniversary website at www.natsoulas.com ; telephone (530) 756- General Assembly Meeting" will include lectures, 3938; or fax (530) 756-3961. demonstrations, exhibitions, plus 3-day Aegean cruise. D.C., Washington April 25-28 "Craft Weekend Open to members and nonmembers. Contact Kerameiki 2002" will include a panel of foreign-born artists Techni, PO Box 80653, 185 10 Piraeus, Athens; e-mail discussing their decision to resettle in the United States [email protected] ; telephone/fax (30) 1 932 5551. and the cultural influences on their art, plus live and Tibet, Lhasa June 7-9 "Tibetan Traditional Crafts silent auctions. Contact the James Renwick Alliance, Symposium" will include lectures and a survey tour of (301) 907-3888. craft studios. For further information, contact Minnesota, Minneapolis April 19-21 "2002 Jingdezhen Sanbao Ceramic Art Institute, 14 American Pottery Festival" will include workshops by Courtwright Rd., Etobicoke, Toronto, Ontario M9C Chris Baskin, Silvie Granatelli, Leah Leitson, Suze Lind­ 4B4 Canada; e-mail [email protected] ; see say, Ron Meyers and Michael Simon; plus sale of website www.chinaclayart.com ; or telephone (416) pottery by 24 artists. Contact the Northern Clay Cen­ 695-3607. ter, 2424 Franklin Ave., E, Minneapolis 55406; e-mail [email protected] ; see website at Solo Exhibitions www.northernclaycenter.org ; or telephone (612) 339-8007. Arizona, Scottsdale April 1-30 Brian Mackin; at September 18-21 "Tiles in the Twin Cities: The Gallery Materia, 4222 N. Marshall Way. Quintessence of Handicraft" will include lectures, dem­ Arizona, Tucson through May 2 Jenene Nagy, onstrations, workshops, exhibitions, tours, and festival mixed-media sculptures; at Metroform Limited, 27 and sale of historic and contemporary tiles. Telephone N. Stone. the Handmade Tile Association, (612) 781-6409. California, Palo Alto through April 28 "Big Idea: Ohio, Wooster July 25-28 "Precious Metal Clay The Maquettes of Robert Arneson"; at the Palo Alto Conference" will include large group presentations, Art Center, 1313 Newell Rd. small group seminars, exhibitions and technical pre­ California, Santa Barbara May 1-31 Jack N. Mohr, sentations. Fee: $240; PMC Guild members, $225. "Framed"; at Delphine Gallery, 1324 State St., Arling­ Lodging: $140, double; $180, single. Location: Col­ ton Plaza. lege of Wooster. For further information, contact PMC California, Santa Monica through April 13 Wouter Conference 2002, 4 Country Club Rd., Acton, MA Dam. April 20-May 18 Jennifer Lee. May 25-June 29 01720; or e-mail [email protected] . Phil Cornelius. David Regan; at Frank Lloyd Gallery, Virginia, Farmville June 19-21 Annual confer­ 2525 Michigan Ave., B5b. ence of the American Crafts Council—Southeast Re­ Idaho, Boise through June 30 Viola Frey, "Larger gion (ACCSE), will include panel discussions, tours, than Life," glazed figures; at the Boise Art Museum, presentations, and workshops by ceramists Sergei 670 Julia Davis Dr. Isupov and Ron Meyers. Session topics include creating Illinois, Chicago through April 7 Charles Jahn, websites, generating publicity, getting your work pub­ functional ware. Katherine Ross installation, "The lished in magazines, slide-show opportunity for par­ Nurse"; at Lill Street Art Center, 1021 W. Lill. ticipants, etc. (Can be scheduled with following "Arts Indiana, Ft. Wayne May 11-June8 Paul Wandless, Business Institute" conference.) Contact Mark Bald­ "Familiar Strangers," figurative sculpture and wall ridge, 1600 Otterdale Rd., Midlothian, VA 23114; pieces; at Charlie Cummings Clay Studio, 4130 S. e-mail [email protected] ; or telephone (804) Clinton St. 794-7235. Indiana, Indianapolis through April 28 Mark S. June 22-23 "2002 Arts Business Institute" will Richardson; at Indianapolis Art Center, 820 E. 67th St. include workshops, lectures and discussions with art­ Iowa, Iowa City through April 15 Victoria Chris­ ists and business professionals. (Can be scheduled ten, earthenware and porcelain. April 15-May30 Jane with above ACCSE conference.) Contact the Rosen Shellenbarger, new work; at AKAR Architecture and Group, 3000 Chestnut Ave., Ste. 300, Baltimore, MD Design, 4 S. Linn St. 21211; e-mail [email protected] ; or telephone (410) Kansas, Emporia through April 5 David DeMelo, 889-2933. Or contact John Iverson, 2229 Paseo de "Conceptual Clay"; at Eppink Gallery, King Hall, Em­ los Chamisos, Santa Fe, NM 87505; e-mail poria State University, 1200 Commercial St. [email protected] ; see website at Kansas, Leavenworth through April 19 Scott http://artsbusinessinstitute.org ; or telephone (505) Bennett, "GemAntics"; at Stacks Gallery, Carnegie 424-1261. Arts Center, 601 S. Fifth St. Canada, Ontario, Toronto May 26 Ceramic mod­ Kansas, Manhattan through April 7 Anna Calluori ernism symposium; speakers will include Wouter Dam, Holcombe; at Manhattan Arts Center, 1520 Poyntz Ave. Roseline Delisle, Ruth Duckworth, Steven Heinemann, Kansas, Prairie Village through April 28 Cathy Tony Hepburn, Ron Nagle, Gustavo Perez and Piet Broski, abstract figurative sculpture. Micheal Smith, Stockmans. Contact the Gardiner Museum of Ceramic thrown and altered fountains. Jim Estes, earth-inspired Art: e-mail [email protected] ; ortelephone forms; atthe VanDeusen Gallery, 6951 Tomahawk Rd. (416) 408-5060. Kansas, Topeka through April 21 Elaine Henry; at China, Guangdong Province, Foshan May 15- the Mulvane Art Museum, Washburn University, 1700 30 "2002 Foshan International Ceramics Conference" S.W. College. Continued

Ceramics Monthly April 2002 80 Ceramics Monthly April 2002 81 calendar

Massachusetts, Northampton April 4-May 5 Peter Karner; at P!nch, 179 Main St. Michigan, Detroit through April 13 M. Joe Smith. April 19-June 1 Eva Kwong; at Pewabic Pottery, 10125 E. Jefferson Ave. Minnesota, Minneapolis through April 13 Frank Steyaert, sculpture; at the Northern Clay Center, 2424 Franklin Ave., E. through April 18 Norman Holen retrospective; at the Alumni Gallery, Augsburg College, 2211 River­ side Ave. Missouri, Kansas City through April 7 Bean Finnerin; at the Kemper Museum of Contemporary Art, 4420 Warwick Blvd. through April 7 Staria Stine," Resurgence"; at Kelvin Gallery, 1317 Union Ave. through April 13 Jim Leedy; at Jim Leedy Studio, 217 W. 19th Terr. through April 30 Eddie Dominguez. Keisuke Mizuno; at Jan Weiner Gallery, 4800 Liberty St. Missouri, Sedalia through April 14 Betty Woodman, murals, diptychs and triptychs; at Daum Museum of Contemporary Art, 3201 W. 16th St. New Jersey, Surf City through April 29 Stephen Fabrico; at m.t. burton gallery, 1819 Long Beach Blvd. New Mexico, Santa Fe April 5-May 1 Betsy Will­ iams, "Ardent Spring," wood-fired forms; atTouching Stone Gallery, 539 Old Santa Fe Trail. May3-June 1 Gail Kendall; at Santa Fe Clay, 1615 Paseo de Peralta. New York, Brooklyn through April 15 Sally Resnick Rockriver, "Geochemical Formations"; at Rome Arts, 103 Havemeyer St. New York, New York April 2-May 4 John Byrd. Edward Eberle. May 7-June 1 Adrian Saxe; at Garth Clark Gallery, 24 W. 57th St. New York, Port Chester May 4-31 Jay Jensen, functional and sculptural pots; at the Clay Art Center, 40 Beech St. North Carolina, Asheville April 1-30 Virginia Scotchie, "Between Form and Function," sculpture; at Blue Spiral 1 Gallery, 38 Biltmore Ave. Oregon, Eugene May3-June 76 Rebecca Urlacher, handbuilt forms and vessels; at the Jacobs Gallery, 1 Eugene Center. Oregon, Portland through April 14 Gail Nichols, "Back in Port." April20-June2 Margaret Realica, new work; at Contemporary Crafts Gallery, 3934 S.W. Corbett Ave. Pennsylvania, Philadelphia April 3-28 Etta Winigrad, "Reflections in Clay"; at Muse Gallery, 60 N. Second St. May 3-19 Joan Menapace, painted clay sculpture with sound by Robert Berry; at Gardo's Gallery, 4369 Cresson St. Pennsylvania, Pittsburgh through May 1 Amy Hauber. May 3-June 19 Jack Troy; at the Clay Place, 5416 Walnut St. Virginia, Bridgewater through April 16 Steve Glazer, "Standing in My Shadow"; at Miller Gallery, Bridgewater College, 402 E. College St. Virginia, Herndon April 6-May 4 Laura Ross, pottery; at Earth and Fire Pottery, 775 Station St.

Group Ceramics Exhibitions

Arizona, Tempe through May 11 "Inaugural Exhi­ bition at the Center"; at the Ceramics Research Cen­ ter, ASU Art Museum, Nelson Fine Arts Center, Tenth St. and Mill Ave. California, Claremont through April 7 "Ceramic Annual 2002: 58th Scripps Ceramic Annual"; at Ruth Chandler Williamson Gallery, Scripps College, 11th and Columbia sts. California, Davis May 3-June 1 "Thirteenth An­

Ceramics Monthly April 2002 82 nual California Clay Competition"; at the Artery, 207 G St. California, Lincoln May 1-26 "Feats of Clay XV"; at Gladding McBean factory, Wed.-Sun., 9 A.M.- noon. Telephone (916) 645-9713 for reservations. California, Los Angeles May 18-August 25 "A Legacy in Clay," works by Juan Quezada and other contemporary potters of Mata Ortiz, plus pottery from Casas Grandes; at Arroyo Seco Park Community Cen­ ter, 5568 Via Marisol. California, Riverside April 1-26 "Plates '02"; at the Art Gallery, Riverside Community College, 4800 Magnolia Ave. California, Sacramento April 13-June 23 "Ce­ ramic National 2000," traveling exhibition of over 60 works; at the Crocker Art Museum, 216 O St. May2-June 1 "Approaches to Ceramic Art (there's a method to this madness)," with works by Steven Godfrey, Eileen Goldenberg, Arthur Gould, Richard Hotchkiss, Lola Logsdon, Jesse Martin, Todd Turek and Carol Wedemeyer; at exploding head gallery, 924 12th St. Colorado, Denver through April28 "China Meets the American Southwest: Pottery Designs and Tradi­ tions, " over 50 works; at the Denver Art Museum, 100 W. 14th Ave. Pkwy. D.C., Washington through October 27 "The Potter's Brush: The Kenzan Style in Japanese Ceram­ ics"; at the Freer Gallery of Art, Smithsonian American Art Museum, Jefferson Dr. at 12th St., SW. Florida, Melbourne May 25-July 21 Figurative sculpture by Cheryl Tall and abstract sculpture by Barbara Sorenson; at the Brevard Museum of Art and Science, 1463 Highland Ave. Florida, Miami through April 30 "52nd Annual Ceramic League of Miami Exhibition"; at Borders Art Gallery, 1601 S.W. First St. Florida, St. Petersburg through April 26 "Neces­ sary Objects: Functional Pottery National Juried Exhibi­ tion"; at the Arts Center, 719 Central Ave. Georgia, Roswell May3-7 "Works in Clay"; atthe Roswell Visual Arts Center, 10495 Woodstock Rd. Hawaii, Honolulu May2-September8 "Treasures from an Unknown Reign: Shunzhi Porcelain"; at the Honolulu Academy of Arts, 900 S. Beretania St. Indiana, Ft. Wayne April 6-May 4 "Three Wood- Fire Potters," Jeff Cline, Jon Hook and Eric Strader; at Charlie Cummings Clay Studio, 4130 S. Clinton St. Kansas, Baldwin through April30 "2002 Interna­ tional Orton Cone Box Show"; at Baker University, 618 Eighth St. Kansas, Lawrence through April 20 "Wood-Fired Ceramics" by Willem Gebben, Louise Harter, Sequoia Miller, Sam Taylor and Diana Thomas; at Silver Works and More, 715 Massachusetts St. through April30 "Elemental Expression," works by Joyce Furney, Glenda Taylor and Cathy Tisdale; at The Phoenix Gallery, 919 Massachusetts St. through May 19 "Contemporary Ceramics East and West"; at Spencer Museum of Art, University of Kan­ sas, 1301 Mississippi St. Kansas, Manhattan through April 7 "Out of Aca­ deme: Clay Artists Who Teach"; atthe Manhattan Arts Center, 1520 Poyntz Ave. Kansas, Overland Park through April 21 "Women in Industry in the 20th Century," Clarice Cliff, Susan Cooper and Charlotte Reed; at the Gallery at Village Shalom, 5500 W. 123rd St. through April 24 "Mata Ortiz: Opulent." "Collec­ tion Focus: JCCC Clay"; at Johnson County Commu­ nity College, 12345 College Blvd. Kansas, Topeka through April 21 "Hard Mud II: Clay from the Permanent Collection of the Topeka and Shawnee Public Library"; at Alice C. Sabatini Gallery, Topeka and Shawnee Public Library, 1515 W. 10th Ave. through April 21 "Hard Mud II: Clay from the Permanent Collection of the Topeka and Shawnee Public Library"; at the Mulvane Art Museum, Wash­ burn University, 1700 S.W. College Ave. Continued

Ceramics Monthly April 2002 83 Michigan, Detroit through April 13 "The Vase"; Natvik, Haico Nitzsche, Steve Reynolds, Richard Shaw, calendar at Pewabic Pottery, 10125 E. Jefferson. Victor Spinski, Oyvind Suul and Lillian Svendsrud; at Missouri, Kansas City through April 1 "Kansas Millennic Glass Gallery, 1901 Wyandotte St. City Meets Quebec," works by members of the Que­ through April 7 "Contemporary Studio Ceramics" Maryland, Baltimore April 6-27 "Possible Impossi­ bec Craft Council; at Webster House Galleries, 1644 by Ben Bates, Lynn Smiser Bowers, Susan Filley, Eliza­ bilities," works by Mary Cloonan and Giselle Hicks. May Wyandotte St. beth Lurie, Diane Kenney, Polly Ann Martin, Matthew 4-25 "Bonsai Insights: Collaborations Between Tree and through April 1 "Red Hot," works by David DeMelo Metz, Shannon Nelson, Jeff Noska, Linda Sikora, Container"; at Baltimore Clayworks, 5707 Smith Ave. and Kim Tucker with Tom Cobain; at Downtown Neon Micheal Smith and Marie Deborah Wald; at the Massachusetts, Boston through April28 "Draw­ Gallery, 1919 Wyandotte. Kemper Museum Shop, 4420 Warwick Blvd. ing on Clay Exhibition," with works by Michael Corney, through April 3 "NCECA2002 Invitational Exhibi­ through April 9 "Eight from Korea," Byung Jin Ahn, Charles W. Krafft and Beth Lo; at the Society of Arts tion: Material Speculations," clayworks by Mary Jo Chang Hyun Chin, Young Gi Choi, Jin Hyung Kang, and Crafts, 175 Newbury St. Bole, Sadashi Inuzuka, Walter McConnell, James Yun Gon Kim, Eun Sook Kwon, Gi Hi Min and Zoong Massachusetts, Lenox May 11-June 16 "Major Melchert, Jeanne Quinn, Annabeth Rosen, Deborah Jay Tack; at Leopold Gallery, 327 E. 55th St. Figures: Group Show of Figural Ceramics"; at Ferrin Sigel, Jamie Walker and Frances Whitehead; at the through April 13 Vessels and sculpture by 12 artists; Gallery, 56 Housatonic St. H8tR Block Artspace at the Kansas City Art Institute, at Dolphin Gallery, 1901 Baltimore Ave. Massachusetts, Worcester April 7 1-May 7 "In­ 16 E. 43rd St. through April 13 "Beyond 2001: Current and Former tent: Work from Electric-Fired Kilns"; at Worcester through April 7 "Transfer Imagery," works by Residents of the Archie Bray"; at the Cube at Beco, Center for Crafts, 25 Sagamore Rd. Susanne Fagermo, Joyce Jablonski, Ole Lislerud, Knut 1922 Baltimore Ave. through April 13 "NCECA 2002 Regional Student Juried Exhibition." "Prairie Fire." "Bendel with Friends," works by Don Bendel and 25 other artists; at Leedy- Voulkos Art Center, 2102 Baltimore Ave. through April 13 "Synthesis of Clay," works by Jennie Becker, Debra Fritts and Gary Erickson; at Blue Gallery, 7 W. 19th St. through April 15 "Ornamentia," works by Phillip Beasley, Larry Bush, George Mason, Dale Pereira and Annabeth Rosen; at the Framing Girl, 2009 Baltimore Ave, Studio B. through April 20 "Evidence," works by Christina Bothwell, Marek Cecula, Kim Dickey, Cary Esser, Marc Leuthold, Tony Marsh, Adelaide Paul and Xavier Toubes. "Gallery Artists"; at Sherry Leedy Contempo­ rary Art, 2004 Baltimore Ave. through April 26 "Friends, Colleagues, A Celebra­ tion of Work," works by 10 artists; at Morgan Gallery, 412 Delaware St., Ste. 1. through April30 "Cultural Visions Invitational Ves­ sel Exhibition," works by Geoff Bowen, Stephen Carter, Patsy Cox, Shakir Muwwakkil and Paul Andrew Wandless; at 18th Street Studio, 415 E. 18th St. through April30 "Shades of Clay," curated exhibi­ tion; at the American Jazz Museum, 1616 E. 18th St. through April30 "TRAX," site installations; at Union Station/Science City, 30 W. Pershing Rd. through May 23 "Confrontational Clay," curated exhibition. "Male-Female," works by David Furman and Linda Lighton. "NewTerritory," curated show; at Belger Art District, 2100 Walnut St. Missouri, Sedalia through June 1 "Sculptural Clay Invitational," 30 artists from Arkansas, Iowa, Kansas, Missouri, Nebraska and Oklahoma. "Museum Ceramic Collection"; at Daum Museum of Contemporary Art, 3201 W. 16th St. New Hampshire, Concord May 17-July 7 "Six Clay Artists," works by Elaine Alt, Kim Bernard, Chris Gryder, Kathy Hanson, Lee Sticeand Gerry Williams; at Mill Brook Gallery and Sculpture Garden, 236 Hopkin- ton Rd. New Jersey, Newark through December 29 "El­ egy in White: The Karen McCready Collection of White Porcelain"; at the Newark Museum, 49 Washington St. New Mexico, Las Cruces April 5-May 4 "From the Ground Up XXI"; at the Branigan Cultural Center, Museum of Fine Art, 500 N. Water St. New Mexico, Santa Fe through April 27 Works by Mary Engle and Andy Nasisse; at Santa Fe Clay, 1615 Paseo de Peralta. New York, New York May 23-June 15 "Annual GHP Members' Exhibition"; at Jane Hartsook Gallery, Greenwich House Pottery, 16 Jones St. New York, Pelham through April 27 Ceramics by Syd Carpenter, Jeffrey Mongrain, Judy Moonelis, Sylvia Nagy and Rena Pelig, plus works by members of the Hungarian Association of Ceramic Artists; atthe Pelham Art Center, 155 Fifth Ave. New York, Syracuse May 1-June 75 "Shaped Clay 2002," juried national high-school ceramic art exhibi­ tion; at the Everson Museum of Art, 401 Harrison St.

