2 Ceramics Monthly William C. Hunt...... Editor Ruth C. Butler...... Associate Editor Robert L. Creager ...... Art Director Mary Rushley...... Circulation Manager Mary E. Beaver. . . . Circulation Assistant Jayne Lohr ...... Circulation Assistant Connie Belcher .... Advertising Manager Spencer L. Davis...... Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc., 1609 Northwest Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year SI 8, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to: Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors:Manuscripts, photographs, color separations, color transparencies (in­ cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con­ sidered for publication. A booklet describing procedures for the preparation and submis­ sion of a manuscript is available upon re­ quest. Send manuscripts and correspondence about them to: Ceramics Monthly, The Ed­ itor, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap­ ple Macintosh computer system. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index; on line (computer) indexing is available through Wilsonline, 950 University Ave., Bronx, New York 10452. A 20-year subject index (1953-1972), covering Ceramics Monthly feature articles, Suggestions and Questions columns, is available for $1.50, postpaid, from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s articles are indexed in the De­ cember issue. Copies and Reprints:Microfiche, 16mm and 35mm microfilm copies, and xerographic re­ prints are available to subscribers from Uni­ versity Microfilms, 300 N. Zeeb Road, Ann Arbor, Michigan 48106. Back Issues: Back issues, when available, are $3 each, postpaid. Write for a list. Postmaster:Please send address changes to Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Copyright © 1988 Professional Publications, Inc. All rights reserved March 1988 3 4 Ceramics Monthly V olume 36, Number 3 • March 1988

Feature Articles

The Leach Tradition by Linda Mosley...... 22

Mindy ShragOby Maria Martinez-Canas...... 33

Bernard Dejongheby Michele Moutashar ...... 36 The Eloquent Object...... 39 The Leach Tradition(page 22) looks at with Crafts Is Art by John Perreault...... 40 the influence of Bernard Leach, shown above in the 1960s, through a recent exhibition and workshops featuring his former ap­ Anna Silver...... 46 prentices. “When selecting students,” says Warren MacKenzie, “Leach always looked for a creative energy rather than skill in potting. . . . He did not want students who Sixty Years of Seatde Sculptureby Matthew Kangas ...... 48 would make ‘Leach pots,’ but rather those who could develop their own aesthet­ ic. .. . ” Photo: S. Burgess, J. Lotz.

Crafts Is Art New York critic John Per­ Departments reault will get you excited again by bring­ ing some important new thinking to the Letters...... 7 Itinerary...... 17 craft/art debate. See page 40. Comment: Where to Show ...... 9 Craft Ethos Suggestions...... 11 by David Baird ...... 20 New Books...... 77 Questions...... 13 Classified Advertising ...... 78 Film & Video...... 15 Index to Advertisers...... 80

News & Retrospect Andrea Gill Workshop Douglas Fey...... 65 by Mark Chatterley ...... 57 Ian Godfrey...... 67 Wollastonite Tile Bodies...... 57 California Cup Invitational ...... 67 Bernard Dejonghe For months his work Tom Spleth Mural ...... 57 The Urban-Gama revolved around a three-chambered climb­ Lee Rexrode...... 57 by Clifford Jacobs...... 67 ing kiln (shown above), built inside the stu­ 300 Years of Salt Glaze...... 58 Robert Brubaker...... 69 dio. Finally, the resulting glazed stoneware steles were installed—first in bright day­ Caryn Kreitzer...... 59 Lizbeth Stewart...... 69 light on a hilltop, then in the shadows of Ian Symons...... 59 Southwest Clay...... 71 a cloister in Southern France; page 36. Catalog Listing Escalates Sales ...... 59 Frank Giorgini...... 71 Joan Weissman Mural by Susan York...... 61 Bunny Tobias...... 73 The coverGlazed and lustered white- Arthur Gonzalez...... 73 ware vessel, 24 inches high, by Anna Silver, A Corporate Commission Brentwood, California; page 46. Photo: by Karen Koblitz ...... 63 Lewis Snyder...... 75 Anthony Cunha. Sackler Majolica Collection ...... 65 Judith Cook...... 75 Bonshommes de Terre ...... 65 Northwest Ceramics Today...... 79 March 1988 5 6 CERAMICS MONTHLY jars is also shown in the folder. This suggests is likely to be copied by economically moti­ that the British Post Office also had some vated craftspeople. Buyer beware. I also rec­ thoughts about Cardew’s omission, and soughtognize money as a trap that can lead artists Letters to recognize him in a lesser way. Also men­ away from their visions. tioned, but not shown in the stamp folder, are Can a functionally oriented person be an painter John Ruskin, designer William Mor­artist? Absolutely, if this is consistent with Potters' Stamps ris, ceramists William DeMorgan, William his/her vision. I do doubt that the artist would [What a] great idea for a stamp to com­ Staite Murray, Shoji Hamada, Alison Britton be worrying about what items will be the hot memorate potters, but CM’s list won’t do. and Jacqueline Poncelet. While making a case sellers this season. [See “Stamping Out Pottery” in the January for Michael Cardew’s inclusion (which would Can a nonfunctionally oriented person be issue.] United States Postal Service regula­ unbalance the equality of gender currently an artist? Absolutely, if this is consistent with tions prohibit anyone alive from being the presented by the stamps) it seems appro­ his/her vision. A note of caution: Just be­ subject of a stamp. Further, the subject must priate to also support the inclusion cause of it doesn’t look like a coffee mug, doesn’t be dead ten years, unless he/she was a U.S. DeMorgan and Staite Murray as well. Is mean it is art. President. CM just needs a different list and Elizabeth Fritsch really in the same league Do artists exist in all fields? Clay, paint­ (as any philatelist will tell you) up to ten as Coper, Leach and Rie? Many would rate ing, music, poetry, concrete, manufacturing, years and a lot of support. Michael Cardew first among those selected, engineering, etc. Yes, they do. However, the I’ll back the idea with a postcard. Good ranking him as Britain’s greatest potter. Why individual will oftentimes not be recognized luck. not just one Cardew stamp, then? Beginningas an artist until sometime later. The crafts­ Kathryn Narrow to see the problem? No selection of this kind, person is recognizable at a much earlier stage. Philadelphia regardless of how many different pottery Are you an artist? Everyone has periods stamps are issued, will create a cleanly bro­ of vision, however brief. Whether you are an Granted that no living subject may appear artist or not is largely dependent by the de­ on U.S. stamps, but it is quite allowable token line between greatness and just okay-ness feature, as the British did, works by ceramists, on which everyone can agree.—Ed. gree you live up to your vision. living or dead.