Ceramics Monthly April 2002 84 Ohio, Dayton May 28-June 28 "Dayton Clay: A D.C., Washington May 5-October 6 "An Ameri­ Illinois, Galesburg through April 13 "GALEX 36," Ceramics Invitational"; at the Dayton Visual Arts Cen­ can Vision: Henry Francis du Pont's Winterthur Mu­ juried national; at the Galesburg Civic Art Center, 114 ter, 40 W. Fourth St. seum, " over 300 works of art and craft; at the National E. Main St. Ohio, Kent May 15-June 8 "Second Annual Na­ Gallery of Art, Fourth St. at Constitution Ave. Kansas, Overland Park April 14-June 1 "Under tional Juried Cup Show"; at Gallery 138, 138 E. Main. Florida, Ft. Walton Beach May20-June 14 "10th the Chuppah: Celebrating the Jewish Wedding"; at Ohio, Wooster through April 12 "Functional Ce­ Annual Southeast Regional Juried Fine Arts Exhibi­ the Kansas City Jewish Museum, 5500 W. 123rd St. ramics 2002," invitational with works by 20 potters; at tion"; at the Arts and Design Society, 17 First St., SE. Kansas, Pittsburg April 17-May 8 "Plain Arts IV the Wayne Center for the Arts, 237 S. Walnut St. Florida, St. Petersburg through April20 "Gimme International Juried Exhibition"; at Harry Krug Gallery, Ohio, Youngstown through April 14 "A Ceramic Shelter," 50 wooden house forms embellished by Pittsburg State University. Continuum: Fifty Years of the Archie Bray Influence"; artists working in clay, glass, wood, etc.; at the Florida Kansas, Topeka through April 1 "Topeka Compe­ at the Butler Institute of American Art, 524 Wick Ave. Craftsmen Gallery, 501 Central Ave. tition 24"; at Alice C. Sabatini Gallery, Topeka Shawnee Oregon, Grants Pass April 2-26 "Pottery and Florida, Winter Park through January 5, 2003 County Public Library, 1515 S.W. 10th St. Poetry," functional ware and sculpture; at the Grants "Art Nouveau in Europe and America: From the Morse Kansas, Wichita through April 3 "Art Show atthe Pass Museum of Art, 229 S.W. G St. Collection"; at the Charles Hosmer Morse Museum of Dog Show" (partial show); at the Foyer Gallery, Cen­ Oregon, Portland April 18-June 2 "Oregon Pot­ American Art, 445 N. Park Ave. tury II Convention Center. ters Association Invitational"; at Contemporary Crafts Illinois, Chicago April 7-May 19 "13th Annual April 5-7 "Art Show at the Dog Show"; at the Gallery, 3934 S.W. Corbett Ave. Teapot Show: On the Road Again"; at Chiaroscuro Sunflower Cluster Dog Shows, Kansas Coliseum. Pennsylvania, Lancaster through May 12 "4x10: Galleries, 700 N. Michigan Ave. Maryland, Baltimore April 6-27 "National Invita- Ceramic Sculpture Exhibition"; at the Phillips Mu­ seum of Art, Franklin and Marshall College, 700 College Ave. April 26-May 27 "10th Annual Strictly Functional Pottery National"; in the Atrium of the Southern Market Center. Pennsylvania, Philadelphia through April 28 "Ital­ ian Renaissance Ceramics: The Howard I. and Janet H. Stein Collection"; at the Philadelphia Museum of Art, Benjamin Franklin Pkwy. at 26th St. Texas, San Angelo April 18-28 "Attachments 2002," Texas Clay Arts Association Members' exhibi­ tion; at the Quartermaster Bldg., Fort Concho Mu­ seum, 630 S. Oakes. April 18-June 23 "The Fourteenth San Angelo National Ceramic Competition"; at the San Angelo Museum of Fine Arts, 1 Love St. Texas, San Antonio through May 4 "Big Head: Figurative Clay"; at Russell Hill Rogers Gallery, South­ west School of Art and Craft, 300 Augusta. Utah, Blanding through June "Transcending Boundaries; The Potters of Mata Ortiz," over 90 works; at the Edge of the Cedars State Park Museum, 660 W. 400 North. Vermont, Waterbury Center May 2-31 Wood- fired, thrown and altered vessels by Robert Compton and Kevin Crowe; at the Vermont Clay Studio, Rte. 100/2802 Waterbury-Stowe Rd. Wyoming, Buffalo April 12-June 7 Leah Hardy, sculptural earthenware, and Shannon Williams, func­ tional soda-fired stoneware; at Margo's Pottery and Fine Crafts, 1 N. Main. Wyoming, Cheyenne through April 6 "Tiles in America," juried exhibition; at Esther and John Clay Fine Arts Gallery, Laramie County Community College, 1400 E. College Dr.

Ceramics in Multimedia Exhibitions

Arizona, Phoenix through April 7 "Secret World of the Forbidden City: Splendors from China's Impe­ rial Palace"; at the Phoenix Art Museum, 1625 N. Central Ave. Arizona, Tucson through May 5 Two-person exhi­ bition including ceramics by Gene Gnida; at Obsidian Gallery, St. Philips Plaza, Ste. 90,4340 N. Campbell Ave. California, La Jolla through June 30 "African Art: The Pulse of a Continent"; at the Mingei International Museum, Balboa Park, Plaza de Panama. California, Palm Springs through April 7 "33rd Annual National Juried Exhibition"; at Palm Springs Desert Museum, 101 Museum Dr. California, San Francisco May 3-30 "California Design 2002," furniture and decorative objects by 100 artists; at 600 Townsend, 600 Townsend. California, Stanford May 10-August4 "Uncom­ mon Legacies: Native American Art from the Peabody Essex Museum"; at the Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Lomita Dr. and Museum Way.

Ceramics Monthly April 2002 85 calendar Fairs, Festivals and Sales D.C., Washington April 25-28 "20th Annual Smithsonian Craft Show"; at the National Building tional Clay and Polymer Jewelry Exhibition and Sale"; Museum, 401 F St., NW. at Baltimore Clayworks, 5707 Smith Ave. Georgia, Acworth April 27-28 "Acworth Beach Massachusetts, Amherst through April 21 "Casa ArtFaire Spring Festival of Art"; at Acworth Beach. Manana: The Morrow Collection of Mexican Popular Georgia, Atlanta April 20-21 "ParkFest 2002: Arts," approximately 75 works in clay, fiber and lac­ Artist Market"; at Centennial Olympic Park, 265 quer; at the Mead Art Museum, Amherst College. Luckie St. Massachusetts, Cambridge May 3-June 24 "Na­ Illinois, Chicago April 26-28 "ACC Craft Show tional Prize Show"; at the Cambridge Art Association, Chicago"; at Navy Pier. 25 Lowell St. Indiana, Indianapolis May 11-12 "Broad Ripple Minnesota, Minneapolis May 6-June 75 Installa­ Art Fair"; at the Indianapolis Art Center and the North tion by Rebecca Hutchinson and mixed-media sculp­ Side Optimist Opti-Park. ture by Judy Onofrio; at the Northern Clay Center, Iowa, West Des Moines May 19 "Historic Valley 2424 Franklin Ave., E. Junctional Art Market"; in the Historic Valley Junction Missouri, Kansas City April 12-July 7 "Eternal shopping district. Egypt: Masterworks of Ancient Art from the British Kentucky, Berea May 17-19 "2002 Spring Fair"; Museum"; at the Nelson-Atkins Museum of Art, 4525 at the Indian Fort Theater. Oak St. Massachusetts, Boston May 16-19 "CRAFT- Missouri, Springfield through August 1 "Fifth BOSTON"; at the Hynes Convention Center, Back Bay. Annual Juried Outdoor Sculpture Competition"; at the Minnesota, St. Paul April 12-14 "ACC Craft Show Open Air Sculpture Gallery, Federal Historic District. St. Paul"; at the Touchstone Energy Place at River- Montana, Kalispell April 11-May 24 "Abbrescia/ Centre, downtown. Abbrescia," exhibition including ceramics by Sue Missouri, Hannibal May 25-26 "River Arts Festi­ Abbrescia; at the Hockaday Museum of Art, 302 val"; along Main St. Second Ave., E. New Jersey, New Brunswick April 27 "28th An­ New York, New York through April 14 "View­ nual New Jersey Folk Festival Juried Craft Market"; on points: New Perspectives on the Mr. and Mrs. John D. the Douglass Campus of Rutgers-the State University. Rockefeller Collection of the Asia Society"; at the Asia New Mexico, Albuquerque May 10-12 "May Society, 725 Park Ave. Festival of Fine Arts"; at Winrock Center, I-40 and North Carolina, Asheville through April 28 Louisiana Blvd. "Haywood Community College Graduates." May 4- New York, New Rochelle May3-5 "Spring Crafts September29 "Celebrating Scotland's Crafts"; at the Festival"; at Library Green, 1 Library Plaza, Lawton St. Folk Art Center, Milepost 382 of the Blue Ridge Pkwy. New York, New York April 5-7 "Spring Crafts North Carolina, Charlotte May 4-July 28 Park Avenue"; at the Seventh Regiment Armory, 67th "American Modernism, 1925-1940: Design for a and Park Ave. New Age"; at the Mint Museum of Craft + Design, May 18-20 "New York International Tribal An­ 220 N. Tryon. tiques Show"; at the Seventh Regiment Armory, Park May 18-July 14 "The Allure of East Asia"; at the Ave. at 67th St. Mint Museum of Art, 2730 Randolph Rd. New York, Tarrytown May 17-19 "'Spring' Crafts North Carolina, Wilmington April 5-May 3 at Lyndhurst"; at Lyndhurst Estate, 635 S. Broadway. "Vessels that Pour"; at Gallery Mia Tyson, 271 N. North Carolina, Asheville June 1 "Clay Day"; at Front St. Folk Art Center of the Southern Highland Craft Guild, Ohio, Athens through April 21 "Art on View Milepost 382 on Blue Ridge Pkwy. 2002"; at the Dairy Barn Cultural Arts Center, 8000 Oregon, Portland May 3-5 "Ceramic Showcase Dairy Ln. 2002"; at the Oregon Convention Center, Exhibit Hall Ohio, Cincinnati through June 2 "Egypt in the Age A, 777 N.E. Martin Luther King Jr. Blvd. of the Pyramids: Highlights from the Harvard Univer- Pennsylvania, Philadelphia April 19-21 "Eighth sity-Museum of Fine Arts, Boston, Expedition"; at the Annual Philadelphia Furniture and Furnishings Show"; Cincinnati Art Museum, 953 Eden Park Dr. atthe Pennsylvania Convention Center, 1101 Arch St. Ohio, Columbus through April 7 "Shared Inspira­ Pennsylvania, Richboro May 18-19 "Spring Craft tion: Work by Artists in Education"; at the Riffe Gal­ Celebration"; at Tyler State Park. lery, Vern Riffe Center for Government and the Arts, State and High sts. Workshops May 5-June 23 "The Best of 2002"; at the Ohio Craft Museum, 1665 W. Fifth Ave. Arkansas, Mountain View May 18-27 "Building Oklahoma, Tulsa through April 7 "A Personal and Firing a Wood-Fired Groundhog Kiln" with Lowell Journey: Central African Art from the Lawrence Baker. Participants may bring bisqued objects in Cone Gussman Collection"; atthe Philbrook Museum of Art, 10 clay and favorite glazes. Fee: $175. Living accom­ 2727 S. Rockford Rd. modations available. For further information, contact Oregon, Portland through August 1 "Represent­ Kay Thomas, Ozark Folk Center, PO Box 500, Moun­ ing the Functional"; at Contemporary Crafts Gallery, tain View 72560; e-mail [email protected] ; or 3934 S.W. Corbett Ave. telephone (870) 269-3851. Pennsylvania, Wayne May 3-23 "2002 National California, Penryn April 12-15 "Kilnbuilding and Spring Open Juried Exhibition"; at Ethel Sergeant Raku Workshop" with Rodney Mott, Terry Shepard Clark Smith Gallery, Wayne Art Center, 413 Maple­ and Paul Soldner. Participants must bring bisqueware wood Ave. and any special glazes. Fee: $100, includes potluck Rhode Island, Providence through April 21 dinner. For further information, contact the Penryn "Vases"; at Peck Gallery, 424 Wickenden St. Workshop, 1394 Orange Hill Ln., Penryn 95663; or Virginia, Alexandria through April 28 "The Freed telephone (916) 663-2815. Bead: An Exhibition of Contemporary Work in California, Sacramento May 16 Slide lecture on Beads"; at Target Gallery, Torpedo Factory Art Cen­ firing his 6-chamber noborigama with Richard ter, 105 N. Union St. Hotchkiss. For further information, contact exploding Wisconsin, Milwaukee through April28 "Empire head gallery, 924 12th St., Sacramento 95814; or of the Sultans: Ottoman Art from the Khalili Collec­ telephone (916) 442-8424. tion"; at the Milwaukee Art Museum, 750 N. Lincoln California, San Jacinto April 13 "The Lidded Box Memorial Dr. and Jar: Raku Fired" with Scott Young. Fee: $45;