—Ed. Is it better to be an artist? Or is it bad to Brave Commentary be a non-artist craftsperson? Each individual CM’s two-page spread on the recently is­ In regard to “A Brave New World For must answer these questions for her/himself. sued stamps with images of works by English Craft,” [January Comment] thanks for the James Kerns potters is revealing in more ways than one. kick in the pants that we all need from time Cedar Falls, Iowa Yes, there are potters in the United States to time. Let’s hear some more! Essential Work deserving of having their names and works Thomas Lee The work that many potters produce seems on a U.S. stamp. But, CM did not mention Delavan, Wis. to be more and more essential to society’s anything about the choices that the British sanity, and I feel the need for some kind of Post Office made. It is sad and disappointing CM’s photos are gorgeous, but unfortu­ connection with the past—even the distant that nothing was said about their leaving out nately most of the writers are trying to ap­ past—is becoming more and more pro­ Michael Cardew. pear so intellectual that the words are too nounced. Also, contrast between high-tech Cardew was a great potter and inspired long, the phrases too confusing and the ar­ simplicity and handmade complexity, if you generations of young potters. He helped re­ ticles misunderstood! Please come down to will, is healthy and beautiful. They seem to vive the country pottery tradition in England, earth and write so that even an everyday pot­ go hand-in-hand. and he was pottery minister (a job created ter can understand! Paul Veit especially for him) in Nigeria for 20 years. R. M. Niedermeyer Newport, R.I. Just by looking at how many times his name Baltimore is mentioned by knowing potters in articles Technology and Fundamentals in CM, one can begin to see precisely what The Relation of Art to Craft Please spend less space on letters by peo­ this great potter, artist, and humane person Art is a result of vision. An artist is driven ple arguing moot questions, and more on let­ has contributed. Also, when visiting Wenford to be creative in a way that is consistent with ters by people with things to teach us. I’m Bridge today one can see Michael Cardew’s personal vision. Craftsmanship is practicing interested in the technology and fundamental spirit alive and well, flourishing in a second something over and over until you become craftsmanship rather than the esoteric, but and third generation of potters, Seth and Ara proficient at it. A person will usually pass do see a need for both. The letters do get Cardew. through the craftsmanship stage on the way carried away, though. As in much that passes for sensitive, in­ to becoming an artist. The stronger the vi­ P. Payton telligent comment today, the text of “Stamp­ sion, the more it takes control of the artist. El Toro, Calif. ing Out Pottery” misses the real problem— This accounts for the strangeness that is often that people who are worthy of praise often associated with being an artist. Clay Toughness do not get it for political and nationalistic As for the acceptance of their work: Either There’s a quality of clay I call, for want reasons. openly or secretly artists do care if their work of a better word, “toughness.” Potters fre­ But, Michael Cardew would say, “I did is accepted and understood. This does not quently speak of “plasticity,” but that isn’t it—and it was what I wanted to do, and mean that artists will change their work to the same at all. By toughness I mean the people who love pottery will know what I gain acceptance, quite the contrary. Artists quality whereby clay can be stretched and did.” CM could have at least commented on will continue to develop work that is the nat­ thinned way out without collapsing. the omission of his work from the stamps. ural progression of personal vision. The lack When living in Jamaica, we ran across a Too much self-serving drum pounding, and of acceptance/understanding is a source of clay—dusty violet in color, purple when wet— not enough “passionate attention” to what frustration. On the other hand, craftspeople that was extremely dense and heavy. With really counts. who are striving to excel must feel their work that clay we could throw large bowls thinner Frank La Rosa is accepted, or they will refine, change, alter, than those of Gertrud Natzler. But alas! The San Diego until it is accepted. clay shrank 25% at Cone 3. Can an artist be economically successful? When we were living in Albuquerque in In an essay on studio pottery published Certainly; the economic side is simply sec­ 1950, three Texas ladies who wanted to learn with mint versions of the four British pottery ondary to the vision. A primary concern for to throw came to my wife, Maribel, and asked stamps, Michael Cardew is the only potter the craftsperson is “Is my product selling?” her to teach them. They brought along some pictured in addition to the four whose workEconomics is very important here. Note: I commercially prepared clay. No wonder those is depicted the stamps; one of Cardew’s lugged do feel that an economically successful artist Please Turn to Page 51 March 1988 7

Approximately $4750 in awards. Contact Dimen­ is juried from slides of up to 5 entries. Entry fee: sions ’88, City of Lenexa, 13420 Oak, Lenexa $10 for 1 entry; $15 for 2 entries; and $20 for 3-5 66215; or phone (913) 541-8592. entries. $1100 in cash and purchase awards. For March 15 entry deadline prospectus send SASE to Desert West Application, Where to Show Great Falls, Montana “Past Experiences/Fu­ Lancaster City Hall, 44933 N. Fern, Lancaster ture Visions” (June 20-July 30) is juried from 2 93534. Exhibitions, Fairs, Festivals and Sales slides of up to 4 entries. Juror: D. O’Leary. Fee: $12 for 1 entry; $5 per additional entry. Awards. Regional Exhibitions Send SASE to MIA-PGS National Juried Exhi­ International Exhibitions bition, 1400 First Ave., N, Great Falls 59401; or March 5 entry deadline March 7 entry deadline phone (406) 453-4076 or 727-8255. Las Cruces, New Mexico “From the Ground Evanston, Illinois The third annual “Artists’ April 1 entry deadline Up VII” (March 10-April 1), sponsored by the Liaison 1988 Competition” (first exhibition Sep­ La Jolla, California“Tca for Two” (May 17-June Potters Guild of Las Cruces, is open to residents tember 16-October 23) is open to residents of the 18), sponsored by the University of California San of Arizona, New Mexico and Texas. Juried from United States and Canada. Juried from a mini­ Diego, is juried from slides of up to 3 entries (max­ slides of up to 3 entries. Send SASE to Kris Jed- mum of 3 slides. Jurors: Peter Clothier, Colin imum of 2 views per entry). Jurors: Ron Carlson licka, 5501 Amarillo del Sol, Las Cruces 88005; Gardner, Bruce Guenther, Judith Kirshner, Mar­ and Joann Hayakawa. Fee: $5 per entry. Contact or phone (505) 524-8948. tha Winans Slaughter, Elizabeth Smith and James Grove Gallery, UCSD, La Jolla 92093; or phone March 12 entry deadline Yood. Fee: $7 per slide. $10,000 in cash and pur­ (619) 534-2637. Cleveland, Ohio “1988 May Show” (May chase awards. Send SASE to Artists’ Liaison, 1341 Guilford, Connecticut “Container Exhibit” (May 25-July 17) is open to artists who were born, live Ocean Ave., #61, Santa Monica, California 90401; 4-24) is juried from 3-5 slides. Fee: $10. Cash or work in the 13 county area of Ohio’s Western or phone (213) 399-9306. awards. Send SASE to Container Exhibit, Guilford Reserve. Juried from slides of up to 2 entries of April 15 entry deadline Handcrafts, Inc., Box 589, Guilford 06437; or phone works completed within the past year. Jurors: Brussels, Belgium “Cafe Noir: The European (203) 453-5947. Lowery Sims, Michael Monroe and members of Coffee Cup” (September 23-October 8) is open to Chautauqua, New York “Chautauqua 31st Na­ the Cleveland Museum of Art staff. Contact the residents of the 12 European Community member tional Exhibition of American Art” (June 26-July Cleveland Museum of Art, 11150 East Blvd., states. Juried from up to 3 slides. Entry fee: BF700 24) is juried from slides of up to 3 