Ceramics Monthly April 2002 86 Ceramics Monthly April 2002 87 Heart, Into the Kiln," lecture and workshop with Kevin calendar Crowe. Fee: $145; lecture is free. May 20-24 and 28- SI "Ceramic Wheel." Fee: $635. Contact Joyce Michaud, Ceramics Program, Hood College, Art Dept., members, $40. Contact Mt. San Jacinto College/Fine 401 RosemontAve., Frederick 21701-8575; see website Art Gallery, 1499 N. State St., San Jacinto 92583. at www.hood.edu/artdept/ceramics ; telephone (301) California, San Jose April 21 "Neriage Work­ 696-3456; or fax (301) 696-3531. shop" with Lou Miller. Fee; $80; members, $70; in­ Massachusetts, Somerville April 7 "Parent and cludes materials. Location: ClayMaker, 1240 N. 13th Child Workshop: Bring in the Spring Handbuilding." St. Sponsored by the Orchard Valley Ceramic Arts Fee: $35/pair. Contact Mudflat, 149 Broadway, Guild. E-mail [email protected] ; ortelephone Irene Somerville 02145; see website at www.mudflat.org ; Jenkins (408) 739-9435. telephone (617) 628-0589; or fax (617) 628-2082. Colorado, Pueblo May 6-10 or 20-24 "Not 'ei­ Massachusetts, Stockbridge April 6 "Pinching ther, or' but 'and' Wheel Work Plus Extrusions" with Functional Forms" with Barbara Walch. Fee: $110, Tom Latka. All skill levels. Fee: $525, includes complete includes materials. April 13 "Cone 6 Electric Kiln access to studio, lodging and copy of Latka's Ceramic Glazes" with Jeff Zamek. Fee: $95. May 18 "Cut, Dart, Extruding. For further information, contact Tom Latka, Miter: Techniques for Altering Slabs and Cylinders" International School of the Studio Extruder, 229 Mid­ with Barbara Knutson. Fee: $110, includes materials. way, Pueblo 81004; e-mail [email protected] ; see website For further information, contact IS 183 (formerly www.ceramicsite.com. Interlaken School of Art), PO Box 1400, Stockbridge Connecticut, Avon April 20-21 "Painting with 01262; see website at www.IS183.org ; or telephone Fire to Achieve Luster and Crackle Glazes via the Raku (413) 298-5252. Firing Process" with Penelope Fleming. Participants Massachusetts, Williamsburg April 19-21 "Be­ must bring 10 bisqued pieces. All skill levels. Fee: $190; ginner Wheel Throwing" with Bob Green. May 17-19 members, $170; includes all glazes and firing. Contact "Earthenware: Tzedakah Boxes, or Banks by Any Name" Tammy DeGray, Registrar, Farmington Valley Arts Cen­ with Emmett Leader. Contact Snow Farm: The New ter, 25 Arts Center Ln., Avon Park North, Avon 06001; England Craft Program, 5 Clary Rd., Williamsburg e-mail [email protected] ; telephone (860) 678- 01096; e-mail [email protected] ; see website 1867, ext. 101; or fax (860) 674-1877. www.snowfarm.com ; telephone (413) 268-3101; or Connecticut, Danbury April 6-7 "Figure It Out fax (413) 268-3163. Fragments" with Janice Mauro. Fee: $210; members, Massachusetts, Worcester April 6-7 "Pots and $200. April 13-14 "Pitchers, Drinking Vessels and Function" with Randy Johnston. Contact Worcester Mugs" with Brian Murphy. Fee: $175; members, $165. Center for Crafts, 25 Sagamore Rd., Worcester 01605; April 20-21 "What a Relief" with Janice Mauro. Fee: e-mail [email protected] ; see website at $210; members, $200. Contact Wooster Community Art www.worcestercraftcenter.org ; telephone (508) 753- Center, 73 Miry Brook Rd., Danbury 06810; see website SI 83; or fax (508) 797-5626. www.wcaconline.com ; telephone (203) 744-4825. Michigan, Kalamazoo April 12-19 Loading and Connecticut, East Granby April 27 "Tools, Tex­ firing a 600-cubic-foot anagama with Jack Troy. Par­ tures and Tips for Handbuilding" with Ginny August. ticipants bring 50-60 cubic feet of bisqueware. Fee: Fee: $50. Preregisration required. E-mail $370. E-mail Paul Flickinger [email protected] ; or tele­ [email protected] ; see website phone (616) 349-7775, ext. 3182. www.expressionspottery.com ; or telephone (860) Minnesota, Luverne April 26-28 "Raku Refire 844-0138. Madness IX" with Steven Branfman. Participantsshould Connecticut, Guilford April 5-7 "Bowl Work­ bring bisqued raku ware. Fee: $100; meals: $10. shop" with Malcolm Davis at the Guilford Handcraft Contact Jerry Deuschle, 1012 N. Cedar, Luverne 56156; Center. For further information, see website at or telephone (507) 283-8477. www.handcraftcenter.org ; telephone (203) 453-5947. Minnesota, Minneapolis April 12-16 "Wood- Indiana, Ft. Wayne April 20 "Where Do We Go Fire Workshop: A Suitable Fire," glazing, loading and with What We Know?" with Jack Troy. Fee: $60; firing work with Chris Baskin. Fee: $280; members, students, $40; includes lunch. Contact Charlie $265. May 16-19 "Wood-Fire Workshop: Clay, Hand Cummings Clay Studio, 4130 S. Clinton St., Ft. Wayne and Fire" with Greg Crowe, Neil Hoffmann and Sandy 46806; e-mail [email protected] ; see website Lockwood, glazing, loading and firing work. Fee: $320; www.claylink.com ; or telephone (260) 458-9160. members, $300. Contact the Northern Clay Center, Louisiana, Thibodaux April 11 Large-scale pot­ 2424 Franklin Ave., E, Minneapolis 55406; e-mail tery made from molds with Bill Kremer. April 12 [email protected] ; see website Large-scale thrown forms with Don Reitz. Free. www.northerndaycenter.org ; telephone (612) 339- Contact Dept, of Art, Nicholls State University, (985) 8007; or fax (612) 339-0592. 448-4597. Mississippi, Biloxi May 6-10 "Seventh Annual Maine, Deer Isle May 16-19 Weekend crafts work­ Horn Island Experience" with Robert Long and Kim shops, including "Significant Objects," sessions on Whitt. Fee: $425. For further information, contact the handbuilding ceramic sculpture with David East. Loca­ Ohr-O'Keefe Museum of Art, 136 G. E. Ohr St., Biloxi tion: Haystack Mountain School of Crafts. For further 39530; e-mail [email protected] ; telephone (228) information, telephone Maine Crafts Association at 374-5547; or fax (228) 436-3641. (207) 780-1807; e-mail [email protected] ; or see Montana, Helena May 13-24 "Anagama Firing" website www.mainecrafts.org . with Chuck Hindes and Dean Adams. Participants Maine, Portland April 13 "Thrown and Assembled should bring 4 to 6 cubic feet of bisqued forms. Fee: Forms" with Lucy Breslin. May 11 "Colored Clay in $550, includes glazes and firing. Contact Josh DeWeese, Porcelain" with Karen Orsillo. Fee/session: $40. For Resident Director, Archie Bray Foundation for the further information, contact Portland Pottery: e-mail Ceramic Arts, 2915 Country Club Ave., Helena 59602; portlandpottery.com; or telephone (207) 772-4334. e-mail [email protected] ; see website at Maryland, Annapolis April 27-28 Fiber kiln con­ www.archiebray.org ; telephone (406) 443-3502; or struction with John Fulwood. Fee: $50; Pottery Guild fax (406) 443-0934. of Annapolis members, $40. Contact Paul or Donna, New Jersey, Jersey City May 3-5 "Hand and Hummer Pottery, (410) 721-7575. Mind: East/West Dialogue in Ceramic Art Pottery" with Maryland, Baltimore May 4-5 "Making Bonsai Malcolm Wright. Fee: $150. Contact the New York/ Containers" with Mike Hagedorn. Contact Baltimore New Jersey Academy of Ceramic Art, 279 Pine St., Clayworks, 5707 Smith Ave., Baltimore 21209; or Jersey City 07304; or telephone (201) 432-9315. telephone (410) 578-1919. New Jersey, Layton May 17-19 "Pouring Pots: Maryland, Frederick April 26-28 "Out of the Alternative Techniques" with Sam Chung. Fee: $294,

Ceramics Monthly April 2002 88 Ceramics Monthly April 2002 89 calendar

includes lab fee. May 24-28 "Printing and Drawing with Clay: A Sculptor's Approach" with Margaret Boozer. Fee: $445, includes lab fee. Contact Peters Valley Craft Center, 19 Kuhn Rd., Layton 07851; see website www.pvcrafts.org ; telephone (973) 948-5200; or fax (973) 948-0011. New Jersey, Lodi April 27 "Throwing for Size and SurfaceTooling" with David MacDonald. May4 "Hand­ made Tiles" with Frank Giorgini. Contact the Clay Education Center at Ceramic Supply of New York and New Jersey, 7 Rte. 46, W, Lodi 07644; or, for reserva­ tions, telephone (800) 723-7264. New Mexico, Espanola April28-29 "Glaze Work­ shop" with Ian Currie. Fee: $145, includes lunch. E-mail Jeff Lawrence at [email protected] ; or see Ian Currie's website at http://ian.currie.to . New Mexico, Santa Fe April 12-14 Demonstra­ tion with Joe Bennion. Fee: $100. Contact Art+Clay Studio, 1804 Espinacitas, Santa Fe 87505; telephone (505) 989-4278. May6-8 "Raku Kilnbuilding Workshop" with Mario Quilles, build your own 24x26-inch fiber kiln. Instruc­ tion in English, Italian and Spanish. All skill levels. Fee: $425, includes materials and firing. Burner and ship­ ping are extra fees. Contact Mario Quilles, A.I.R. Studioworks, 3825 Hwy. 14, TheTurquoiseTrail, Santa Fe 87508; e-mail [email protected] ; or telephone (505) 438-7224. New Mexico, Taos April 27-28 "Modern Mosaic" with Aliah Sage. Fee: $205, includes materials. May 6- 10 "Raku-Fired Ceramics" with Hollis Hansen. Fee: $445, includes materials. Contact Taos Institute of Arts, 108 Civic Plaza Dr., Taos 87571; see website www.tiataos.com ; or telephone (505) 758-2793. New York, New York April 5-7 or May 3-5 "PMCConnection Certification to Teach." Fee: $450, includes tools, silver to complete 8 required projects and firing. April 6-7 or May 4-5 "Techniques in Precious Metal Clay." Fee: $250, includes materials, tools and firing. For further information, contact Vera Lightstone, 347 W. 39th St., New York 10018; e-mail [email protected] ; seewebsite www.silverday.com; or telephone (212) 947-6879. May 17-19 "Teapots and Other Pots That Pour," hands-on workshop with Susan Beecher, focusing on form and function; participants should bring a pot for discussion. Fee: $180. Contact Chambers Pottery, 153 Chambers St., New York 10007; or telephone (212) 619-7302. New York, Port Chester April 20-21 "Animals, Animals and More Animals" with Joe Bova. Fee: $150. May 19 "Basic Glaze Formulation and Application and How to Handle Raw Ceramic Materials Safely" with Jeff Zamek. Fee: $75. Contact Clay Art Center, 40 Beech St., Port Chester 10573; or telephone (914) 937-2047. New York, Utica April 13-14 Glaze workshop with Ian Currie. Fee: $95, includes lunch. Contact School of Art, Munson-Williams-Proctor Arts Institute, 310 Genesee St., Utica 13502; e-mail [email protected] ; or telephone (315) 797-8260. New York, White Plains April 12 "Exploring Handbuilt Cups," hands-on workshop with Harriet Ross. May 8 "Hands-On Texture" with Allison McGowan. Fee per session: $40; students, $25. Con­ tact the Westchester Art Workshop, Westchester County Center, 196 Central Ave., White Plains 10606; or telephone (914) 684-0094. North Carolina, Asheville April 5 "Precious Metal Clay Workshop" with Kathy Van Kleeck. Fee: $60. May 17-19 A session with Richard Notkin. Fee: $175. Contact Cynthia Lee, Odyssey Center for Ceramic Arts, 236 Clingman Ave., Asheville 28801; e-mail [email protected] ; or telephone (828) 285-0210; or fax (828) 253-3853.

Ceramics Monthly April 2002 90 North Carolina, Bailey May 11-12 "Individual­ ity—In Clay" with Rudy Autio, John Balistreri, Kathy Koop, Don Reitz and Paul Soldner. Fee: $270, includes meals. E-mail Finch Pottery at [email protected] ; see website http://danfinch.com; or telephone (252) 235-4664. North Carolina, Brasstown April 7-13 "From the Wheel to the Table" with Ron Philbeck. April 21-27 "Clay—Nature as Art" with Kaaren Stoner. May 5-11 "Fundamentals of Function" with Martha Sullivan. Fee/session: $312. Contact Mary Ward, John C. Campbell Folk School, 1 Folk School Rd., Brasstown 28902; e-mail [email protected] ; see website at www.folkschool.org ; telephone (800) 365-5724 or (828) 837-2775; or fax (828) 837-8637. Ohio, Wooster April 10-13 "Functional Ceramics Workshop," will include demonstrations by Mark Bell, Kevin Crowe and Julia Galloway, plus slide lectures, panels, and exhibition. Fee: $165; students, $90; in­ cludes 4 meals and color exhibition catalog. Telephone Phyllis Blair Clark, (330) 345-7576. Pennsylvania, Philadelphia April 4 Lecture with Robert Winokur. Fee: $5. April 21-22 Demonstration on throwing with Kris Nelson. Fee: $175; Clay Studio members, $160. Contact the Clay Studio, 139 N. Second St., Philadelphia 19106; telephone (215) 925- 3453; or fax (215) 925-7774. Wednesdays, through June "Vision Through Art," one-day sculpture workshop for blind and visually impaired adults with Robert Fluhr. Fee: $80, includes lunch. Location: Allens Lane Art Center. Contact Rob­ ert Fluhr, (215) 849-4319. Texas, Austin April 27-28 "Accidental Beauty" with Lisa Orr. Fee: $135. Contact ClayWays Pottery Studio and Gallery, 5442 Burnett Rd, Austin 78756; see website www.clayways.com ; or telephone (512) 459-6445. Texas, Del Rio April 12-13 Lecture, slide presenta­ tion and demonstration with James Watkins. Fee: $50; members, $40. Contact Maria A. Sorola, Casa de la Cultura, PO Box 756, Del Rio 78841; e-mail [email protected] ; or telephone (830) 774-8742. Texas, Ingram May 4-5 "Majolica—The Layered Look" with Pam Studstill. Fee: $95, includes materials and lab fee. Registration due April 4. Contact the Hill Country Arts Foundation, 507 Hwy. 39, Ingram 78025; e-mail [email protected] ; telephone (800) 459-HCAF or (830) 367-5120. Vermont, Waterbury Center April 22-26 Kids vacation pottery camp for ages 7-12. See the Vermont Clay Studio's website www.vermontclaystudio.com ; or telephone (802) 244-1126, ext. 41. Virginia, Alexandria April 27 "Decorating and Forming Techniques" with Judy Kogod Colwell. Fee: $65. All skill levels. Contact the Art League School, 305 Madison St., Alexandria 22314; or telephone (703) 683-2323. Virginia, Arlington April 26-28 "Paper Clay" with Rosette Gault. May 18 "Silk-screen Printmaking on Clay" with Jackie Kierans. Contact Lee Arts Center, 5722 Lee Hwy., Arlington 22207; e-mail [email protected] ; or telephone (703) 228-0558 or 228-0560. Virginia, Martinsville April 13 "Clay Monoprints" with Mitch Lyons. Fee: $50; nonmembers, $38; in­ cludes supplies and lunch. Contact the Piedmont Arts Association, 215 Starling Ave., Martinsville 24112; or telephone (276) 632-3221.

International Events

Australia, Shepparton through April 28 "The Sidney Myer Fund International Ceramics Award"; at the Shepparton Art Gallery, Eastbank Centre, 70 Welsford St. Belgium, Brasschaat (near Antwerp) April 20- 21 Workshop with Lou Smet, building and firing a paper kiln that can be used several times. Participants may bring ware for bisque and low-temperature glaze

Ceramics Monthly April 2002 91 workshop with Deborah Baynes. All skill levels. Fee: calendar £230 (approximately US$325), includes materials, firing, lodging and meals. May 12-25 "Salt-Glaze Work­ shop" with Deborah Baynes. Intermediate through firings. E-mail [email protected] ; ortelephone professional. Fee: £690 (approximately US$975), in­ (32) 36 33 05 89. cludes materials, firing, lodging and meals. For further April 25-May 12 Exhibition of ceramics by Tjok information, contact Deborah Baynes Pottery Studio, Dessauvage, Anne Mortier, Monique Muylaert, Herman Nether Hall, Shotley, Ipswich, Suffolk 1P9 1PW; e-mail Muys, Jeanne Opgenhaffen and Anima Roos; at the [email protected] ; see website Cultural Centre, Gemeentepark 10. www.potterycourses.net ; telephone (44) 1473 788 May 12 "International Ceramic Fair" over 80 par­ 300; or fax (44) 1473 787 055. ticipants; at the Central Parc. England, London through May 11 Chun Liao, Belgium, Gent through May 4 Patty Wouters, porcelain; at Barrett Marsden Gallery, 17-18 Great murals and vessels; at VDK-gallery, Hovenierstraat 6. Sutton St., Clerkenwell. Canada, British Columbia, Victoria April 13-14 England, Norwich May 4-June 30 "The Jerwood "Porcelain and Shino: Mastering the Materials" with Applied Arts Prize," ceramics by Felicity Aylieff, Alison Malcolm Davis. Fee: Can$ 115 (approximately US$75), Britton, Lubna Chowdhary, Edmund de Waal, James includes lunch. Contact Meira Mathison, Metchosin Evans, Elizabeth Fritsch, Walter Keeler, Carol McNicoll, International Summer School of the Arts, L. B. Pearson Nicholas Rena; at the Norwich Castle Museum. College, 650 Pearson College Dr., Victoria V9C 4H7; England, Sherborne April 13-May 11 Two-per- e-mail [email protected] ; see website at son exhibition including ceramics by Gabriele Koch; at www.missa.ca; telephone (800) 667-3122 or (250) Alpha House Gallery, South St. 391-2420; or fax (250) 391-2412. France, Lyon through May22 "Le Calife, le Prince, May 25-26 "Fired Up! Contemporary Works in et le Potier"; at Musee des Beaux-Arts de Lyon, 20, Clay," exhibition and sale of works by 14 Canadian place des Terreaux. potters plus ceramics by 4 graduate students of Emily Germany, Wiesbaden May 24-26 "West African Carr Art College; at the Metchosin Community Hall, Pottery" with Manuela and Silvia Casselmann. Fee: 4401 William Head Rd. €120 (approximately US$105), includes materials, elec­ Canada, Ontario, Burlington through April 5 tric firing and 2 West African meals. Extra fee for firing " From the Vaults—Almost Useless," selected ceramics in mud kiln. Instruction in English and German. All skill from the permanent collection, through June 30 "Re­ levels. For further information, contact Manuela cent Acquisitions 2001," exhibition of ceramics do­ Casselmann, Biebricher Allee 138, D-65187 Wiesbaden; nated in 2001; at the Burlington Art Centre, 1333 e-mail [email protected]; telephone (49) 611 Lakeshore Rd. 843 650. Canada, Ontario, Dundas May3-5" Potters' Guild Italy, Tuscany April 27-May 4 "Mosaics: Ancient of Hamilton Spring Sale," works by 75 artists; at the Art Form/Contemporary Applications" with Elizabeth Dundas Community Centre, King and Market sts. MacDonald. Contact Horizons to Go, PO Box 2206, Canada, Ontario, Haliburton May 6-10 "Pot­ Amherst, MA01004; e-mail [email protected] ; tery—Beginners" with Barbara Joy Peel. Fee: telephone (413) 549-2900; fax (413) 549-5995. Can$275.84 (approximately US$175), includes some Japan, Tokyo May 1-24 Pottery by Mark Hewitt; at materials, firing and lab fee. Contact Shelley Schell, Yufuku, Minami Aoyama, Minatoku. Haliburton School of the Arts, Box 839, Haliburton Korea, Osan and Suwon May 10-19 "The Fifth K0M 1S0; e-mail [email protected] ; telephone Annual Macsabal International Wood-Fire Festival (705) 457-1680; or fax (705) 457-2255. 2002 "will include workshops, wood firing, exhibition Canada, Ontario, Oakville May 21-25 "On Fire" and museum tours. Fee: US$300, includes materials, with Tony Clennell. May 27-31 "Surface Enrichment" lodging, meals and admission to museums. For further with Ron Meyers; or "Ceramic Decoration: Historical information, e-mail [email protected] ; see website Context, Contemporary Practice" with Walter Ostrom. www.macsabal.org ; telephone Kim Yong Moon (82) Skill requirements vary. Fee/session: Can$482 (ap­ 31 374 1336; or fax (82) 31 374 1774. proximately US$305). Sponsored by Sheridan College. Netherlands, Amsterdam through April 30 Exhi­ For further information, contact Sylvia Lee, 1430 Trafal­ bition of ceramics by Kayoko Hoshino; at Galerie Carla gar Rd., Oakville L6H 2L1; e-mail [email protected] ; Koch, Prinsengracht 510. see website www.sheridanc.on.ca/academic/arts/ through April 30 Satoru Hoshino; at Galerie de craftsdesign/workshops/; telephone (905) 845-9430, Witte Voet, Kerkstraat 135. ext. 2602; or fax (905) 815-4131. Netherlands, Delft through April 13 Hans de Canada, Ontario, Toronto through April 28 Jong, new works, through May 4 Duncan Ross, saw­ "The Wheel Project," 300 wheels made by various dust-fired vessels. April 20-June 1 Evelyn van Baarda, artists. May 23-September 2 "Ceramic Modernism: ceramics with gold and luster glazes. May 11-June 22 Lucie Rie, Hans Coper and Their Legacy"; at the Esther Stasse, cast forms; at Terra Keramiek, Gardiner Museum of Ceramic Art, 111 Queen's Park. Nieuwstraat 7. Denmark, Skaelskor May 10-11 Workshop on Netherlands, Deventer through April 24 Corinne photographing ceramic work with Ole Akh 0j. Fee: Potier and Vincent Potier. April 28-May 26 Claude DKr 700 (approximately US$80). May 25 "The Ob­ Champy and Nani Champy; at Loes and Reinier, Korte ject," workshop with Barbro Aberg. Fee: DKr 350 Assenstraat 15. (approximately US$40), includes lunch. For most work­ Netherlands, Eefde through April 25 Murals and shops, student fees are half price. Contact vessels by Patty Wouters; at Artterre, Zutphenseweg 42. Guldagerg^rd, Heilmannsvej 31 A, 4230 Skaelsk0 r; Switzerland, Geneva through May 12 "The Unex­ e-mail [email protected]; telephone (58) 19 00 16. pected—Les Inattendus: Collection Museum het England, Bath through April 6 Ray Silverman, new Kruithuis de Bois-le-Duc"; at Musee Ariana, Avenue de works. April 15-May 11 Alasdairand Sally MacDonell, la Paix 10. ceramic masks and figures; at Beaux Arts-Bath, 12/13 York St. For a free listing, submit announcements of confer­ England, Bideford through April 28 "The ences, exhibitions, workshops and juried fairs at Jerwood Applied Arts Prize," ceramics by Felicity least two months before the month of opening. Add Aylieff, Alison Britton, Lubna Chowdhary, Edmund one month for listings in July; two months for those in de Waal, James Evans, Elizabeth Fritsch, Walter August. Mail to Calendar, Ceramics Monthly, Keeler, Carol McNicoll and Nicholas Rena; at Burton PO Box 6102, Westerville, OH 43086-6102; e-mail Art Gallery and Museum. to [email protected] ; or fax to (614) England, Ipswich May 3-6 Intensive throwing 891-8960.

Ceramics Monthly April 2002 92 Ceramics Monthly April 2002 93 questions Answered by the CM Technical Staff

Q Is there any liquid that will dissolve or remove the tiny particles that remain on the surface of a glossy or matt glaze after a sawdust firing? I am able to remove these tiny speckles of black with an abrasive tool, but it leaves scratches on the surface. It seems as though I have tried everything from nail polish remover to gaso­ line, but to no avail.—G.S. This problem is a result of particles of carbon trapped in the surface of your glazes. I duplicated this surface and tried a number of chemicals, including wood-stove-glass cleaner, with little or no success. As you indicate, removing the particles with an abrasive is not satisfactory. The only way to resolve the problem is to not allow the carbonizing material to touch a softened or fluid glaze. My guess is that your glaze is very high in boron and, as a result, has a low softening temperature. You might consider finding a glaze that melts two cones higher and satisfies your needs for color and texture. This could then be refired to get the pit- fired effect. The surface and color of the glaze would be maintained, and the carbon particles would not stick to the glaze surface. It is not necessary for sawdust to actually touch your work. One thing you must remember is the colors you are achieving in sawdust firing are a result of gasifying the sawdust, then partially burning the sawdust gas. The coloration on the surface is a result of very hot smoke depositing itself in and on your work during the gasifying process. The best method of preventing the carbon particles from bonding to the glaze is to physically separate the sawdust from the glazed surfaces. This can be done by placing the glazed work in a saggar. You might wish to place a small amount of sawdust or other carbonizing material in the bottom of the saggar with the work. If the saggar is perforated, the smoke from the burning sawdust will adequately smoke your work. I have used metal cans and large steel canning colanders for this purpose. These metal containers will easily withstand the temperatures of sawdust firing, and may be used repeatedly. You can purchase unused cans at most paint stores. Another advantage of using a steel saggar is that the work is heated less rapidly and is, therefore, subjected to less thermal shocking. W. Lowell Baker The University of Alabama Tuscaloosa, AL

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 answered personally. Mail to Ceramics Monthly, PO Box 6102, Westerville, OH 43086- 6102, e-mail to [email protected] or fax to (614) 891-8960.

Ceramics Monthly April 2002 94 Ceramics Monthly April 2002 95 summer workshops (June 15-26); fee: $550, includes materials, lodging materials, firing and lunches. "Living on the Edge: and meals. Instructor: David Porter. All skill levels. Raku" with Robert Piepenburg (June24-28). "On the Continued from page 73 Contact the Raven Center for the Arts, Rte. 3, PO Box Surface: Decorating and Glazing Techniques" with 180, Ellsinore 63937; e-mail [email protected] ; Skeff Thomas (July 8-12). "Glaze Chemistry—Begin­ or telephone (573) 998-2611. ning to Advanced" with Paul Lewing (July 12-14); diate Ceramics" with Bob Green (August 17-19). fee: $215, includes materials, firing and lunches. Missouri, Kansas City "Firing and Decorating Techniques" with Bob Green "Form, Surface and Source" with Ted Vogel (July 15- (August 20-22). "Earthenware and Majolica: Terra- "Functional Stoneware/Single-Firing Workshop" with 20). "In Search of Shino" with Malcolm Davis (July Cotta Pottery" with Anita Griffith and Bob Parrott Steven Hill, assembling, spraying and dipping glazes, 22-27). "Clay and Culture, Nigerian Working Tradi­ (August 31-September 2). Fee (unless noted above): single firing in soda and reduction kilns, with focus on tions in Clay" with Winnie Owens-Hart (July 29- $260 plus lab fee. Living accommodations: $135. For pitchers and mugs (June 2-9) or focus on covered jars August 2). "Fast-Fire Pottree, Throwing and Firing further information, contact Snow Farm: The New (July28-August4); fee/session: $500, includes mate­ Techniques" with Randy Brodnax (August 5-9). England Craft Program, 5 Clary Rd., Williamsburg rials and firing. Intermediate/advanced. For further "Weekend Fast-Fire Pottree" with Randy Brodnax 01096; e-mail [email protected] ; see website information, contact Red Star Studios, 821 W. 17th (August 9-11); fee: $215, includes materials, firing www.snowfarm.org; telephone (413) 268-3101; or St., Kansas City 64108; e-mail [email protected] ; and lunches. Skill requirements vary. Fee (unless fax (413) 268-3163. see website www.redstarstudios.org ; or telephone noted above): $460, includes materials, firing and (816) 474-7316. Michigan, Saugatuck lunches. Lodging: $300/week. Contact Sheri Leigh, Sierra Nevada College, 999 Tahoe Blvd., Incline Vil­ "Ceramic Tiles: Majolica Glazes" with Carrie Ohm Montana, Helena lage 89451; e-mail [email protected] ; see (June 9-15); fee: $380, includes firing. "Wheel Throw­ "The Human Figure" with Patti Warashina, website www.sierranevada.edu/workshops ; tele­ ing" with Rob McClurg (June 23—July 6). "Ceramic handbuilding (June 7-9). "Revisiting Materials" with phone (800) 332-8666 or (775) 831 -1314, ext. 5039; Sculpture: Evocative Color, Provocative Form" with Bill Carty and John Gill, handbuilding, throwing and or fax (775) 832-1727. Eva Kwong (July 7-20). "Narrative Sculpture" with glaze materials (June 17-28, Mon.-Fri.); fee: $550, Jose Cobo-Calderon (July 21-August 3). "Nonfunc­ includes glaze and firing. "Tableware and Surface Nevada, Tuscarora Design" with Silvie Granatelli, throwing and decorat­ tional Vessels" with Paul Dresang (August 4-17). Fee Three 2-week sessions: first and third sessions on ing (July 12-14). All skill levels. Fee (unless noted (unless noted above): $863, includes firing. 24-hour throwing, raw glazing and single firing; second ses­ above): $ 175, includes clay (50 lb) and bisque firing. studio access. Academic credits available for extra sion open studio with faculty consultation (June 8- For further information, contact Josh DeWeese, Resi­ fee. Skill requirements vary. Contact Megan Powell, July 19); fee: $900/session, includes firing, lodging dent Director, Archie Bray Foundation for the Ce­ Ox-Bow, 37 S. Wabash, Chicago, IL 60603; e-mail ox- and meals; clay: $0.25 per lb. Instructors: Ben Parks, ramic Arts, 2915 Country Club Ave., Helena 59602; [email protected] ; telephone (800) 318-3019 or (312) Dennis Parks, Elaine Parks. All skill levels. Contact Ben e-mail [email protected] ; see website 899-7455; or fax (312) 899-1453. Parks, Tuscarora Retreat and Summer Pottery School, www.archiebray.org ; telephone (406) 443-3502; or PO Box 6, Tuscarora 89834; e-mail [email protected] ; Minnesota, Duluth fax (406) 443-0934. see website www.tuscarorapottery.com ; telephone "Handbuilding with Soul," with Thomas Kerrigan (775) 756-5526; or fax (775) 756-6598. (July 7-August 7, weekly, Sun.-Sat.); fee: $535 per Montana, Red Lodge week, includes materials and firing. Beginning through Handbuilding with Marcia Selsor(August 3-4). "Raku New Hampshire, Wilton in the Rockies" with Marcia Selsor, saggar firing, advanced. Contact Sherry Lee, Split Rock Arts Pro­ "Earth, Water and Fire," making and firing pots in a horse hair/feathers, raku firing (August 10-11). Skill gram—University of Minnesota, 360 Coffey Hall, 4-chamber noborigama with John Baymore (August requirements vary. Fee/session: $70, includes materi­ 1420 Eckles Ave., St. Paul, MN 55108; e-mail 16-25); fee: $410, includes materials and firing. als (and firing the second weekend). For further [email protected] ; see website www.cce.umn.edu/ Intermediate through professional. Contact John information, contact Jeannie Close Waggoner, Car­ splitrockarts/; telephone (612) 625-8100; or fax (612) Baymore, River Bend Pottery, 22 Riverbend Way, bon County Arts Guild, PO Box 585, Red Lodge 624-6210. Wilton 03086; e-mail [email protected] ; 59068; telephone (406) 446-1370. Minnesota, La Crescent telephone (800) 900-1110 or (603) 654-2752. Montana, near Whitehall "Wood-Fire Workshop" with Mike Knox and Joe New Jersey, Demarest Finding and processing clay, creating and firing works Pirog, participants should bring bisqueware (June "Shino: In Search of Carbon" with Malcolm Davis, using resources at hand, including bonfires and dig­ 10-16); fee: $250, includes clay, glazes, campsite. All testing, glazing, loading and firing a gas kiln; partici­ skill levels. Open to 10 artists. Application deadline: ging chambers in banks to use as kilns, with Michael Peed (July 15-20); fee: residents, $387; nonresi­ pants should bring Cone 10 porcelain/stoneware May 15. Contact Mike Knox, 2510 Chicken Ridge bisqued pots plus 24 self-standing test tiles (June 10- dents, $1140; includes materials and firing. All skill Rd., La Crescent 55947; telephone (507) 895-3370. 13); fee: $250. Advanced and professional. Contact levels. Contact Michael Peed, Montana State Univer- Lorraine Zaloom, Old Church Cultural Center School Mississippi, Jackson sity-Bozeman, 213 Haynes Hall, Bozeman, MT 59717; of Art, 561 Piermont Rd., Demarest 07627; e-mail "Tougaloo Art Colony," a raku workshop with Rob­ e-mail [email protected] ; telephone (406) 994- [email protected] ; telephone (201) 767- ert Reedy (July 26-August 2). Contact Tougaloo 4283; or fax (406) 994-3680. College: e-mail [email protected] ; see website 7160; or fax (201) 767-0497. Nevada, Incline Village www.Tougaloo.edu/home/art ; or telephone (601) New Jersey, Layton 977-7839. "Getting Started: Beginning Wheel Throwing" with Kathy Koop (June 10-14); fee: $400, includes mate­ "Mud Glorious Mud" with Sara Ostrov(May31-June Missouri, Ellsinore rials, firing and lunches. "Altering and Decorating 2); fee: $299, includes lab fee. "Wheel Throwing for Handbuilding, wheel throwing, slip decoration and Thrown Forms" with John Calver (June 17-21). the Hand and Mind" with Peg Malloy (June 7-11); raku firing (June 7-13); fee: $450, includes materials, "Working with the Flame: The Elusive Copper Matt" fee: $455, includes lab fee. "Handbuilding Func­ lodging and meals. "Wood Firing in the Ozarks" with Don Ellis (June 21-23); fee: $215, includes tional Pottery" with Gail Kendall (June 14-18). "Throwing Pots for the Anagama" with Frederick Olsen (June 21-25). "Firing the Anagama" with Frederick Olsen (June 26—July 2); fee: $585, includes lab fee. "Printing with Colored Clay" with Mitch Lyons (July 5-7); fee: $309, includes lab fee. "Shino Teabowls" with Malcolm Davis (July 12-16); fee: $455, includes lab fee. "Soda-Kiln Construction" with Lynn Munns (July 19-24); fee: $525, includes lab fee. "The Wheel-Thrown Plate" with David R. MacDonald (July 26-30); fee: $455, includes lab fee. "If Porcelain Were Meant to Do This" with Tom Coleman (August 2-9); fee: $600, includes lab fee. "A Personal Statement Using Slips on Porcelain for Painting, Carving and Decorating" with Linda Shusterman (August 16-20). "Open Studio: Wood Firing" with Bruce Dehnert (August 23-31); fee: $640, includes lab fee. Skill requirements vary. Fee (unless noted above): $450, includes lab fee. Contact Peters Valley Craft Center, 19 Kuhn Rd., Layton 07851; see website www.pvcrafts.org ; telephone (973) 948-5200; or fax (973) 948-0011.