entries. Fee: Cleveland 44106; or phone (216) 421-7340. (approximately $19.50). Approximately $3720 in $5 per entry. Awards. For prospectus send SASE March 15 entry deadline awards. Shown concurrently with the European to William Waite, Director, CAA, Box 1365, De­ Tuscaloosa, Alabama “Spotlight ’88: Southeast/ competition exhibition will be an invitational fea­ partment 9, Chautauqua 14722. Southwest Crafts” (June 2-July 1) is open to res­ turing 12 coffee cups by American ceramists. Those April 24 entry deadline idents of Alabama, Arkansas, Arizona, Colorado, interested in participating in the invitational may University Park, Pennsylvania “Crafts Twenty- Florida, Georgia, Kentucky, Louisiana, Missis­ submit up to 3 slides for consideration. For further Two” (July 4-31), sponsored by the 22nd Central sippi, New Mexico, Nevada, Oklahoma, South information about the competition and invitational Pennsylvania Festival of the Arts, is open to craft Carolina, Tennessee, Texas, Utah, Virginia and exhibition contact Cafe Noir: The European Cof­ artists 18 years or older. Juried from 3 slides (dif­ West Virginia. Juried from slides of up to 3 en­ fee Cup, Nils Koch, 3, rue Jean d’Ardenne, 1050 ferent views) of up to 2 entries. Juror: Arturo tries. Juror: Michael Monroe. Fee: $15. For pro­ Brussels. Sandoval. Entry fee: $10. Cash awards. Contact spectus contact Spotlight ’88, Kentuck Museum, April 19 entry deadline Cindi Morrison, 102 Visual Arts Building, Penn­ Box 127, Northport, Alabama 35476; or phone Golden, Colorado “The North American Sculp­ sylvania State University, University Park 16802.(205) 333-1252. ture Exhibition” (June 19-August 31) is open to April 30 entry deadline Boulder, Colorado “Handworks ’88” (April residents of Canada, Mexico and the United States. Lincoln, California “First Annual Feats of Clay” 29-May 28) is open to artists working within the Juried from slides of up to 3 entries. Jurors: K. (June 4-July 1) is juried from slides of functional Mountain time zone. Juried from up to 3 slides Eloul and B. Lekburg. Fee: $10 per entry. $6000 and nonfunctional ceramic works not exceeding of 2 works completed within the past two years. in awards. Contact Foothills Art Center, 809 15th 24 inches in any direction. Juror: Ron Nagle. Fee: Fee: $10 per entry. Awards. Send SASE to Hand­ St., Golden 80401; or phone (303) 279-3922. $10 per entry. $1000 in awards. For prospectus works, 1115 Pearl St., Boulder 80302; or phone April 30 entry deadline send SASE to Ray Gonzales, Lincoln Arts, Box (303) 449-2787. Stafford, England1'Hats and Accessories” (Sep­ 1166, Lincoln 95648; or phone (916) 645-9713. April 25 entry deadline tember 13-November 5, then touring) is juried Shelburne, Vermont “Envisioned in a Pastoral Chicago, Illinois “The Second Annual Great from slides. Contact John Rhodes, Stafford Art Setting” (October 1-9) is juried from slides of orig­ Lakes Show 1988” (June 17-July 31) is open to Gallery, Lichfield Rd., Stafford ST17 4ST; or phone inal work completed within the past three years. all artists residing in the states and provinces that 078 557 303. Entry fee: $10. For prospectus contact Shelburne border the Great Lakes (Illinois, Indiana, Mich­ May 14 entry deadline Farms, Art Exhibition, Shelburne 05482; or phone igan, Minnesota, New York, Ohio and Pennsyl­ Freiburg, West Germany “The Second Elisa­ (802) 985-9585. vania; and Ontario and Quebec). Juried from slides beth Schneider Competition and Award” (Septem­ May 1 entry deadline of sculptural or functional clayworks completed ber 24-December 11) is open to all ceramic artists. Saint Louis, Missouri “5/10/15” (September within the past year. Juror: David Middlebrook. Juried from photos not to exceed approximately 1-30) is juried from a resume and slides of works Purchase and gallery exhibition awards. For pro­ 11x16 inches (30x42 cm) of up to 5 entries. Awards not exceeding 15 inches or less than 5 inches in spectus contact Lill Street, 1021 W. Lill, Chicago and cash prizes. Contact Galerie Schneider, Wil- height, nor exceeding 10 inches in diameter. Con­ 60614; or phone (312) 477-6185. helmstrasse 17, D-7800 Freiburg; or phone 0761/ tact Barbara Jedda, Craft Alliance, 6640 Delmar 38 24 48, 29 4 06. Blvd., Saint Louis 63130; or phone (314) 725- Fairs, Festivals and Sales June 1 entry deadline 1151 or 725-1177. March 11 entry deadline Faenza, Italy “The Second International Quad- May 13 entry deadline Guilford, Connecticut The “31st Annual Guil­ riennal Competition: Ceramics in the Urban Set­ Mesa, Arizona “Ego Amigo” (September 9- ford Handcrafts Exposition” (July 14-16) is ju­ ting” (March 15-May 15, 1989) is divided into October 1) is juried from slides of self-portraits. ried from 5 slides. Jurors: Angela Fina, James two categories: proposals for future use of ceramics For prospectus contact Ego Amigo, Galeria Mesa, Gagnon, Lorraine Jackson, Linda Kaye-Moses and in an urban setting; and works already existing. Box 1466, Mesa 85211; or phone (602) 834-2242. Robert McNally. Fee: $15. Cash awards. Contact Juried by the Mayor of Faenza (or his delegate) June 10 entry deadline Fernn Hubbard or Joyce Wright, Guilford Hand­ and six experts in architecture and ceramics. Jackson, Wyoming The “1988 Art West Open crafts, Inc., Box 589, Guilford 06437; or phone L28,000,000 in awards (approximately $23,240). Competition and Tour” (September 2-28) is juried (203) 453-5947. Contact Competition Secretariat, Assessorato from slides. Juror: Gordon McConnell. Fee: $18 March 14 entry deadline all’Urbanistica del Comune di Faenza, Via Za- for up to 3 slides; $6 per additional entry. Send Syracuse, New York “The 18th Annual Syracuse nelli, 4-48018 Faenza; or phone (0546) 28790. SASE to Judy Sensintaffar, Show Chairman, Box Arts and Crafts Festival (July 15-17) is juried 822, Jackson 83001. from 5 slides per medium. Entry fee: $5. Booth June 13 entry deadline fee: $105. Contact Downtown Committee of Syr­ National Exhibitions Mesa, Arizona “Chroma-Zone” (October acuse, Inc., 1900 State Tower Building, Syracuse March 6 entry deadline 7-November 5) is juried from slides of works fo­ 13202; or phone (315) 422-8284. Lenexa, Kansas “Dimensions ’88” (May 13-15) cusing on the expressiveness of color. For pro­ March 15 entry deadline is open to artists who are residents of and work spectus contact Chroma-Zone, Galeria Mesa, Box Madison, Wisconsin The “30th Annual Art Fair in the United States. All work must be three-di­ 1466, Mesa 85211; or phone (602) 834-2242. on the Square” (July 9-10) is juried from 4 slides. mensional and produced in the last two years. Ju­ July 15 entry deadline Entry fee: $12. Booth fee: $160. Contact Art Fair ried from slides of up to 3 entries (maximum of Logan, Utah “Possessions” (January 7-February on the Square, Madison Art Center, 211 State St., 2 views per entry). Jurors: Tony Hepburn, Mat­ 19, 1989), an exhibition of clay images, charms, Madison 53703; or phone (608) 257-0158. thew Kangas and Mary Vernon. Entry fee: $15. amulets, ritual paraphernalia, talismen, fetishes, March 31 entry deadline etc., is juried from a resume and slides or photos Chagrin Falls, Ohio The fifth annual “Art by Send announcements of juried exhibitions, fairs,of work completed within the past 20 years. Con­ the Falls” (June 11-12) is juried from slides. Con­ festivals and sales at least four months before the tact the Harrison Museum of Art, Utah State Uni­ tact Valley Art Center, 155 Bell St., Chagrin Falls entry deadline to The Editor, Ceramics Monthly, versity, Logan 84322; or phone (801) 750-1412. 