New Jersey, Lodi Blackware, pueblo ground kiln and Anasazi trench kilns being fired during " Raku" with Stephen Jaskowak (June 8). Contact the a workshop with Vern Roberts at Coyote Arroyo Studios in Penrose, Colorado. Clay Education Center at Ceramic Supply, 7 Rte. 46,

Ceramics Monthly April 2002 96 w, Lodi 07644; telephone Steve or Joyce (800) 723- 7264; see website www.7ceramic.com .

New Jersey, Loveladies "Raku" with Randy Brodnax (June 3-7); fee: $215- $230, includes firing. "Basic Throwing and Altered Forms" with Collette Smith (June 10-14); fee: $ 120— $135. "Raku" with Ramon Camarillo (June 17-21); fee: $ 185—$200. "Thrown and Altered" with Susan Beecher (June 24-28); fee: $175-$ 185. "Low-Fire Thrown and Handbuilt" with Janice Strawder (July 8- 12); fee: $ 120—$ 135. "Saggar" with Judy Motzkin (July 15-19); fee: $275-$300. "Saggar" with Jimmy Clark (July 22-26); fee: $205-$225. "Handbuilt Sculp­ ture" with Allison McGowan (July 29-August 2); fee: $ 185-$200." Functional Stoneware" with Terry Gess (August 12-16); fee: $205—$225. "Anatomy of the Thrown Pot—Functional Stoneware" with Mike Carroll (August 19-23); fee: $185-$200. All fees include firing. All skill levels. Contact Pia Cooperman, Long Beach Island Foundation of the Arts and Sci­ ences, 120 Long Beach Blvd., Loveladies 08008; e-mail [email protected] ; telephone (609) 494- 1241; or fax (609) 494-0662.

New Jersey, Mt. Holly "ENGOBETWEEN," hands-on workshop with Barbara Hanselman, using engobes on greenware (June 22 and 29 or July 13 and 20); fee: $130, includes engobes, glazes and firing. Intermediate. "Raku Workshop" with Annie Smith, participants should bring 3-6 bisqued raku clay pieces no larger than 9x9x9 (June 29, July 27 or August 31); fee: $75, includes materials and firing. All skill levels. Contact A participant sorts tiles during a workshop Heart in Hand Pottery: e-mail [email protected] ; on glaze and color with Robin Hopper at seewebsite www.heartinhandpottery.com ; telephone Metchosin International Summer School (609) 518-7808; or fax (609) 518-7809. For engobe of the Arts in Victoria, British Columbia, Canada workshop, can also send SASE to ENGOBETWEEN, 1119 Warren Ave., Cherry Hill, NJ 08002; or tele­ phone Barbara Hanselman, (856) 354-9191. Jean-Pierre Larocque; instruction in English and French (July 29-August 2). "Accidental Beauty" with Lisa Orr New Mexico, Abiquiu (August 5-9). "Painting on Porcelain" with Kurt "Raku Kilnbuilding and Firing" with Earl Deaver and Weiser (August 12-16). Skill requirements vary. Fee/ Jim Kempes, handbuilding, throwing, glazing, and session: $465, includes materials and firing. For fur­ making and firing kilns (June 17-24). "Adventures ther information, contact Avra Leodas or Triesch with Crystalline Glazes" with Jim Kempes and Joe Voelker, Santa Fe Clay, 1615 Paseo de Peralta, Santa Mann (August 5-12). "Mesa Verde Black-on-White Fe 87501; e-mail [email protected] ; see website Pottery" with Clint Swink and Carol Taylor (August www.santafeday.com ; telephone (505) 984-1122; 12-19); fee: $750, includes materials. Skill require­ or fax (505) 984-1706. ments vary. Fee (unless noted above): $540, includes materials, firing, lodging and meals. Contact Ghost "Raku Kilnbuilding Workshop" with Mario Quilles, Ranch Conference Center, HC 77, Box 11, Abiquiu building and test firing a 24x26-foot fiber kiln (June 87510; or telephone (505) 685-4333. 17-19, July 22-24 or August 12-14); fee/session: $425, includes materials and firing. Burners and New Mexico, near Dixon shipping of kiln are extra costs. All skill levels. Instruc­ "Porcelain Bowl—The Arita Method" with Kathryne tion in English, Italian and Spanish. Contact Mario Cyman, using Japanese tools to throw porcelain, trim Quilles, A.I.R. Studioworks, 3825 Hwy. 14, The Tur- with a chuck, etc. (June 22); fee: $50, includes lunch. quoiseTrail, Santa Fe 87508; e-mail airstudio@santafe- "Traditional Japanese Tool Making for the Potter" newmexico.com; or telephone (505) 438-7224. with Betsy Williams (August 3); fee: $75, includes materials and lunch. Registration deadline for tool- "Clay Monotypes" with Mitch Lyons, printing with making workshop: July 20. For further information, clay (July 29-August 2); fee: $399. All skill levels. contact Enbi Studio, PO Box 518, Dixon 87527-0518; Contact College of Santa Fe/Printmaking Center, e-mail [email protected] ; or telephone (505) 689- 1600 St. Michael's Dr., Santa Fe 87505; or telephone 1009 or (505) 342-1279. (505) 473-6564.

New Mexico, Santa Fe New Mexico, Silver City "Functional Teapots" with Andrew Sanders (June 3- "Southwestern Pottery Workshop: Mimbres, Paquime 7). "Handles and Other Attachments" with Andrew and More..." with Mata Ortiz potters Juan Quezada, Sanders (July 13). "Traditional Micaceous Pottery" Daniel Gonzales and others, forming, refining, bur­ with Camilla Trujillo (August 5-10). "Wax-Resist nishing, painting and firing, plus children's workshop Techniques" with Polly Whitcomb (August 24). All (July 18-21); fee: $250; after May 15: $300. Instruc­ skill levels. Contact Art + Clay, 1804 Espinacitas St., tion in English and Spanish with interpreters. Begin­ Santa Fe 87505; see website www.artandclay.com ; ning through advanced. Contact Faye McCalmont, or telephone (505) 989-4278. Mimbres Region Arts Council, PO Box 1830, Silver City 88062; e-mail [email protected]; see website "Functional Pots: Form, Surface and Conversations" www.mrac.cc; telephone (888) 758-7289 or (505) with Matthew Metz and Linda Sikora (June 10-14). 538-2505; or fax (505) 538-2502. "Pouring Pots: Idea and Process" with Sam Chung (June 17-21). "Altered Pots" with Ellen Shankin "Experimental Processes in Clay Forming and Firing" (June 24-28). "Figurative Sculpture" with Sergei with Michael Kilgore, handbuilding and throwing, Isupov; instruction in English and Russian (July 1-5). plus raku, dung, salt and wood firings (July 15-31, "Surface Orgy" with George Bowes (July 8-12). Mon.-Fri., 8 A.M.-5 P.M.) Intermediate and ad­ "Handbuilding Functional Pots" with Gail Kendall vanced. For further information, contact Claude W. (July 15-19). "Animals, Animals, Animals" with Joe Smith, III, Professor of Art, Western New Mexico Bova (July 22-26). "Approaching the Figure" with University, PO Box 680, Silver City 88062; e-mail

Ceramics Monthly April 2002 97 New York, Alfred summer workshops "New Visions in Ceramic Art" led by Andrea Gill, will include: "The Decorated Vessel" with Andrea Gill, "Glaze and Clay Body Formulation" with William [email protected] ; telephone (505) 538-6501; Carty, "The Domestic Pot" with Michael Connelly, or fax (505) 538-6619. "The Narrative Figure" with Ovidio Gerberga (June 24—July 19). Contact Tammy Demick, Alfred School New Mexico, Taos of Art and Design Summer School: e-mail "The Creative Continuum: From Goddess, Myth and [email protected] ; telephone (607) 871-2412; or Legend to Self Empowerment" (June 7-10); fee: fax (607) 871-2490. $275, includes materials. "Raku Saturday" (June 15, July 20 or August 17); fee: $32.50, includes glazes New York, Clayton and firing for up to 3 bisqued forms. "Raku Mask Sessions on throwing, tile making, mosaics, precious Making" (June 23-29). "Fire in the Whole: The metal clay and children's ceramics (July and August). Building of a Raku Kiln" (June 27 and 30); fee: $325, Instructors: Ginger Dunlap-Dietz, Art Sennett and includes some materials and glazes, bisque firings; Sarah Smith. Beginning and intermediate. Contact burner and shipping are extra fees. "Majolica Tile Beth Conlon, The Handweaving Museum and Arts Painting" (July 13-14); fee: $55, includes bisque tiles, Center, 314 John St., Clayton 13624; e-mail glaze materials and firing. "Handbuilding/Sculpting" [email protected] ; see website www.hm-ac.org ; tele­ (July 28-August 3). "Kid's Clay Play" (August 4, 11, phone (315) 686-4123; or fax (315) 686-3459. 18 and 25); fee: $50, includes materials and firing. Instructors: Pamala S. Dean and Karen A. Fielding. New York, East Setauket Fee (unless noted above): $275, includes clay/glaze "Teapots: Function and Design" with Harriet Ross materials and firing. Contact Dragonfly Journeys, A (June 1-2); fee: $210, includes materials. For further Taos Art Retreat, PO Box 2539, Taos 87571; see information, contact Suzanne Clements, Hands On website www.TaosArtRetreat.com ; telephone (505) Clay, 128 Old Town Rd., E. Setauket 11733; or 751-3220; or fax (505) 751-0131. telephone (631) 751-0011. New York, Middlesex Production pottery, clay and glaze making, handbuilding, throwing, surface decoration and kiln loading; participants must be willing to share in the chores of the farming/craft community (beginning June). Beginning and intermediate. "Making Yixing Tree Teapots" with Yi Chiu Tseng (June 15-16 or 18- 19);fee: $175, includes materials, firing, lunchesand tea. Living accommodations: $50 per day. $100 deposit due by May 15. Contact Annie Schliffer, RFAG Pottery, 1445 Upper Hill Rd., Middlesex 14507; see website www.rfag.org; telephone (585) 554- 5463 or 554-3539.

New York, New York "Learning from Pueblo Pottery Traditions" with Lia Lynn Rosen (June 1-2); fee: $215, members, $200; includes materials. "Introduction to Porcelain" with Arthur Gerace (July 10-August 14, Wed. 10 A.M.-1 P.M.). "Korean Wheel Throwing" with Sang Joon Park (July 10-August 14, Wed. 6-9 P.M.). "Teapot Whimsy" with Manioucha Krishnamurti (July 11- August 15, Thurs. 2-5 P.M.). "Glaze Chemistry" with Sarah Emond (July 13-14); fee: $175, members, $160; includes materials. "Sensational Spriggs and Resist You Can't Resist" with Sara Emond (July 16- August 13, Tues. 6-9 P.M.). "Stretching Creativity" with Vera Lightstone (July 18-August 15, Thurs. 10 A.M.-1 P.M.); fee: $165, includes materials. "Con­ temporary Oribe" with Linda Casbon (July 20-21); fee: $215; members, $200; includes materials. "China Painting" with Linda Casbon (July 27-28); fee: Ellen Shankin texturing a form during a workshop $215; members, $200; includes materials. Skill at the Clay Art Center in Port Chester, New York. requirements vary. Fee (unless noted above): $210, includes materials. For further information, con­ "Micaceous Pottery" with Jeri Track (June 30—July 6); tact Ellen E. Day, Craft Students League/YWCANYC, fee: $435, includes materials. "Pueblo Pottery" with 610 Lexington Ave., New York 10022; e-mail Juanita DuBray (July 7-13); fee: $435, includes mate­ [email protected] ; telephone (212) 735-9804; or rials. "The Magic of Majolica: Decorating Earthen­ fax (212)223-6438. ware with Color" with Nausika Richardson (July 15-19); fee: $420, includes materials. "CreativeTiles" Three- and five-day hands-on workshops on with Aliah Sage (July 22-26); fee: $455, includes handbuilding, throwing, sculpture, with Barry Bartlett, materials. "Raku-Fired Ceramics" with Hollis Hansen Suze Lindsay, Jeffrey Mongrain, Richard Notkin, David (August 19-23); fee: $445, includes materials. Con­ Regan (June 29—July 31). Beginning through ad­ tact the Taos Institute of Arts, 108 Civic Plaza Dr., vanced. For further information, contact Greenwich Taos 87571; see website www.tiataos.com ; or tele­ House Pottery, 16 Jones St., New York 10014; see phone (505) 758-2793. website www.greenwichhousepottery.org ; or tele­ phone (212) 242-4106. Weekly sessions focusing on indigenous Native American pottery making, including digging for A session with Malcolm Davis (June 6-7). A session clay, handbuilding, yucca-brush painting, pit firing, with Eva Kwong (June 20-21). Location: 92nd Street etc., with the Lucy Lewis and Maria Martinez fami­ Y Art Center. To register, telephone (212) 415-5500. lies (July 8-August 10); fee: $435, includes mate­ For further information, telephone (212) 415-5562. rials. Living accommodations available. Beginning through advanced. For further information, con­ New York, Otego tact Ursula Beck, Taos Art School, PO Box 2588, "August Clay Workshop" on all aspects of pottery Taos 87571; e-mail [email protected] ; or telephone production, including making clay, handbuilding, (505) 758-0350. throwing, glazing, firing an 80-cubic-foot gas kiln,

Ceramics Monthly April 2002 98 and setting up an exhibition (July 29-August 11); fee: (August 5-9). Skill requirements vary. Fee (unless $760, includes materials and lunch on weekdays. noted above): $325 plus registration. For further "Raku Workshop," making raku clay, handbuilding, information, contact Cynthia Lee, Odyssey Center for throwing, glazing and firing (August 12-13 and 19- Ceramic Arts, 236 Clingman Ave., Asheville 28801; 20); fee: $145, includes materials and firing for 8 e-mail [email protected] ; telephone (828) pieces; extra works, $5 each. Instructor: Elizabeth 285-0210; or fax (828) 253-3853. Nields. All skill levels. Living accommodations avail­ able. Contact Elizabeth Nields Clay Workshop, 429 North Carolina, Brasstown Chicken Farm Rd., Otego 13825; or telephone (607) "ClayBasics" with BobOwens(May26-June 1). "Fire 783-2476. and Smoke—The Art of Raku" with Steven Forbes DeSoule (June 9-15). "Wild and Expressive Figurative New York, Port Chester "Ceramic Sculpture as a Canvas for Painting," dem­ onstration with Sergei Isupov (June 2); fee: $85. " Raku Opportunities," 1 -day session with Denis Licul; participants should bring 6-8 small bisqued forms (June 9, 23, July 28 or August 4); fee: $70. "Mold Making for Ceramic Artists" with Susan Barbehenn (June 11-12); fee: $120, includes materials. "Acces­ sories for Pots: Handles, Spouts and Lids" with Steve Lee (June 13-14); fee: $100. "Ancient Methods for Modern Times" with Jimmy Clark; participants should bring 2-3 medium-sized bisqued forms (July 13-14); fee: $150, includes materials and firing. "Sculpting the Figure in Clay" with Kelli Damron (July 20-21); fee: $100. "Alternative Methodology: Handbuilt Earthenware Pots" with Margaret Bohls (August 5- 9); fee: $300."Responding toTouch: Porcelain Pots— Thrown and Altered" with Leah Leitson (August 12-16); fee: $300. Skill requirements vary. Contact Susan Barbehenn, Clay Art Center, 40 Beech St., Port Chester 10573; e-mail [email protected] ; tele­ phone (914) 937-2047; or fax (914) 935-1205.