44022; or phone (216) 247-7507. Box 12448, Columbus, Ohio 43212; or phone (614)July 29 entry deadline April 1 entry deadline 488-8236. Add one month for listings in July andLancaster, California “Ninth Annual Desert West Mount Vernon, Illinois The “12th Annual Ce- two months for those in August. Juried Art Exhibition” (October 15-November 13) Please Turn to Page 50 March 1988 9 10 Ceramics Monthly them long lasting. Every two weeks or so, Because the surface has been smoothed, soak them in very cold water heavily mixed tiny tearing cracks caused by the cutoff wire with salt. You’ll double their studio life.— do not propagate, and differences between Suggestions Paul Dubey, Northjield, Mass. wall compaction and bottom compaction are minimized; you’ll find that loss rates due to from our readers Safe Slide Sender bottom cracking are significantly reduced as To protect slides sent through the mail, a result.—Michael Wendt, Lewiston, Idaho Refiring for Color cut a piece of posterboard to the size of the In the firing of colloidal metal colored glazes, envelope that you will be using. Trace around such as copper reds, poor or no color fre­ An Unbreakable Viscosity Measurer quently results due to too rapid cooling. By After breaking three hydrometers during reheating the fired pot to bisque temperature, the past 15 years of pottery work, I decided the colloidal crystals of colorants present in to make an unbreakable measurer of glaze the glaze will grow to the right size to give viscosity: A 9-inch length of ½-inch-diameter the correct color. Using draw rings during a couple slides on the posterboard. Then, dowel rod was marked at 1 centimeter in­ the refiring helps determine the proper tem­ with a razor blade, cut along the lines (as tervals (labeled from the top: 1 through 14) perature.—Jerry Weinstein, Newark, Del. shown in the drawing) to form flaps. Bend with indelible ink. At the bottom, a small the flaps up. Wrap slides in tissue paper, pilot hole was drilled, and an eye screw in­ Easier Air Pocket Removal from Clay then place them between the flaps. Finally, serted. Enough fishing weights were then at­ Small pockets of air periodically turned up bend the flaps over the slides and tape across tached to the eye screw, so that the rod would during throwing, in spite of careful wedging. the flaps. Include name and address on post­ sink vertically, almost to the top, in pure water. The problem was traced back to the times erboard.—Brad Reinking, Leoti, Kans. While measurements with this marked slurry had been added to batches of clay which dowel rod will not correspond to commercial had become too stiff. Although wedging Preventing Cracking hydrometers, they will provide accurate com­ eventually made the stiff clay and slurry ho­ Having worked with a very plastic clay parison between glaze batches.—Brad Son- mogeneous, it did not eliminate the “frothy (Helmar kaolin) since 1973, I have adopted dahl, Spirit Lake, Idaho air” of the slurry. By using the heel of my a technique to prevent cracking that prob­ hand to push and smear sections of the clay ably applies to all fine-grained clays, includ­ Dollars for Your Ideas across the wedging table, the problem was ing porcelains. When the pot is cut from the Ceramics Monthly pays $10 for each sug­ corrected. This action was followed with spi­ bat, it goes into a damp box only until stiff gestion published; submissions are welcome ral wedging.— Elizabeth J. Drachman, Be- enough to invert. Once it is inverted, the en­ individually or in quantity. Include an illus­ thesda tire bottom is carefully burnished with a flex­ tration or photo to accompany your sugges­ ible stainless steel rib. After that, it can air tion and we will pay $10 more if we use it. Double Sponge Life dry with virtually no checking or cracking. Send your ideas to CM, Box 12448, Colum­ If you use “real sponges” (instead of syn­ If the pot is to be footed, it is returned to the bus, Ohio 43212. Sorry, but we can’t ac­ thetic ones), there’s a simple way to make damp box until it is leather hard; then footed. knowledge or return unused items.

March 1988 11 12 Ceramics Monthly purities, which include calcium. Flint, like a Surface appearance depends on firing tem­ variety of ceramic compounds, is usually perature. shown with an idealized formula (SiO 2) while TONED-DOWN BLUE, WOOD ASH SLIP Questions its actual formula is somewhat more com­ (Cone 04 to 7) plicated than that. Your ceramics supplier Dolomite ...... 10.00% Answered, by the CM Technical Staff may be willing to provide you with an anal­ Unwashed Wood Ash ...... 25.00 ysis of the specific flint (quartz, silica) prod­ Cornwall Stone ...... 25.00 uct purchased from their mining source. But Frit 3819 (Ferro)...... 15.00 a typical analysis by weight is CaO 0.68, Kentucky Ball Clay (OM...... 4) 25.00 Na O 0.05, MgO 0.01, Al O 0.29, FeO 0.07,2 SiO 97.9, TiO 0.01. 2 Because3 of your2 3 100.00% glaze’s substantial2 flint2 which contains a small Add: Cobalt Oxide ...... 1.00% Q I appreciated the answer in the February amount of calcium, and the small amount of Nickel Oxide...... 1.00% 1988 Questions column concerning toxic sub­frit which contains a large quantity of cal­ Red Iron Oxide...... 0.25% stances, but often in the studio one needs tocium, the recipe ends up with an influential Surface appearance varies with firing tem­ have a question answered rather quickly about calcium content. perature. the specific toxicity of a ceramic substance. TEXTURED ASH SLIP What would you recommend for a more im­Q 1 have fought the tendency to make blue- (Cone 04 to 7) mediate answer?—T.S. Gerstley Borate...... 10.00% and-white ware for a number of years; blue Unwashed Wood Ash ...... 50.00 The National Institute for Occupational decoration seems to sell irritatingly better than Alumina Hydrate...... 20.00 Safety and Health (NIOSH), part of the U.S. any other color. But now, Eve come around Georgia Kaolin ...... 20.00 Department of Health and Human Services, to thinking that perhaps there’s a compro­ offers a toll-free phone number, (800) 356- mise between public taste and my own aes­ 100.00% 4674, which you can call for information about thetics. Em actually excited about working Add: Cobalt Oxide ...... 1.50% health hazards of any specific chemical sub­ out some designs using a variety of blue slips Surface appearance depends on firing tem­ stance. Access to this service is free. Typi­ and colorants instead of using only one blueperature. Interesting results may be obtained cally, a reply is not offered over the phone, as is typically done. After all, this passion for if this slip is applied thickly and allowed to but NIOSH will research the substance and blue seems to go back through history to Jap­ crack on drying. either return your call or send appropriate anese and Chinese porcelains, Wedgwood, WOOD/VOLCANIC ASH SLIP literature. Additionally, the Registry of Toxic Staffordshire printed wares, etc. As a starting (Cone 04 to 7) Effects of Chemical Substances (RTECS), a place, would you share a variety of quality Unwashed Wood Ash ...... 33.30% multivolume set of reference books covering recipes for experimentation? I want to alter Volcanic Ash ...... 33.30 the full range of chemical hazards, was just existing recipes to suit my own requirements, Edgar Plastic Kaolin ...... 33.40 published in its latest, expanded edition in though. What would you recommend?—J.T. 100.00% January, and, as of this writing, is selling Try formulating the following slips and Add: Titanium Dioxide...... 