New York, Rosendale Jack Doherty and participants unloading the "Teapots Intensive" with Julia Galloway (June 22- soda-fired kiln during a workshop at his studio 23)."Handbuilding Large-Scale Sculpture" with in Ross-on-Wye, England. Rebecca Hutchinson (June 27-30)." Plasterday" with Ayumi Horie (July 19-21). "Line Into Form" with Clay Sculpture" with Barb Doll (June 16-22). "Useful Jeanne Quinn (August 2-4). "Altering Techniquesfor Pots with a Difference" with George Rector (June 30- Functional Potters" with Susan Beecher (August 9- July 6). "Wood Firing" with Darrell Adams (July 7- 11). Contact Women's Studio Workshop, PO Box 14); fee: $462. "Smoke, Fire and Color" with Susie 489, Rosendale 12472; see website Duncan (July 14-20). "Tile and Basics" with Marcia www.wsworkshop.org ; ortelephone(845)658-9133. Bugg (July 21-27). "Wood Firing" with Peter Rose (August 11-18); fee: $462. Skill requirements vary. New York, Staten Island Fee (unless noted above): $312. Contact Mary Ward, "Clay Camp" with Steve Nutt and the Friends of Fire John C. Campbell Folk School, 1 Folk School Rd., group (July 8-18); fee: $250, includes materials and Brasstown 28902; e-mail [email protected] ; firing. Contact External and Summer Programs, telephone (800) 365-5724 or (828) 837-2775; or fax Wagner College, 1 Campus Rd., Staten Island 10301; (828) 837-8637. e-mail [email protected] ; see website at www.wagner.edu/external/summerinst ; telephone North Carolina, Little Switzerland (718) 390-3221; or fax (718) 390-3118. One-week sessions on throwing, handbuilding, glaz­ ing, with an emphasis on raku-firing techniques, with New York, Woodstock Lynn Merhige (July); fee: $485, includes materials, "Decoration and Glazing for Soda Firing" with Chris firing, lodging and meals. Beginning through ad­ Baskin and McKenzie Smith; participants should bring vanced. Contact Continuing Studies and Special Pro­ 12-15 small/medium Cone 10 bisqued forms (June grams, Ringling School of Art and Design, 2700 N. 14-17); fee: $250; Woodstock Guild members, $200. Tamiami Trail, Sarasota, FL 34234; e-mail All skill levels. Limited to 12 participants. Contact the [email protected] ; telephone (941) 955-8866; or fax Woodstock Guild, 34 Tinker St., Woodstock 12498; (941) 955-8801. e-mail [email protected]; telephone (845) 679-2079; or fax (845) 679-4529. North Carolina, Penland "Collaborations" with Cynthia Bringle and Lana Wil­ "Raku Workshop" (June 16 or August 17). "Begin­ son; or "Gesture and Place" with Gina Bobrowski ning Mold Making" with Jack Mullen (June 22). and guest artist Triesch Voelker (May 26-June 7). "Fluidity in Clay," hands-on workshop with Jolyon "Functional Wood-Fired Pottery" with Linda Hofsted (July 13). All skill levels. Fee/session: $90, Christianson; or "Handbuilding with Porcelain" with includes materials (and firing in raku workshops). Paula Winokur(June9-21). "ServiceCeramics: Empty Contact Janet Hofsted, Maverick Art Center, 163 Bowls" with Lisa Blackburn, John Hartom, Gerry Maverick Rd., Woodstock 12498; e-mail Williams and guest artist Paulus Berensohn; or "Build­ [email protected] ; telephone (845) 679-9601. ing Forms" with Yih-Wen Kuo (June 23—July 5). " Photo-Graphic Imaging on Clay" with Mark Burleson; North Carolina, Asheville or "Color and Texture in Nature" with Keisuke Mizuno "Kilnbuilding Workshop" with Mark Tomzak (May (July 7-19). "Good Pots for Good Food" with Dan 28-June 2). "The Figure in Clay" with Louise Finnegan; or "Another Mile of Tile" with Carlos Alves Radochonski (June 3-7). "Functional Wheel and Slab (July 21-August 6); fee: $1387, includes meals and Work" with Judith Duff (June 10-14). "Thrown and dormitory accommodations. "Majolica Color Work­ Altered Pottery" with Mark Peters (June 17-21). shop" with Matthias Ostermann; or "Learning in the "Vesselsfor Pouring and Drinking" with Mark Shapiro Making" with James L. Tanner (August 11-23). "Mak­ (June 24-28). "Stoneware: Form and Surface" with ing Pottery" with Terry Gess; or "Crossing Bound­ Sarah Jaeger (July 8-12). "Sculptural Vessels" with aries: Sharing Spirits" with Yvonne Edwards-Tucker George McCauley (July 15-19). "Inspiration and (August 25-31); fee: $581, includes meals and dor­ Making" with Kathy Triplett and Lana Wilson (July mitory accommodations. Skill requirements vary. Fee 29-August 2); fee: $450 plus registration. (unless noted above): $1115, includes meals and "Handbuilding with Soul" with Thomas Kerrigan dormitory accommodations. Contact Registration,

Ceramics Monthly April 2002 99 Oregon, Corbett summer workshops Handbuilding, slab construction, staining on dry, textures from found objects with Barb Campbell (August 4-10). Handbuilding, terra sigillata, stencils, Penland School of Crafts, PO Box 37, Penland 28765; laminating, textures and raku with Janet Buskirk see website www.penland.org ; telephone (828) 765- (August 11-17). Fee/session: $575, includes most 2359; or fax (828) 765-7389. glazes, firing, lodging, meals. All skill levels. Contact John Kinyon, Creative Arts Community (Arts at Ohio, Cleveland Menucha), PO Box 4958, Portland, OR 97208; e-mail "Vases, Pots, Bulbs and Stems" with Gregg Pitts, [email protected] ; telephone (503) 760-5837. creating pottery forms for presentation of bulb and stem flowers (June 3-14). "The Function of Form" Pennsylvania, Farmington with Missy McCormick, translating conceptual Weekly and weekend sessions with Andrew Brayman, thoughts into functional form on and off the wheel Valda Cox, Kevin Crowe, Malcolm Davis, Judith Duff, (June 17-28). Fee/session: $720; for credit, $930; Peter Rose, Jack Troy, and Matt and Maureen West includes lab fee. For further information, contact Bill (Summer). Contact Touchstone Center for Crafts, Jean, The Cleveland Institute of Art, 11141 East Blvd., 1049 Wharton Furnace Rd., Farmington 15437; see Cleveland 44106; e-mail [email protected] ; tele­ website www.touchstonecrafts.com ; telephone (800) phone/fax (216) 421-7460. 721-0177 or (724) 329-1370.

Ohio, Oxford Tennessee, Gatiinburg "Beginning Wheel Throwing" with Ryan Fitzer (June "Decorating Within a Low-Fire Tradition" with Liz 10-14). "Expressive Figurative Handbuilding" with Quackenbush (June 3-7). "Function, Form, Compo­ Janis Mars Wunderlich (June 17-21). "Carved Tiles sitions in Clay" with Jane Dillon (June 10-14). "Two for the Wall" with JoAnn Schnabel (June 24-28). Views on Function" with Peter Beasecker and Suze "Cone Six Surface Decoration" with Kathy King (July Lindsay (June 17-21). "Porcelain Pots: At Play with 1-5). "Soda Firing with Porcelain" with Matt Long Color" with Susan Filley; or "Tempest in a Teacup: (July 8-12). Skill requirements vary. Fee: $408.75 for Telling Stories Through Functional Pots" with Matt Ohio undergraduate; additional fee for graduate Nolen (June 24—July 5); fee: $700. "Soft Pottery with credit or out of state. Contact Joyce Ponder, Bisque Molds" with Lisa Orr (July 8-12). "What CraftSummer, Miami University, Oxford 45056; see Makes a Good Teapot?" with Sam Chung; or website www.muohio.edu/craftsummer ; e-mail "Anagama: Form and Firing" with Brad Schwieger [email protected] ; telephone (513) 529- (July 15-26); fee: $700. "Sculptural Form and Func­ 7395; or fax (513) 529-1509. tion " with Don Herron (July 29-August 2)." Form and Inspiration" with Nick Joerling and Christina Schmigel Oregon, Baker City (August 5-9). Skill requirements vary. Fee (unless "Smoke-Fired Pottery Camp" with Maggie Carlson noted above): $325. Living accommodations avail­ and Mary Sue Rightmire, handbuilding, sawdust and able. Contact Arrowmont School of Arts and Crafts, saggar firing, smoking with resists (August 12-18); 556 Parkway, Gatiinburg 37738; e-mail fee: $400, includes materials, firing, campsite and [email protected] ; telephone (865) 436-5860; or some meals. College credit available for additional fax (865) 430-4101. $80. All skill levels. For further information, e-mail Maggie Carlson [email protected] ; ortele- Tennessee, Smithville phone(406) 556-8547. Ore-mail Mary Sue Rightmire "Utilitarian Pottery" with Ron Meyers (June 3-7); fee: [email protected] ; telephone (541) 523-1024. $260, includes firing. "Handbuilding: Tricks of the Trade" with Vince Pitelka (June 3-7); fee: $250, Oregon, Cave Junction includes bisque firing. "The Art of Throwing and "Clay Basics" with Stephanie Friedman (June 28—July Raku Firing" with Harry Hearne (June 10-14); fee: 1)." Hand-Carved Molded Tiles" with Margaret Kuhn $260, includes materials and firing. "Finishing Porce­ (July 8-14). "Working BIG: Making Sculptures With­ lain" with Jason Briggs (June 17-21); fee: $280, out an Armature" with Penelope Dews (July 18-21). includes glazes and firing. "Tile: Making, Decorating, "Raku: Glaze Color and Fire" with Jim Romberg (July Marketing" with Paul Lewing (June 24-28); fee: 27-28). "Slab, Surface and Glaze" with Stephanie $280, includes materials and firing. "Color and Line" Friedman (August 8-13). Contact Stephanie Fried­ with Rimas VisGirda (June 24-28); fee: $280, in­ man, Lost Dog Farm, 4701 Holland Loop Rd., Cave cludes firing. "Beyond Handles: Creative Extruder Junction 97523; e-mail [email protected] ; Use for Potters" with David Hendley (July 8-12); fee: or telephone (541) 592-6976. $280, includes materials and firing." From the Kitchen

Manuela Casselmann painting a vessel during a Kees Hoogendam demonstrates attaching a handle Mexican pottery workshop at her (and Silvia to a teapot during a workshop at his studio in Casselmann’s) studio in Wiesbaden, Germany. Oosterwolde, Netherlands.

Ceramics Monthly April 2002 100 to the Living Room," focusing on handles, special ration, Design and Surface Enrichment" with Robin details and embellishments with Sheila and Tony Hopper (August 24-25); fee: $175; members, $165. Clennell (July 15-19); fee: $280, includes materials Contact the Vermont Clay Studio, Rte. 100, 2802 and firing. "Sculptural Work Using Thrown and Waterbury-Stowe Rd., Waterbury Center 05677; Handbuilding Methods" with George McCauley (July e-mail [email protected] ; or telephone 22-26); fee: $260, includes firing. "Beginning to (802) 244-1126. Throw" with Dannon Rhudy (July 29-August 2); fee: $260, includes firing. Living accommodations: $265 Virginia, Alexandria for 5 nights and 15 meals. Contact Gail Dost, Appa­ "Altering Wheel-Thrown Porcelain" with Debra lachian Center for Crafts, 1560 Craft Center Dr., Swauger, demonstration of throwing, altering and Smithville 37166; e-mail [email protected] ; tele­ texturing porcelain forms, plus discussions on glaze phone (615) 597-6801; or fax (615) 597-6803. applications, and on marketing ideas for wholesale and retail shows (June 15); fee: $65. All skill levels. Texas, Albany Contact the Art League School, 305 Madison St., "Irreverent Raku" with Ted Adams, with emphasis on Alexandria 22314; telephone (703) 683-2323. handbuilding (May 31-June 2); fee: $250, includes meals and lodging. E-mail Stasney's Cook Ranch, Virginia, Appomattox [email protected] ; or telephone Debbe Hudman Wood firing in a 500-cubic-foot noborigama with (888) 762-2999. Kevin Crowe, Randy Edmonson and John Jessiman; participants must bring high-fire bisqued pots (June Texas, Dallas "The Art of Mosaics" with Sonia King (June 22-23). For further information, contact the Tile Heritage Foundation, PO Box 1850, Healdsburg, CA 95448; e-mail [email protected] ; telephone (707) 431 -8453; or fax (707) 431 -8455.

Texas, Farmers Branch "Multiples with Molds" with Stefan Chinov, making plaster molds for slip casting (June 3-17, weekdays 9 A.M.-5 P.M.); fee: $78 in Dallas County; $138 out of county; $228 out of state; includes some materials and firing (participants must supply own tools and clay). Intermediate through professional. Contact Stefan Chinov, Brookhaven College, Fine Arts, 3939 Valley View Ln., Farmers Branch 75244-4997; e-mail [email protected] ; telephone (972) 860-4710 or 860-4138. For registration information, telephone (972) 860-4883.

Texas, Ingram Jan Hawkins and Stan Welsh discussing clay head "Raku Workshop" with Billy Ray Mangham, constructions during a workshop at the Mendocino handbuilding sculptural forms, glazing and raku fir­ ing, plus building a small raku kiln (August 3-4 and Art Center in Mendocino, California. 10-11); fee: $285, includes materials and lab fee. All skill levels. Contact Hill Country Arts Foundation, 507 8-15); fee: $350, includes materials, firing, lodg­ Hwy. 39, Ingram 78025; e-mail [email protected] ; ing and meals. Intermediate through professional. telephone (800) 459-HCAF or (830) 367-5120. For further information, contact John Jessiman, Cub Creek Foundation, Rte. 1, Box483, Appomattox Vermont, Bradford 24522; [email protected] ; or telephone (434) Individualized instruction in traditional European 248-5074. throwing techniques with Bruce Murray (June 24- July 5, 8-19 or 22-Aug. 2). Beginning through ad­ Virginia, Gainesville vanced. Contact South Road Pottery, PO Box 960, "Build a Large Pot" with Winnie Owens-Hart, using Bradford 05033; e-mail [email protected] ; or a Nigerian handbuilding technique (June 22-23); fee: telephone (802) 222-5798. $120, includes clay. Demonstration of making, Vermont, Bristol using and printing on paper clay with Reginald Yazid Pointer (July 6); fee: $60. "Raku Workshop "Wood Firing and Salt Glazing in a Noborigama," and Firing" with Reginald Yazid Pointer, throwing participants must bring bisqued pots (June 28—July 1); fee: $560, includes materials, firing and meals. and glazing demonstration, plus raku firing; par­ "Throwing Giant Pots," emphasizing methods that ticipants must bring 2-3 bisqued raku pots (July 7); fee: $60, includes materials and firing. All skill do not require great strength (July 12-14). "Thrown levels. Contact Winnie Owens-Hart, ILE AMO Re­ and Altered Pots" (July 26-28)." Raku and Pit Firing," search Center, PO Box 361, Gainesville 20156; participants must bring bisqued pots (August 10-11); e-mail [email protected] ; or telephone (703) fee: $300, includes materials, firing and meals. In­ 754-1307. structor: Robert Compton. Intermediate. Fee (unless noted above): $420, includes materials and meals. Washington, Ferndale For further information, contact Robert Compton "Ancient Clay," handbuilding, terra sigillata, bur­ Pottery, 2662 N. 116 Rd., Bristol 05443; e-mail nishing, bonfire firing (July 22-26). "Intermediate [email protected] ; see website Throwing" (July 28-August 2). Instructor: Vince www.RobertComptonPottery.com ; or telephone Pitelka. Fee/session: $300, includes materials and (802) 453-3778. firing; clay is an extra charge. Skill requirements vary. Vermont, Jamaica Contact Michael McDowell, McDowell Studio/Farm, Six-day sessions using colored slips to create clay PO Box 4125, Bellingham, WA 98227; e-mail paintings and mosaics with Jerry Goldman (Summer); [email protected] ; or telephone (360) fee/session: $735, includes materials, firing, lodging 384-2543. and meals; or $435 without living accommodations. Washington, Seabeck Contact Jerry Goldman, 365 Edgewood Ave.,Teaneck, "The Magnificent Five Workshop" with Dean Adams, NJ 07666; e-mail [email protected] ; ortelephone Frank Boyden, Catharine Hiersoux, Chuck Hindes (201) 833-1007. After May 20, contact Jerry Goldman, and Don Reitz (June 21-23). Contact Washington 57 Goldman Ln., Jamaica, VT 05343; or telephone Potters Association/Seabeck Workshop Group, 1142 (802) 874-4848. Baby Doll Rd., E, Post Orchard, WA 98366; e-mail Vermont, Waterbury Center [email protected] ; see website "Brushwork, Decorating and Slip" with Miranda www.clayartcenter.com/wpa/workshop.html ; ortele­ Thomas (June 8); fee: $90; members, $85. "Deco­ phone (360) 871 -4788. Continued

Ceramics Monthly April 2002 101 includes 2 undergraduate credits; or $430, includes 2 summer workshops graduate credits. Contact Greg Miller, Mt. Mary College, 2900 N. Menomonee River Pkwy., Milwau­ kee 53222; e-mail [email protected] ; telephone Washington, Suquamish (414) 258-4810, ext. 233; or fax (414) 256-0182. "Altering and Decorating Thrown Forms," demon­ stration and slide presentation with John Calver (June Wisconsin, River Falls 15-16); fee: $120. "Portrait and Figure Sculpture "Wood Kiln Design and Construction" with Randy J. Workshop" with Eugene Daub (June 25-28); fee: Johnston and Donovan Palmquist (July 29-August 2); $375; plus material and model fees. "Portraiture and fee: $500. Intermediate. Contact Wendy Stocker, Figure Sculpture Workshop" two-week session with University of Wisconsin-River Falls, 136 Kleinpell Fine Chris Riccardo, clay and/or Plastilene modeling (July Arts, College of Arts and Sciences, 410 S. Third St., 15-19), readying pieces for bronzing with plaster River Falls 54022; e-mail [email protected] ; telephone molds, rubber mold making, wax pouring (July 22- (715) 425-3261; or fax (715) 425-3367. 26); fee/week: $300; plus material and model fees. Wisconsin, Waukesha County "Clay Monoprinting and Ideas in Figuration," dem­ "Kilnbuilding" with Jeffrey Noska, building and firing onstration, slide presentation and lecture with Arthur a 40-cubic-foot soda/salt kiln, plus demonstration of Gonzalez (August 17-18); fee: $ 130. Contact Brenda handbuilding, throwing, kiln design, and critiques of Beeley, PO Box 1339, Suquamish 98392-1339; e-mail student work (June 10-August 2, Mon-Wed., 9 [email protected]; telephone (360) 598-3688. A.M.-12:30 P.M.); fee: $371.45, includes clay, slips, Wisconsin, Drummond glazes and 3 university credits. Location: University of Handbuilding, throwing, high-fire salt glaze, raku Wisconsin-Waukesha Field Station. For further infor­ and pit firings with Randy J. Johnston (June 16-22)or mation, e-mail [email protected] ; to register, see Jan McKeachie-Johnston (June 23-29). Intermediate website www.waukesha.uwc.edu ; or telephone (262) 521-5210.

International Workshops

Belgium, Brasschaat (near Antwerp) Throwing with porcelain, plus decorating techniques, with Don Davis; or modeling portraits with Agnes Nagygyorgy (July 1-5). Making sculptures in soap­ stone with Agnes Nagygyorgy; or throwing big pots with Jan Winkels (August 24-25). Throwing with Marie-Josee Versmissen and Winny Weerts; or mod­ eling figures with Genevieve Hardy (August 26-27). For further information, contact Atelier Cirkel, Patty Wouters, Miksebaan 272, 2930 Brasschaat; e-mail [email protected] ; see website http:// users.pandora.be/atelier.cirkel; telephone/fax (32) 3 633 05 89.

Arthur Gonzalez and a participant discussing Canada, Alberta, Hythe sculpture techniques during a workshop at Haystack "Firing the Bishogama" with Steve Sauer, Al Tennant, Mountain School of Crafts in Deer Isle, Maine. and assistants Derek Clement, Ben Krupka and Ben Waterman (July 20-August 4); fee: Can$975 (ap­ and advanced. Contact Susan Zimmer, Program As­ proximately US$600), includes clay, glazes, 6-cubic- sistant, University of Wisconsin, River Falls, 410 S. foot kiln space, lodging and meals. Participants' work Third St., River Falls, Wl 54027; e-mail will be part of exhibition at Prairie Gallery in Alberta. [email protected]; see website www.uwrf.edu/ "Altering the Thrown Form" with Al Tennant, plus pigeonlake; telephone (715) 425-3348; or fax (715) Ben Krupka, Steve Sauer and Ben Waterman (July 29- 425-0657. 31); fee: Can$350 (approximately US$220), includes lunch. Contact Bibi Clement, BICWAsociety: e-mail Wisconsin, Fish Creek [email protected] ; or e-mail "Cup/Bowl/Mug" with Fred Herbst (June 10-11); [email protected] ; telephone (780) 356-2424; fee: $125. "The Vessel as Sculpture" with Fred Herbst or fax (780) 356-2225. (June 12-14); fee: $145. "Introduction to Raku" with Brian Fitzgerald (June 17-20, July 22-25 or August Canada, Alberta, near Sundre 19-22); fee: $240. "Beginning and Continuing Pot­ "Firing in the Foothills" with John Chalke, glazing, tery" with John Hansen (June 17—July 15 or July 22- loading and firing a 3-chamber wood/soda-fired climb­ August 19, Mon., 7-9:30P.M.);fee: $150. "Beginning ing kiln; participants should bring bisqueware (July Handbuilding" with David Caradori (July 1-3, 5-6); 28-August 3); fee: Can$749 (approximately US$470), fee: $330. "Ceramic Sounds" with John Hansen (July includes materials, firing, breakfasts, lunches, West­ 8-12); fee: $240. "Altering Thrown Forms" with ern barbecue and lodging. For further information, Chuck Solberg (July 18-20); fee: $198. "Abstracted contact John Chalke, 429 12th St., NW, Calgary and Altered Forms in Clay" with Aeralyn Holmes (July T2N 1Y9; e-mail [email protected] ; see website 30-August 3); fee: $180. "Wood-Fire Pottery Work­ www.cadvision.com/ceramics ; or telephone (403) shop" with Mark Skudlarek (August 3-11); fee: $275. 283-3186. "Practical Pottery and Beyond" with John Hansen (August 12-17); fee: $290. "Personal Expression in Canada, British Columbia, Burnaby Wheel-Thrown and Slab-Constructed Porcelain Ves­ "Firing the Ombu," a 2-chamber wood/soda kiln sels" with Joanne Kirkland (August 23-24); fee: (July 17-19 and 22); fee: Can$321 (approximately $145. "Throwing Porcelain" with Greg Pieper (Au­ US$200), includes glaze materials. "Raku," demon­ gust 26-30); fee: $180. Skill requirements vary. Con­ stration on raku glazes, their application, and firing tact Sam Perlman, Program Director, Peninsula Art techniques (July 20-21); fee: Can$ 130 (approximately School, 3906 Hwy. F, PO Box 304, Fish Creek 54212- US$80), includes glaze materials and firing of 6 0304; e-mail [email protected] ; see bisqued pots for each participant. Fee for both ses­ website www.peninsulaartschool.com ; ortelephone sions combined: Can$398 (approximately US$250). (920) 868-3455. Instructor: Gordon Hutchens. For further informa­ tion, telephone Sharon Reay, Shadbolt Centre for the Wisconsin, Milwaukee Arts, (604) 205-3012; or e-mail Linda at "Advanced Ceramics for Teachers"; and/or "Ad­ [email protected] . vanced Problems in Throwing" (June 10-21). Instruc­ tor: Greg Miller. "Kilnbuilding Workshop" with Canada, British Columbia, Cortes Island Donovan Palmquist (July 8-12). Fee/session: $410, "The Nature of Clay" with Gordon Hutchens, making

Ceramics Monthly April 2002 102 Participants prepare to add combustibles to a Randy Brodnax finishes a sculptural vessel during reduction container during a raku-firing workshop a session at Metchosin Summer School of the Arts at Snow Farm in Williamsburg, Massachusetts. in Victoria, British Columbia, Canada.

brushes, handbuilding, texturing and glazing vessels, tina McCarthy (June 24-28). "Raku: Understanding constructing and firing a raku kiln (August 4-9); fee: the Basics" with Michael Sheba (July 8-12); fee: Can$490/US$338; includes materials. Living accom­ Can$268 (approximately US$170); seniors, modations available. Beginning through advanced. Can$223.34 (approximately US$140). "Smoke Fir­ For further information, contact Registration Office, ing" with Lyse Fleury; instruction in English and Hollyhock Retreat Centre, PO Box 127, Manson's French (July 22-26); fee: Can$223 (approximately Landing, British Columbia VOP 1KO; e-mail US$140); seniors, Can$178.34 (approximately [email protected]; telephone (800) 933-6339; US$112). Skill requirements vary. Fee (unless noted or fax (250) 935-6424. above): Can$198 (approximately US$125); seniors, Can$153.34 (approximately US$95). For further in­ Canada, British Columbia, Victoria formation, contact Faye Peters, St. Lawrence College, "Dialogue on Ceramic Form" with Les Manning (June 2288 Parkedale Ave., Brockville K6V 5X3; e-mail 1-8); fee: Can$430 (approximately US$270). "Sculp­ [email protected] ; telephone (613) 345-0660, ext. tural to Functional Firing" with Gordon Hutchens 3503; or fax (613) 345-0124. (June 4-8); fee Can$365 (approximately US$230), includes supplies. "Human Head" with HeatherSpears Canada, Ontario, Elliot Lake (July 1-5); fee: Can$325 (approximately US$205). "Natural Clay Bodies: Back to Basics" with Catherine "Glaze and Color" with Robin Hopper (July 1-12); Cribbs, digging for clay, experimenting with found fee: Can$675 (approximately US$425), includes sup­ materials and making a pit to smoke fire pottery (July plies. "Wheel-Thrown Altered Forms for the Table" 22-August 2); fee: Can$450 (approximately US$285). with Jeff Oestreich; or "Innovative Handbuilding Contact Nikoline Calcaterra, White Mountain Acad­ Techniques" with Lana Wilson (July 1-12); fee/ses­ emy of the Arts, 99 Spine Rd., Elliot Lake P5A 3S9; sion: Can$630 (approximately US$400), includes e-mail [email protected] ; supplies. "Slab-Built Structures" with Keith Rice- telephone (800) 368-8655; or fax (705) 848-0588. Jones; or "Surface and Form in Oxidation" with Canada, Ontario, Haliburton Laurie Rolland (July 6-7); fee/session: Can$115 (ap­ proximately US$70). "Handbuilt Tableware Using "Pottery—Beginners" (July 1-6). "Figure Sculpture" Molds" with Katrina Chaytor (July 8-12); fee: Can$345 with Frances LeBouthillier (July 8—12); fee: Can$251.85 (approximately US$220), includes supplies. "Firing (approximately US$160), includes some materials. Techniques" with Randy Brodnax (July 8-12); fee: "Pottery II" (July 8-13). "Handbuilding Garden Pot­ Can$365 (approximately US$230), includes supplies. tery" (July 15-19); fee: Can$231.85 (approximately Intermediate and advanced. Living accommodations US$145), includes some materials. "Sculpture" with available. For further information, contact Meira Steve Hudak (July 22-26); fee: Can$235.85 (approxi­ Mathison, Metchosin International School of Art, mately US$ 150), includes some materials. "Clay Tiles" 650 Pearson College Dr., Victoria V9C 4H7; e-mail with Doug Bamford (July 22-26); fee: Can$246.85 [email protected] ; see website (approximately US$155), includes some materials. www.missa.ca; telephone (250) 391-2420; or fax "Pottery Intermediate/Advanced" with Wayne (250) 391-2412. Cardinalli (July 22-27). "Terra-Cotta Handbuilding" with Paul Portelli (July 29-August2); fee: Can$223.85 Canada, Nova Scotia, Halifax (approximately US$140), includes some materials. "Slip Casting and Colored Clay" with Frank Bosco "Raku—Advanced I" with Michael Sheba (August 5- (July 2-29). "Intro to Ceramics" with Elissa 9); fee: Can$295.84 (approximately US$185), in­ Armstrong (July 2-August 19). Beginning and in­ cludes some materials." Handbuilding Clay Sculpture" termediate. Fee: Can$592 (approximately US$370), with Dzintars Mezulis (August 5-9); fee: Can$223.85 includes materials and firing. For further informa­ (approximately US$140), includes some materials. tion, contact Neil Forrest, Nova Scotia College of Art " Pottery—Understanding Glazes" with Michael Sheba and Design, 5163 Duke St., Halifax B3J 3J6; e-mail (August 12-17); fee: Can$255.84 (approximately [email protected] ; telephone (902) 494-8225; US$160). Skill requirements vary. Fee (unless noted or fax (902) 420-1067. above): Can$275.84 (approximately US$175), in­ cludes some materials. Contact Shelley Schell, Canada, Ontario, Brockville Haliburton School of the Arts, Box 839, Haliburton "Pottery Decoration" with Margaret Hughes (June K0M1 SO; e-mail [email protected] ; telephone (705) 17-21)." Pottery—Throwing Techniques" with Chris- 457-1680; or fax (705) 457-2255. Continued

Ceramics Monthly April 2002 103 and Function," seminar with international guest art­ summer workshops ists (August 16-18); fee: DKr 1800 (approximately US$210); students DKr 900 (approximately US$ 105). Contact GuldagergSrd, Heilmannsvej 31 A, 4230 Canada, Ontario, North Bay Skaelskor; e-mail [email protected]; see website "Glazing for Oxidation" with Keith Campbell; or www.ceramic.dk; or telephone (58) 19 00 16. "Functional Design—Pottery" with Steve Irvine (July 8-12). "Pottery for Potters—Honing Your Skills" England, Hundon with Sam Moligian (July 15-19); fee: Can$204.50 Five-day sessions on handbuilding, smoke firing and (approximately US$130). "Handbuilding Clay Sculp­ organic firing with Jane Perryman (July 27-August ture" with Peter Sloan (July 29-August 2); fee: 31, Sat.-Wed., or August 4-8); fee/session: £300 Can$204.50, plus materials fee paid to instructor. (approximately US$430), includes materials, firing and lunches. All skill levels. Contact Jane Perryman, Wash Cottage, Clare Rd., Hundon, Suffolk C010 8DH; e-mail [email protected] ; see website www.janeperryman.com ; telephone/fax (44) 1443 786 228.

England, Ipswich Intensive throwing workshop, including making lids, spouts, handles, etc. (May 31-June 4); fee: £295 (approximately US$420), includes materials, firing, meals and lodging. Workshop on handbuilding, throwing, trimming, making spouts, lids, handles, plus burnishing, sawdust firing and wood-fired raku (July 21-27, 28-August 3, 11-17 or 18-26); fee/ session: £365 (approximately US$520), includes ma­ terials, firing, meals and lodging. Instructor: Deborah Baynes. All skill levels. For further information, con­ tact Deborah Baynes Pottery Studio, Nether Hall, Doug Jeck demonstrates construction of life-size Shotley, Ipswich, Suffolk 1P9 1PW; e-mail heads during a workshop at Santa Fe Clay [email protected] ; see website in Santa Fe, New Mexico. www.potterycourses.net ; telephone (44) 1473 788 300; or fax (44) 1473 787 055. "Intermediate Throwing and Design" with Robert Tetu (July 29-August 2). "Advanced Throwing and Weekly sessions on traditional pottery skills as well as Design" with Robert Tetu (August 5-10). Fee (unless concept construction, plus raku, with Alan and Patt noted above): Can$241.95 (approximately US$ 150), Baxter (Summer); fee/session: £360 (approximately includes materials. Contact Keith Campbell, US$515), includes materials, firing, lodging, meals, Artsperience, 5605 School of the Arts, Canadore travel to and from train station. All skill levels. Con­ College, PO Box 5001, North Bay P1B 8K9; e-mail [email protected] ; see website tact Alan Baxter Pottery Workshop, The White House www.canadorec.on.ca or www.artsperience.com ; Workshop, Somersham, Ipswich, Suffolk 1P8 4QA; e-mail [email protected] ; see website telephone (800) 519-3534 or (705) 474-7601; or fax (705) 472-6189. www.potterycourses.com ; telephone/fax (44) 1473 831 256. Canada, Quebec, Westmount "Sculptural and Decorative Forms in Ceramics" with England, Queen Camel Patrick Bureau (July 2-25, Tues. and Thurs. 7-10 Four 1-week sessions on various aspects of pottery P.M.). "Decorative Ceramics" with Eva Lapka (July 3— production, from throwing to wood firing, with Dou­ 29, Mon. and Wed. 1-4 P.M. or 7-10 P.M.). Fee/ glas and Jennie Phillips (July 15-August 24); fee: £250 session: Can$205 (approximately US$130), includes (approximately US$355), includes materials, firing, some materials. For further information, contact Visual meals. Beginning through advanced. Contact Dou­ Arts Centre, 350 Victoria Ave., Westmount H3Z 2N4; glas Phillips, Ridge Pottery, Queen Camel, Yeovil, see website www.visualartscentre.ca ; telephone Somerset BA22 7NF; e-mail [email protected]; (514) 488-9558. or telephone (44) 1935 850 753. China England, Ross-on-Wye "West Virginia University Annual Ceramics in China," Throwing and altering porcelain forms, decorating working with potters in Chen Lu, Jingdezhen and with colored clay and soda firing with Jack Doherty Xianyang, plus traveling to other areas (May 23-June (July 8-13, August 5-10); fee/session: US$450, in­ 29); fee: US$4395. For further information, contact cludes materials, firing and meals. Intermediate Bob Anderson/China Study, Division of Art, West through professional. Contact Jack Doherty, Hooks Virginia University, Morgantown, WV 26506-6111; Cottage, Lea Bailey, Ross-on-Wye, Herefordshire HR9 e-mail [email protected] ; see website at 5TY; e-mail [email protected] ; telephone/fax www.wvu.edu/~ccarts/chinaceramicsmain.htm ; or (44) 1989 750 644. telephone (304) 293-2140, ext. 3135. England, Tenbury Wells "Alfred and Jingdezhen" with Walter McConnell, Weekly and weekend sessions on all aspects of pot­ includes "Foshan Ceramics Conference, Film Festival tery making, with emphasis on throwing, plus and Exhibition" (May 24-June 23). "Jingdezhen Porce­ handbuilding, pulling handles, trimming, modeling lain," workshops in English with Chinese artist and decorating, with Martin Homer (weekly, July and instruction, in Shanghai, Yixing and Yellow Moun­ August; 3-day weekends starting May 31 or August tains, and includes "Porcelain Symposium" (July 23); fee: weekly, £410 (approximately US$585); week­ 19-August 17). Fee/session: $2900 with scholar­ ends, £189 (approximately US$270); includes mate­ ship. Contact Li Jiansheng, 14 Courtwright Rd., rials, firing, lodging, meals, and transportation from Etobicoke, Ontario M9C 4B4 Canada; e-mail B.R. Ludlow. Instruction in English, with a little French [email protected] ; see website and Italian. All skill levels. Contact Tina Homer, Mar­ www.chinadayart.com ; ortelephone (416) 695-3607. tin Homer Pottery, Lower Aston House, Aston Bank, Tenbury Wells, Worcestershire WR15 8LW; e-mail Denmark, Skaelskor [email protected]; see website "The Object" with Karen Bennicke (June 8); fee: DKr www.homerpottery.co.uk ; or telephone (44) 1584 350 (approximately US$40); students DKr 100 (ap­ 781 404. proximately US$10); includes lunch. "Wood Firing in Cross-Draft Kiln"; participants must bring bisque- England, West Dean (near Chichester) ware (June 16-23 or August 25-September 1); fee: "Introduction to Pebble Mosaics for the Garden" DKr 500 (approximately US$60). "Tableware—Form with Hilary Shand (June 11-14); fee: £295 (approxi­