15.00% for approximately $30. If the RTECS vol­ colorants which either appeared in previous Cobalt Carbonate ...... 3.50% umes are beyond your budget, a “Pocket Guide issues of CM, or are variations of those. These Surface appearance varies with firing tem­ to Chemical Hazards” is a more abbreviated recipes have a wide firing range, and may be perature. The previous five recipes are from listing available without cost from NIOSH. used in oxidation or reduction. Gerald Rowan. For more information about either of these And here are some ideas for changing these BLUE COLORANT 1 resources, including a brochure describing recipes to appeal to your own color sense: (Cone 9) the RTECS volumes, call (513) 533-8287, In 0.25% increments, try adding more or less Talc ...... 12.50% or write the Superintendent of Documents, cobalt from as little as 0.25%; also try mud­ Kaolin ...... 25.00 U.S. Government Printing Office, Washing­ dying the color with additions of 0.5-10% Red Plastic Clay (or Bentonite) . . 18.75 ton, D.C. 20402. iron oxide, or 1%-4% manganese dioxide. Cobalt Carbonate ...... 25.00 Add copper carbonate in 1% increments to Manganese Dioxide...... 12.50 make cobalt blue more blue-green. Add 5% Red Iron Oxide...... 6.25 Q I have been experimenting with the fol­ increments of kaolin to make the slip/color- lowing recipe which appeared in a previous ant less runny during firing, and use any of 100.00% questions column: the following over and under a white or clear A David Eeles recipe. BASE GLAZE (Cone 06) glaze on a white body. BLUE ONGLAZE COLORANT Soda Ash...... 6% ELECTRIC BLUE SLIP 1 Barnard Slip Clay...... 63.21% Frit 3110 (Ferro)...... ! . 15 (Cone 04 to 7) Feldspar...... 36.79 Bentonite...... 4 Barium Carbonate...... 23.08% 100.00% Tennessee Ball Clay...... 30 Dolomite ...... 7.69 Add: Cobalt Carbonate ...... 11.15% Flint...... 45 Unwashed Wood Ash ...... 19.23 A Nancy Jacquot recipe. 100% Cornwall Stone ...... 19.23 BLUE COLORANT 2 Frit 3819 (Ferro)...... 11.54 Cobalt Carbonate ...... 71.43% What is baffling about my experiments with Kentucky Ball Clay (OM...... 4) 19.23 this glaze is that some colorants, particularly Red Iron Oxide...... 28.57 chrome oxide, respond to the recipe as if it 100.00% 100.00% contains a lot of calcium. Any idea where this Add: Copper Carbonate ...... 4.00% A Colin Pearson recipe. could be coming from, or is there something ELECTRIC BLUE SLIP 2 Blue glazes often work well with blue slips, else in this glaze which could act like calcium (Cone 04 to 7) so you might want to try some blue on blue in influencing color?—M.F Barium Carbonate...... 23.08% decoration during your experiments. Ferro Frit 3110 contains 6.3% calcium ox­ Talc ...... 11.54 ide by weight, and this is the most likely Unwashed Wood Ash ...... 15.38 Subscribers’ inquiries are welcome and those source of calcium in the glaze. (A full anal­ Cornwall Stone ...... 19.23 of general interest will be answered in this ysis for this leadless frit and a variety of other Frit 3819 (Ferro)...... 11.54 column. Due to volume, letters may not be frits was published in the May 1978 CM in Kentucky Ball Clay (OM...... 4) 19.23 answered personally. Send questions to Tech­ the article “Frit Formulas.”) Also, a little 100.00% nical Staff, Ceramics Monthly, Box 12448, known fact is that flint typically contains im­ Add: Copper Carbonate ...... 4.00% Columbus, Ohio 43212. March 1988 13 14 Ceramics Monthly stall waterproofing membrane; mix mortar with some unnecessary hype, these process and float a level bed; cut or shape tile (using videos nevertheless are among the best we’ve a snap cutter, biters or a wet saw); mix and seen so far which utilize the video medium’s Film & Video apply thin set; lay tile; and grout. capacity to illustrate how-to information. But Tiles shown in these tapes are strictly the why do so many of these video folks always commercial variety, so don’t expect quality have to be Master Potters? Skill and aes­ ceramic aesthetics. But video production thetics speak for themselves without verbally quality is quite good throughout. Byrne’s clubbing the viewer. What’s wrong with a Tilesetting with Michael Byrne commentary is consistently clear and concise; potter just being a potter? Still Kozlowski If you’re thinking about making a mural wherever the effort of installation or the sound manages to overcome this one egotistical in­ or other handmade tilework, this trio of tapes of a saw might cause audio difficulties, voice­ discretion by getting down to earth with some is a must for understanding the roll of special over is utilized. solid throwing. tile shapes and complex allowances for in­ Included in each cassette box is a handy In Tape 1, Kozlowski demonstrates wedg­ stallation required by tilesetters. If you are reference chart which lists the subjects cov­ ing, centering and throwing a cylinder, tak­ thinking about trying a complex first-time ered in the video, together with the corre­ ing time to show finger positions for both installation yourself, we’ll bet these tapes will sponding page numbers in the book, and which hands. In the second tape, he throws 12 stan­ convince you to hire a professional. provides space for the viewer to fill in a counter dard forms, including making and assem­ Produced as companions to the book Set­ number (according to the individual video- bling a teapot (which could have had better ting Ceramic Tile (see the December 1987 cassette player) for quick review. relationships between its parts and its overall CM, page 77), these videocassettes provide “Tiling Walls” runs approximately 75 proportions). Tape 3 focuses on production; step-by-step instruction on tiling walls, minutes; while “Tiling Countertops” and Kozlowski is shown throwing a series of tea- countertops and floors; page numbers appear “Tiling Floors” are each about 60 minutes bowls as he discusses aesthetics and philos­ in the upper corners of the screen so that the in length. All could have been somewhat ophy. Not bad, really, for a topic which often viewer can refer to the book for detailed in­ shorter. Available in VHS or Beta format; is either pretentious or boring on videotape. formation on materials and techniques. With $29.95 each or $74.95 for the set. The Taun­ While most ceramics videos are shot with these videos, Michael Byrne takes a prob­ ton Press, 63 South Main Street, Box 355, a single camera and edited, this one utilized lem-solving approach to the jobs, suggesting Newtown, Connecticut 06470. two cameras (one facing the potter, the other ways of “turning difficult situations into cre­ at his right) for a more seamless presenta­ ative solutions.” tion. These instructional tapes would be good While he explains both thin-bed and thick- Throwing on the Potter’s Wheel for beginning or intermediate throwers; even bed tilesetting at the beginning of each video, Designed to take advantage of the video- non-potters enjoy watching the process. Each actual installation is on a thick (mortar) bed— cassette recorder’s playback features, a very tape runs approximately 30 minutes. Avail­ the preferred substrate as it allows smoothing good idea at that, this three-part series of able in VHS or Beta format; $59.95 each, and aligning irregular surfaces. After cov­ how-to videos features upstate New York or as a set for $150, postpaid. Bristol Video ering design considerations, he shows how to studio potter Jim Kozlowski throwing func­ Enterprises, Box C, 7851 Route 20A, Hol­ measure for alternative layouts; cut and in­ tional ware on the potter’s wheel. Infected comb, New York 14469.

March 1988 15 16 Ceramics Monthly Council, 40 W. 53 St., New York, New York 10019; California, San Mateothrough March 31 Leslie or phone (212) 956-3717. Safarik, “Spring Metamorphosis—The Women of May 11-14 The International Academy of Ce­ Today Immortalized in Clay,” low-fired, coil-built ramics biennial general assembly. Location: figures; at Gallery 30, 30 E. Third Ave. Itinerary Southern Cross Hotel in Sydney. Nonmembers D.C., Washington through March 12 David Conferences, Tours, Exhibitions, wishing to audit the session should contact Musee Greenbaum, pit-fired works; at Jackie Chalkley Ariana, 10 avenue de la Paix, 1202 Geneva, Switz­ Gallery, 3301 New Mexico Ave., NW. Workshops and Other Events to Attend erland; or phone (022) 33 39 44. March 2-April 2 Rob Barnard, wood-fired stone­ May 15-20 “The Fifth National Ceramic Con­ ware with natural ash glazes; at Anton Gallery, ference” will include addresses by Yoshitaki Inui, 2108 R St., NW. Michael Keighery, Rudolf Schnyder and Judith Illinois, Chicagothrough March 12 Ken Fer­ Conferences Schwartz; panel sessions; seminars; technical pa­ guson, “Ceramic Vessels.” March 18-April 16 Alabama, TuscaloosaJune 8-11 The American pers; demonstrations and open studios; plus for­ Beverly Mayeri, “Figurative Ceramic Sculpture”; Craft Council (ACC) Southeast Region annual ums on Ceramics in Architecture, Critical Writing at Esther Saks Gallery, 311 W. Superior St. conference, “Continuity and Innovation—Ameri­ on the Arts, the Role of the Gallery and Patronage, through March 12 Jun Kaneko; at Klein Gallery, can Craft: Southeast Meets Southwest,” will fea­ and Education for a Vocation in Ceramics. Lo­ 356 W. Huron. ture workshops, discussions and seminars with cation: University of New South Wales in Ken­ Illinois, Highland ParkMarch 12-April 13 Col­ artists-craftspeople from Alabama, Arkansas, Ar­ sington, Sydney. Registration fee: $A260 (approx­ in Pearson, ‘Work by an English Master”; at Mar­ izona, Colorado, Florida, Georgia, Kentucky, imately $174). Student registration fee: $A180 tha Schneider Gallery, 2055 Green Bay Rd. Louisiana, Mississippi, New Mexico, Nevada, (approximately $120). Contact Ceramics ’88, Box Indiana, IndianapolisApril 4-30 Peggy Ahlgren, Oklahoma, South Carolina, Tennessee, Texas, Utah, 128, Sydney 2001; or phone (02) 262 2277. stoneware; at Alliance Museum Shop, India­ Virginia and West Virginia. Locations: University Canada, Alberta, Medicine Hat May 13-15 napolis Museum of Art, 1200 W. 38 St. of Alabama and the Kentuck Museum. Contact “Second Bi-Annual Medicine Hat Ceramic Sym­ Iowa, Iowa CityMarch 1-31 Nina Liu, stone­ Craig Nutt, Conference Coordinator, ACC-SE, posium: Firing Up for the Future” will include ware and raku; at Iowa Artisans Gallery, 13 S. Kentuck Museum, Box 127, Northport, Alabama the annual meeting of the Alberta Potter’s Asso­ Linn St. 35476; or phone (205) 333-1252 or 758-2535. ciation; forums; lectures; and workshops by Kir­ Kentucky, LexingtonApril 1-30 Lisa Payne, Ohio, ColumbusApril 30-May 1 “Midwest Craft sten Abrahamson, Noboru Kubo, Liz Menzies, primitive pottery; at Kentucky Guild of Artists and Conference,” with emphasis on ceramics, fiber and Sally Mitchner, Doris Shadbolt, Sam Uhlich, Ger­ Craftsmen Gallery, 132 Euclid Ave. metal, will feature demonstrations by Kansas pot­ ry Williams and Chuck Wissinger. Location: Massachusetts, Lincolnthrough May 8 “Natural ter Ken Ferguson. Also included: marketing and Medicine Hat College. Fee: Can$105 (approxi­ Histories: Mary Frank’s Sculpture, Prints and business discussions; audio-visual presentations; mately $80), includes Friday night mixer, Satur­ Drawings”; at Decordova Museum, Sandy Pond slide lectures by craft artists; Ohio Designer day lunch and dinner, and Sunday lunch. Contact Road. Craftsmen general meeting; social events, etc. Lo­ Arne Handley, 574 Sixth St., NE, Medicine Hat, Massachusetts, Newburyportthrough April 30 cation: Columbus Cultural Arts Center. Open to T1A 5P3; or phone (403) 527-5316 or 529-3844. Stephen Branfman, large raku vessels; at Choices participants from throughout the United States and Ireland, Dublin August 29-31 “International Gallery, 11 Pleasant St. Canada. Contact Ohio Designer Craftsmen, 2164 Conference on Sculpture,” focusing on the rela­ Massachusetts, Northamptonthrough March 21 Riverside Dr., Columbus 43221; or phone (614) tionship between individual and group sculptural Tricia Fay, vessels, mixed-media wall works and 486-7119. activity and the public, will feature exhibitions, furniture; at Pinch Pottery, 179 Main St. Oregon, PortlandMarch 16-19 “East Meets West: workshops, and seminars. Location: Trinity Col­ Michigan, Detroit through March 19 Joseph National/International,” the 22nd National lege. Contact Conference Secretariat, Internation­ Bennion, altered, wheel-thrown ware. March Council on Education for Ceramic Arts (NCECA) al Conference on Sculpture, 44 Northumberland 25-April 23 Karen Karnes, functional pottery; at conference, hosted by Pacific Northwest College Rd., Dublin 4; or phone (353) 68 82 44. Pewabic Pottery, 10125 E. Jefferson. of Art, Oregon Art Institute (which includes Port­ Missouri, Saint LouisMarch 4-31 Chris Gustin; land Art Museum) and Northwest Film and Video at Pro Art, 5595 Pershing. Center, will feature exhibitions, workshops, panel Tours New York, New Yorkthrough April 24 “Ohio discussions, slide lectures, etc., plus social events China August 26-September 20 The Craftsmen Boy: The Ceramic Sculpture of Jack Earl,” a ret­ and commercial displays. Location: Hilton Hotel. Potters Association’s “Tenth Anniversary Pottery rospective of figurative works made since 1968; at Contact Frank Irby, Conference Chair, Oregon Trip” will include visits to the pottery town of American Craft Museum, 40 W. 53 St. Art Institute, 1219 S.W. Park, Portland 97205; or Tong-guan, teapot potteries of Yixing, potteries March 2-April 11 Margaret Wadsworth, “Fa­ phone (503) 226-4391. reproducing traditional blue-and-white ware in cades and Fragments—Architecture in Clay”; at Jingdezhen, the terra-cotta army of Xian, mu­ Saint Peter’s Church Gallery, 619 Lexington Ave. seums and ancient kiln sites. Fee: £2000 (approx­ March 5-24 Tova Beck Friedman, “Goddesses,” International Conferences imately $3656), includes round-trip air transpor­ high-fired, heavily textured sculpture; at Amos Eno Australia, SydneyMay 8-13 “Crafts in the Late tation from London, accommodations, food and Gallery, 164 Mercer St. Twentieth Century: Social Relevance and Change,” travel. Registration deadline: July 1. Contact March 8-27 Esther Grillo, sculpture; at 14 Sculp­ a World Crafts Council (WCC) conference, will Christine-Ann Richards, 14a Percy Circus, Lon­ tors Gallery, 164 Mercer St. include discussions on Design, Industry, and Tech­ don, England WCIX 9ES; or phone 01 833 1898. New York, SyracuseMarch 1-31 Romilla Batra, nology; Alternatives to Individual Practice; Public England May 10-24 “A Potter’s Tour of England” porcelain; at Everson Museum of Art, 401 Har­ Patronage and the Public Face of Crafts in the will include visits with nine potters in their studios, rison St. Late 20th Century; Craft in Public Places; Critical plus trips to historic and contemporary museums, North Carolina, Winston-SalemMarch 25-May and Philosophical Frameworks for Craft in the selected commercial potteries and a Victorian pot­ 1 Don Reitz; at Piedmont Craftsmen Gallery, 411 Late 20th Century; and Ongoing