Ceramics Monthly April 2002 104 mately US$420). "Modeling the Figure from Life in 59101 -0602; e-mail [email protected]; telephone (406) Terra Cotta" with Alan Saunders (June 16-21); fee: 259-7244; or fax (406) 245-2995. £475 (approximately US$680). "Throwing and Turn­ ing Porcelain" with Alison Sandeman (June 28—July One- and two-week sessions on handbuilding, 1); fee: £295 (approximately US$420). "Handbuilt throwing, sculpture, porcelain, raku, soda firing, Vessels Decorated with Colored Vitreous Slips" with etc. (Summer). Instructors: G. Cimatti, Don Davis, Carolyn Genders (July 27-August 2). "Mosaics— Ian Gregory, Mo Jupp and Pietro Maddalena. In­ Texture, Tone and Color" with Emma Biggs; or "On struction in English. Beginning through advanced. the Wall" with Gordon Cooke (August 3-9). Contact La Meridiana, Bagnano, 135, 50052 Handbuilding, throwing and raku firing with Alison Certaldo, Firenze; e-mail [email protected] ; tele­ Sandeman (August 10-16). Fee (unless noted above): phone (39) 571 660084; or fax (39) 571 660821. £530 (approximately US$755), includes firing, lodg­ ing and meals. Beginning through advanced. Con­ Italy, Faenza tact the College Office, West Dean College, West Intensive workshops with Emidio Galassi and losune Dean, near Chichester, West Sussex PO18 0QZ; e-mail Ruiz de Infante (July-August). Instruction in Italian, [email protected]; see website English and Spanish. Contact Emidio Galassi, Arte www.westdean.org.uk ; telephone (44) 1243 811 Aperto, IV Novembre n. 11, 48018 Faenza; tele­ 301; or fax (44) 1243 811 343. phone/fax (39) 546 680398.

France, Allegre Italy, Florence Weekly sessions on throwing, glazing, firing and raku Handbuilding objects for the garden in the Florentine with Simonot Michel (Summer); fee: 1 week, US$500; tradition with Silvia Fossati (June 3-10); fee: €235 2 weeks, US$950; includes materials, firing, lodging, (approximately US$270), includes materials and firing. meals. Instruction in French and English. For further Instruction in Italian and English. All skill levels. For information, contact Simonot Michel, Mas Cassac, further information, contact Studio Giambo, Corso Allegre F-30500; e-mail [email protected] ; see Tintori 6, Firenze; e-mail [email protected] ; website www.ceramique.com/mas-cassac ; telephone see website www.studiogiambo.it ; or telephone/fax (11) 33 466 24 85 65; fax (11) 33 466 24 80 55. (39) 552 343735.

France, Lot et Garonne Japan, Mashiko and Shigaraki "Discoveries in Raku" with David Roberts and Karin "Throwing" with George Dymesich and guests Heeman (August 5-11). "Color in Clay" with Rob (Mashiko, May 23-29; Shigaraki, May 31-June 3). Brandt and Karin Heeman (August 19-25). Contact Instruction in English and Japanese. All skill levels. Karin Heeman, Pastoorstraat 15, NL1411 SC Naarden, Contact George Dymesich, 7475 Oak Ridge Rd., Netherlands; e-mail [email protected] ; Aptos, CA 95003; or fax (831) 475-5614. telephone (31) 35 694 94 00; fax (31) 35 694 47 50. Netherlands, Oosterwolde (Fochteloo) Germany, Wiesbaden Sessions in stoneware and porcelain (June 17-21 or "Berber Pottery" (June 7-9). "Traditions in Mexican August 12-16); raku (July 8-12); or primitive and Pottery" (June 14-16). "Pueblo Indian Pottery" (June 21-23). "Pottery Making in Cappadocia" (June 28- 30). Instructors: Manuela and Silvia Casselmann. Instruction in German and English. Beginning through advanced. Fee/session: €120 (approximately US$ 105), includes materials, electric firing and meals. Extra fee for firing in mud kiln. Contact Manuela Casselmann, Biebricher Allee 138, D-65187 Wiesbaden; e-mail [email protected]; telephone/fax (49) 611 843 650.

Greece, Limni Island of Evia Weekly sessions on handbuilding, throwing, stone­ ware, terra sigillata, pit firing, raku, black firing, etc., with Alan D. Bain (Summer); fee: $400 per week, includes materials, firing, lodging, meals and trips. All Caroline Mier creating a sundial during an skill levels. Contact Alan Bain, Kalamoudi Pottery, nr architectural ceramics workshop with Marcia Selsor Rovies 34005, Limni Island of Evia. at La Meridiana in Certaldo, Italy. Greece, Samos traditional pottery (July 22-26); with Kees Handbuilding, tile construction, casting and surface treatments with Kathy Skaggs (June 15—July); fee: Hoogendam. Workshops include clay preparation, handbuilding, throwing, kilnbuilding, and firing with US$1700-US$2200, includes materials, firing, lodg­ gas, oil and wood. Fee/session: €315 (approximately ing and breakfast. Contact Susan Trovas, Art School US$275), includes materials, firing, meals and lodg­ of the Aegean, PO Box 1375, Sarasota, FL 34234; ing. All skill levels. Contact Kees Hoogendam, de e-mail [email protected]; or telephone (941) 351-5597. Knolle 3A, 8431 RJ Oosterwolde (Fochteloo); tele­ phone/fax (31) 51 658 82 38. Greece, Island of Skopelos Workshop in handbuilding, throwing, glazing, figu­ Puerto Rico, Guaynabo rative sculpture, modeling techniques, bisque and Workshops for children ages 4-15 with Ida Gutierrez wood firings, loading kilns, and building and firing (June 3-28 or July 1-26, weekdays). Instruction in nontraditional kilns (August 1-14); fee: US$1900, English and Spanish. Beginning and intermediate. includes materials, breakfasts, 2 dinners and lodging. Contact Ida Gutierrez, Manos Felices, Urb. Ponce de Registration deadline: June 30. Contact Skopelos Leon P2 #60, Ave. Esmeralda, Guaynabo; e-mail Foundation for the Arts, PO Box 56, Skopelos Island; [email protected] ; telephone (787) 789-3443; or fax e-mail [email protected] ; or see website (787) 790-7774. www.skopart.org . Spain, Conil de la Frontera Italy, Certaldo Handbuilding, throwing, glazing, pit firing, high- "Architectural Ceramics" with Marcia Selsor, mold temperature stoneware, with Jose Luis Aragon (Sum­ making, slab construction, finishing experimentation mer); fee per week: €420 (approximately (May 24-June 8); fee: US$1500, includes materials, US$365),includes materials, firing and lodging. In­ firing, transportation to sites, lodging and some struction in Spanish, French and English. All skill meals. Instruction in Italian, English, German and levels. Contact Jose Luis Aragon, La Tacita, Barrio Spanish. Intermediate through professional. Loca­ Nuevo, Conil 11149; e-mail [email protected] ; see tion: La Meridiana. For further information, contact website www.ratisweb.com/latacita ; telephone (34) Marcia Selsor, 703 Burlington Ave., Billings, MT 956 44 59 12; or fax (34) 956 44 56 86.

Ceramics Monthly April 2002 105 from the cm archives Originally published July 1953 (Volume 1, Issue 7)

Eighth National Decorative Arts-Ceramic Exhibition AWARDS

HE WICHITA (Kan.) National the Wichita exhibition among top Ceramic Sculpture 1 Decorative ArtS'Ceramic Exhibit craftsmen throughout the United States PAUL BOGATAY, Columbus, Ohio T tion attracted nearly 2,000 entriesand its possessions. The Wichita Art Association Prize of $500 for Baboon to this year's show, held April 11 to “For years the direction taken by HUMBERT ALBRIZIO, Madison, Wis. May 11. Of these, the National Jury fthe fields of jewelry, silversmithing, Honorable Mention for Mask of Awards chose 362 pieces. ceramics, ceramic sculpture, wood THOMAS F. McCLURE, Ann Arbor, The 2,000 entries (in ceramics, sculpture, and weaving] has been that Mich. Honorable Mention for Phoenix enamels, sculpture, jewelry, silversmith'of novelty; originality of conception THEODORE RANDALL, Wellsville, N.Y. ing and weaving) represented a ten'and presentation being considered most Honorable Mention for Structure No. fold increase over the first such exhibi' important. There is in this 195 3 exhi' 11 tion eight years ago. Obviously the bition an indication that the new direc' Ceramics exhibition is better able each year to tion will be towards a more mature art PETER H. VOULKOS, Helena, Mont. carry out its purpose: "to show the which is a synthesis of form, design, $100 First Prize given by Mrs. Joe artistic activity today in the nationaland a newness which is not just “new' Carey and Mrs. James Gillespie, for field of creative design in all its phases/’ ness,” but is a newness resulting from Tureen PAUL PETER HATGIL, Austin, Tex. The 1953 Jury was composed of deeper explorations into techniques First Honorable Mention for sgraffito Emil Frei, St. Louis, Mo.; May Kemp, and meanings; a newness that arises pottery Wichita, Kan.; William McVey, out of more thorough understanding of WILLIAM P. DALEY, Cedar Falls, Iowa Bloomfield Hills, Mich.; and Robert ground already covered. Special Honorable Mention for Out­ rigger Pot von Neumann, Cedar Falls, Iowa. “Diversity in ceramic sculpture tech' A comprehensive idea of the year's niques and in points of view prove Enamel activities in the crafts is wrought out stimulating. The number of entries ARTHUR AMES, Claremont, Calif. would indicate that exhibitors are be' $100 First Prize, given by Mrs. Robert in the “Comments by the Jury/' pub' Aitchison, for Stop and Go lished in the show catalogue. It coming more interested in this branch JEAN AMES, Claremont, Calif. said in part: of the exhibition.” First Honorable Mention for Chanti­ “The Eighth Annual National Dec' The 1954 exhibition, according to cleer CURTIS E. TANN, Pasadena, Calif. orative ArtS'Ceramic Exhibition main' Mrs. Maude G. Schollenberger, Pres' Second Honorable Mention for Ab­ tains the same high standard of selec' ident of the Wichita Art Association, stract No. 3 tivity that has created a reputation for will be from mid'April to mid'May. KENNETH BATES, Euclid, Ohio Third Honorable Mention for Pears and Apples MEDAL OF HONOR (above) is given for the piece showing best design and craftsman­ ship in any medium. This year it went to Rudolph Brom for a silver cigarette box.

TUREEN by Peter Voulkos (below) took First Prize in Ceramics. Using the wax resist OUTRIGGER POT (below) by William P. decoration that characterizes much of Mr. Voullcos’ work, it is brown and gray flecked. Daley drew a Special Honorable Mention. “LAUGHING” BABOON by Paul Bogatay was recipient of the top purchase prize of $500 for ceramic sculpture at the Wichita Show.

BOTTLE with fish decoration (above right) by Paul Hatgil took First Honorable Mention. Also shown are vase and bowl by Jerome Acker­ man, Los Angeles, and small bowl by Dean Mullavey, New Orleans. BIRD AND EGG (below) is by Rudy Autio, Helena, Mont. Ceramics Monthly April 2002 108 Ceramics Monthly April 2002 109 Comment I the function of pots by Dan Schmitt

Anyone who makes functional pottery at onethe table to the mouth is missing the point of to start acknowledging the meanings that time or another runs into the question ofmaking pots. functional objects can carry, aside from their “Why make functional pots in a technologi­ The difficult part of making functionalutility, in order to develop a critical approach cal age?” With machine-produced tableware pots is that they are often accepted at face and dialogue to making pottery. cheaply available, why are we still hand mak­ value. If it pours and looks like a good tea­ We have tended to view functional pot­ ing pots intended for use? This very questionpot, then it is successful—end of critique. ters as people living in a bygone era of pre­ demonstrates how we view “functional” ob­This happens when we see pots only for their industrial technology—more as the type of jects more for their mechanical use than for utility rather than the context that they willpeople that one would bump into at a Ren­ the other qualities they possess. To see a cup be fitting into. All pots, whether intentionalaissance fair than in an urban environment. simply as a device for delivering liquid from or not, have a function as objects. We needThe idea that potters make functional pots for the sake of function is a commonly held but misguided notion. It would be similar in effect to assume that a painter is trying in vain to duplicate what a camera can accom­ plish much better. I, like many potters, have chosen the func­ tional pot as a format of investigation for its ability to be a nonpassive object in peoples’ lives. Pots are interacted with physically in a similar manner as architecture, but on a smaller scale. Like architecture, pottery is based on conforming to the human body, the way one’s fingers fit into the handle of a cup and how a bowl fits into the palm of the hand. Functional pottery can either be small or grand in scale, but the body remains the measuring stick. Pots can, in their utility and low price, encourage use, being easily replaceable if bro­ ken. This is often where process and tech­ nique can become seductive and a pot is judged more on its process than by the in­ tended context in which it will be placed. This is the challenge to making pots that fit into a contemporary vocabulary and func­ tion as objects of our culture as a whole and not just the clay culture. However, this does not mean it is not important for the pot to “work” or “function” in the mechanical sense, rather that this is simply a part of the format. Ceramic materials carry a variety of cul­ tural assumptions. For example, to many, porcelain symbolizes purity, preciousness, translucency and high technology. Pottery is part of the furniture of our daily lives and is an indicator of our personas—elegant or ca­ sual, literal or metaphorical, traditional or modern. Pottery as a vessel for cuisine identifies us with our cultures as strongly as our food and eating habits do. The type of pots one makes can carry many different meanings. Bone china and porcelain are interpreted in far different ways

Ceramics Monthly April 2002 110 Ceramics Monthly April 2002 111 comment thought about how these faux finger grooves Making or buying handmade goods, in­ were supposed to communicate a quality that stead of relying on mass-produced ones, is a people expect of handmade goods. This cup reminder of people and places that are unique than wood-fired stoneware, and carry differ­ wasn’t just made as a drinking tool, as paper and found only in that location. Handmade ent perceptions of use and appropriatenessor Styrofoam cups are, but it carried a lan­ functional pottery gives people original ob­ for different occasions. Tablewares become guage or, more accurately, a translation of jects that are expressive and interesting; they associated with certain events and people.the language of handmade. It was making a carry meaning and personality far beyond They can be very intimate, as in having reference tea to the tradition of handmade pot­ that of standardized products. with a friend, or markers of fes­ The making and using of pots tive occasions or events. The making of functional pots is not about give trying us a sense of place and a This is a rich vein to mine for connection with people. Hand­ meanings of associations with dif­ to make a better bowl, but about making objects made pots allow us an expression ferent events and social classes. that can communicate and establish a rich of personality and identity; that What will be the eventual setting is becoming increasingly scarce in and occasion that one’s pots will dialogue between maker and user. a time where some people can as­ be used for—what contexts does sert personal identity only by the one intend to be part of through one’s pots? tery and the importance or value that people color of their snap-on cell phone covers. The I once toured a ceramics factory in in Japan have traditionally placed on it. making of functional pots is not about trying Shigaraki, Japan, in which people were mak­ In an age of mass-produced goods and to make a better bowl, but about making ing tableware. As a machine-molded cup came products that are becoming more and more objects that can communicate and establish a down the conveyor belt, a woman removeduniform, handmade objects offer a sense ofrich dialogue between maker and user. the cup from the mold, placed it on a wheel uniqueness and connection with place. TakeOnce we start looking at the making of upside down on a chuck, then trimmed a look around you. Most likely all the clothes handmade pottery more as a means to an foot into the cup. Once all this was done, to you own are mass-produced and identical toend rather than an end in itself, we can better my amazement, she ran the back of a spoonwhat everyone else wears, from Nike shoes to critique and discuss the role that making up the side of the cup to impress shallow Levi jeans. Furnishings, cars, even homes arepots in a technological age really has. And grooves as if it had been hand thrown. Ibecoming standardized. this is truly the fascinating part of it all.

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