Educational tery still in operation. Fee: $2150, includes round- N. Cherry St. Models, including the changing role of museums, trip air transportation from Chicago, double oc­ Ohio, Cantonthrough March 6 Beth Lindenber- research, and conservation. Location: Powerhouse cupancy hotel accommodations (add $260 for sin­ ger, “Sculptural Ceramics”; at Canton Art Insti­ Museum. Events coinciding with the conference: gle occupancy), many meals and guided tours. tute, 1001 Market Ave., N. a series of craft symposia at the Canberra School Registration deadline: March 10. Contact Turner Ohio, Columbusthrough March 20 Ban Kajitani, of Art (April 10-May 7) and weekend workshops Tours and Events, 1304 Columbia St., Lafayette, “The Light of the Earth”; at Columbus Cultural (May 14-15 and 21-22) sponsored by the Potters’ Indiana 47901; or phone (317) 423-1371. Arts Center, 139 W. Main. Society of Australia. Flight arrangements may be Oregon, Portlandthrough March 19 Chip made through Travel Advisors of Seattle ($1046, McKenney, terra-cotta plates; Hoffman Gallery, Los Angeles to Sydney; fares for connecting flights Solo Exhibitions Oregon School of Arts and Crafts, 8245 S.W. Barnes to Los Angeles are additional). Departure dates Arizona, Scottsdalethrough March 27 Barbara Road. from Los Angeles: April 29 or May 6. Return Grygutis, “Public Places,” sculpture and models; Oregon, Salemthrough March 27 Maria Simon; dates to Los Angeles: May 15 or May 22. To at Scottsdale Center for the Arts, 7383 Scottsdale at Corner Gallery, Bush Barn Art Center, 600 reserve seats contact Victoria Wellman, Travel Mall. Mission St., SE. Advisors, Fourth and Pike Building, Seattle, Arizona, TucsonMarch 12-26 Skip Miller, Pennsylvania, University through Park May 20 Washington 98101; or phone (206) 624-5357. For handbuilt raku vessels; at Obsidian Gallery, Saint Esther Grillo,“Meltdown”; at Palmer Museum of further information about the WCC conference Philip’s Plaza, Suite 90, 4340 N. Campbell Ave. Art, Pennsylvania State University. contact Michael Keighery, Crafts Council of Aus­ California, Mill Valleythrough March 5 Bennett Wisconsin, Sheboyganthrough April 24 David tralia, 100 George St., The Rocks, Sydney, New Bean, “Contemporary Ceramics”; at Susan Cum­ Phelps, “Perspectives,” large figurative sculpture; South Wales, Australia 2000; or phone (02) 241 mins Gallery, 32 Miller Ave. at John Michael Kohler Arts Center, 608 New 1701. Or contact Susan Harkavy, American Craft California, San DiegoMarch 12-April 1 Mar­ York Ave. garet Ford, mixed-media sculpture; at Wita Gar­ Send announcements of conferences, tours, exhi­diner Gallery, 535 Fourth Ave. bitions, juried fairs, workshops and other events atCalifornia, San Franciscothrough April 17 “Ste­ Group Ceramics Exhibitions least two months before the month of opening tophen DeStaebler: The Figure,” large-scale sculp­ California, Fresnothrough August 18 “Pre-Co- The Editor, Ceramics Monthly, Box 12448, Co­ ture; at San Francisco Museum of Modern Art, lumbian Clay Sculpture”; at Fresno Arts Center lumbus, Ohio 43212; or phone (614) 488-8236.401 Van Ness Ave. and Museum, 2233 N. First. Add one month for listings in July and two months March 3-April 2 Tony Hepburn, recent works; California, TustinMarch 12-24 “Dimensions in for those in August. at Dorothy Weiss Gallery, 256 Sutter St. Clay ’88,” invitational exhibition of works by fac- March 1988 17 18 Ceramics Monthly sculpture related to traditional forms by 23 artists; 1965-1985,” contemporary traditional American ... Itinerary at Portland Art Museum, 1219 S.W Park. Indian art, includes pottery; at Renwick Gallery, March 3-30 “1988 NCECA Members’ Exhibi­ Smithsonian Institution, Pennsylvania Ave. and 17 ulty and students of Rancho Santiago College; at tion”; at Laura Russo Gallery, 805 N.W. 21 St. St., NW. Chemers Gallery, 17300 17 St., Suite G. Oregon, Salemthrough March 27 “Ceramics in through June 12 “The Human Figure in Early Connecticut, Greenwich March 16-April 16 Review: Works from Oregon Collections”; at A.N. Greek Art,” 67 works from the ninth through the “Classic Vessels,” invitational exhibition of large Bush Gallery, 600 Mission St., SE. fifth centuries B.C., includes terra-cotta sculptures decorative works; at the Elements, 14 Liberty Way. Pennsylvania, Philadelphiathrough March 12 and vessels; at National Gallery of Art, Fourth St. Connecticut, New Haventhrough March 19 “The “Clay in the East IV,” faculty and student work at Constitution Ave., NW. Form of Function,” works by 17 North American from Beaver College, Edinboro State Univerisity, through September 30 “Nomads and Nobility: Art potters; at the Lower Gallery, Creative Arts Work­ Kutztown State University, Maryland Institute/ from the Ancient Near East,” ceremonial and shop, 80 Audubon St. College of Art, Millersville State University, Moore functional works; at Arthur M. Sackler Gallery, D.C., WashingtonMarch 19-April 16 Avina Al­ College of Art, Penn State University, Tyler School Smithsonian Institution, Pennsylvania Ave. at 17 ter and Alan Lerner; at Jackie Chalkley Gallery, of Art, the University of the Arts, University of St., NW. 3301 New Mexico Ave., NW. Delaware and Virginia Commonwealth Univer­ Florida, Coral Gablesthrough March 13 March 25-October 23 “American Art Pottery sity; at Levy Gallery, Moore College of Art. “Expressions!” seventh annual Community Art 1880-1930,” 75 works from the Marcia and Wil­ Tennessee, Gatlinburg through May 21 “The Alliance juried exhibition; at Metropolitan Mu­ liam Goodman Collection; at Renwick Gallery, Dripless Spout: Innovative Teapots”; at Arrow- seum of Art Center, 1212 Anastasia. Smithsonian Institution, Pennsylvania Ave. at 17 mont School of Arts and Crafts Gallery, 4320 Florida, Jacksonvillethrough March 28 “Florida St., NW Parkway. Community College at Jacksonville Art Faculty Florida, Fort LauderdaleMarch 3-30 “Jamai­ Virginia, AlexandriaMarch 5-27 The Ceramic Exhibition,” includes wheel-thrown pottery by Ron can Pottery”; at Broward Community College, Fine Guild’s “Annual Juried Show”; at Scope Gallery, Wetherell; at South Gallery, Florida Junior Col­ Arts Gallery, 3501 S.W. Davie Rd. Torpedo Factory Art Center, 101 N. Union St. lege, Beach Blvd. Florida, ManalapanMarch 12-April 30 “Vessels Washington, Seattle March 5-May 1 “Swedish Florida, Miamithrough March 11 “Art of New for Flowers,” works by 23 artists; at Cooper Gal­ Contemporary Ceramics,” works by members of Orleans”; at Barbara Gillman Gallery, 270 N.E. lery, Plaza Del Mar, 205 S. Ocean Blvd. Lerverk; at the Nordic Heritage Museum, 3014 39 St. Florida, Palm BeachMarch 18-April 17 “Fired N.W 67 St. Georgia,# SavannahMarch 3-31 Three-person with Enthusiasm,” contemporary soup tureens from exhibition including porcelain by Karen Beswick the Campbell Museum; at the Society of the Four and stoneware by Chic Lortz; at Exhibit A, Sa­ Arts, 4 Arts Plaza. Ceramics in Multimedia Exhibitions vannah College of Art and Design, 342 Bull St. Illinois, Chicagothrough March 6 “European Alabama, Birmingham through March 27 “Per­ Illinois, Chicagothrough March 6 “Artists Who Terra-Cotta Sculpture from the Arthur M. Sackler spectives: Angles on African Art,” includes terra­ Teach: Southern Illinois University at Carbon- Collection,” 35 works dating from the 15th through cotta objects; at Birmingham Museum of Art, 2000 dale”; at State of Illinois Art Gallery, 100 W. Ran­ the 20th centuries, through March 27 “Ice and Eighth Ave. dolph St. Green Clouds: Traditions of Chinese Celadon”; at Alaska, Anchoragethrough April 2“The 22nd Indiana, IndianapolisMarch 13-April 2 “Two- the Art Institute of Chicago, Michigan Ave. at Annual All Alaska Juried Exhibition”; at An­ Man Show,” works by Gerald Boyce and Dee Adams St. chorage Museum of History and Art, 121 W. Sev­ Schaad; at Leah Ransburg Art Gallery, 1400 E. March 4-April 1 “Color and Clay,” touring juried enth Ave. Hanna Ave, University of Indianapolis. national; at Lill Street, 1021 W. Lill St. Arizona, Mesathrough March 10 “Tenth Annual Kansas, TopekaApril 2-May 2 “Topeka Crafts March 21-May 16 “Ornamental Architecture Re­ Vahki Exhibition,” juried national. March 18-April Competition 12,” juried regional; at Gallery of Fine born: A New Terra Cotta Vocabulary”; at Chicago 16 “Under a Foot,” national juried exhibition of Arts, Topeka Public Library, 1515 W. Tenth St. Architectural Foundation, 1800 S. Prairie Ave. sculpture less than 12 inches in size; at Galeria Maine, PortlandMarch 17-April 30 “Corporarte Illinois, Highland Parkthrough March 5 “Pitch­ Mesa, 155 N. Center. Design Service Exhibition,” includes works by er, Jug, Ewer,” includes works by Stanley Ander­ Arizona, Phoenixthrough March 6 “What Is Na­ Carolyn Sale, Barbara Schaff and Dale Zheutlin; son, Everette Busbee, Val Cushing, Patrick tive American Art?” historical and contemporary at Maple Hill Gallery, 367 Fore St. Dougherty, John Frantz, Ron Gallas, Jane Le- work, through March 6 “Native American Student Massachusetts, Bostonthrough June 30 “Mas­ fevre, David Nelson, Charles Olson, Douglas Arts and Crafts Show”; at the Heard Museum, sachusetts Craftspeople,” includes works by Steve Rankin, Will Ruggles and Ken Sudberry; at Mar­ 22 E. Monte Vista Rd. Branfman, Patricia Fay and Nancy Gilson; at Sig­ tha Schneider Gallery, 2055 Green Bay Rd. Arizona, TucsonMarch 20-May 15 “Arizona nature, Dock Square, North St. Michigan, Detroitthrough March 19 “The Fig­ Women Artists Invitational”; at Campbell Gallery, Massachusetts, Chestnut Hill through June 30 ure and Clay,” includes sculpture and vessels byTucson Museum of Art, 140 N. Main Ave. “Massachusetts Craftspeople,” includes works by Rudy Autio, Joe Bova, Edward Eberle, Viola Frey, California, Los Angelesthrough March 13 “New Steve Branfman, Patricia Fay and Nancy Gilson; Paul Mathieu, Judy Moonelis, Mario Petrirena, Spirit in Craft and Design,” juried exhibition of at Signature, 199 Boylston St. Patrick Siler, Akio Takamori and Stan Welsh; at works by over 45 contemporary British artists; at Massachusetts, Hyannisthrough June 30 “Mas­ Pewabic Pottery, 10125 E. Jefferson. Craft & Folk Art Museum, 5814 Wilshire Blvd. sachusetts Craftspeople,” includes works by Steve Missouri, Kansas Citythrough April 24“Chinese California, Mill ValleyMarch 7-April 2 “Jew­ Branfman, Patricia Fay and Nancy Gilson; at Sig­ Monochrome Porcelains of the Ch’ing Dynasty”; elers from the Eloquent Object Exhibit,” in con­ nature, Village Market Place, Stevens St. at the Nelson-Atkins Museum of Art, 4525 Oak junction with the exhibition at the Oakland Mu­ Massachusetts, NewtonvilleMarch 11-April 4 Street. seum; at Susan Cummins Gallery, 32 Miller Ave. “Art in Craft Media”; at Newton Arts Center, 61 Montana, Great FallsApril 4-29 “Northwest Ce­ California, Oaklandthrough May 15 “The El­ Washington Park. ramics Today,” invitational exhibition of works by oquent Object: The Evolution of American Art in Massachusetts, NorthamptonMarch 26-April 35 contemporary artists; at Charles M. Russell Craft Media Since 1945”; at the Oakland Mu­ 30 “Tabletops,” furniture and tableware; at Pinch Museum, 1201 Fourth Ave., N. seum, 1000 Oak St. Pottery, 170 Main St. New Jersey, Red BankMarch 19-April 16 Two- California, San Diegothrough March 5 A group Massachusetts, WorcesterMarch 1-April 9 Five- person show with works by Mark Forman, wall show with works by Jeri Au, sawdust-fired por­ person exhibition including raku by Susan and reliefs; and Joel Moses, raku; at Art Forms, 80 celain; John Hopkins, architectural sculpture Steven Kemenyffy; at Worcester Center for Crafts, Broad St. combining organic and geometric imagery; Patri­ 25 Sagamore Rd. New Jersey, Summitthrough April 10 “Expres­ cia Smith, slip-cast and slab-built porcelain vessels Michigan, Bloomfield Hillsthrough March 6 “The sions in Color: Ceramics,” works by 16 artists; at and wall forms; and Lana Wilson, porcelain with Arts and Crafts Movement: Works from the Cran- the New Jersey Center of Visual Arts, 68 Elm St. high-fired metallic salts; at Wita Gardiner Gal­ brook Collection,” includes vessels by Adelaide Al- New York, New Yorkthrough April 6“Firing lery, 535 Fourth Ave. sop Robineau; at Cranbrook Academy of Art Mu­ the Imagination: Artists and Architects Use Clay,” through May 8“Souvenirs to Science: The Eclectic seum, 300 Lone Pine Rd. past, present and future uses of clay in architec­ Collector,” artifacts from 1380-1350 B.C., in­ Michigan, Lansing March 29-April 24 “Seventh ture; at Municipal Art Society Urban Center, 457 cludes pottery and tile fragments; at San Diego Annual Botanical Images Competition and Ex­ Madison Ave. Museum of Man, 1350 El Prado, Balboa Park. hibition,” statewide juried show; at Lansing Art through May 8 “Icons of Piety, Images of Whimsy: California, San Franciscothrough March 29 Gallery, 425 S. Grand Ave. Asian Terra-Cottas from the Walter-Grounds Col­ “Paths to Enlightenment: Saints and Bodhisatt- New Jersey, Montclairthrough July 31 “The Ea­ lection,” 90 Buddhist and Hindu sculptures from vas,” Buddhist figures from China, India, Japan, gle and the Raven Speak: Highlights from the Na­ the third century B.C. to the 17th century; at the Korea and Southeast Asia from the Avery Brun- tive American Collection,” works by artists from Asia Society, 725 Park Ave. dage Collection; at Asian Art Museum of San Alaska, California, the Eastern woodlands, the Ohio, WoosterApril 4-24 “Functional Ceramics Francisco, Golden Gate Park. Great Lakes region, the Northwest coast, the Great 1988,” survey of contemporary works; at WayneCalifornia, Santa Barbarathrough March 27 Plains and the desert Southwest; at Montclair Art Center for the Arts, 237 S. Walnut St. Two-person show including fanciful teapots, bowls Museum, Bloomfield and S. Mountain Aves. Oregon, Corvallisthrough March 31 “The Aes­ and large vessels by Linda Spiegel; at Westmont New Jersey, PrincetonMarch 11-April 2 thetic Edge,” national invitational; at Corvallis Arts College Art Gallery, 955 La Paz Rd. “Emerging Talent Show,” with Scott Tubby, pit- Center, 700 S.W Madison. Delaware, Wilmington through March 20 The and sawdust-fired porcelain vessels; at Sheila Oregon, Portlandthrough April 3“East Meets “26th Contemporary Crafts Exhibition”; at Del­ Nussbaum Gallery, N. Harrison St. West: A National Ceramics Invitational”; at Con­ aware Art Museum, 2301 Kentmere Pkwy. New Mexico, Las CrucesMarch 10-April 1 “From temporary Crafts Gallery, 3934 S.W Corbett Ave. D.C., Washington through March 6 “Lost and the Ground Up VII,” works by artists from Ari- through April 3“Clay Revisions: Plate, Cup, Vase,” Found Traditions: Native American Art Please Turn to Page 52 March 1988 19 Comment Craft Ethosby David Baird

The debate as to what we are doing, how we are doing it and why, is long overdue. The craft profession has bumbled about as an amiable anarchy, considered by society as a quaint and romantic aber­ ration and generally ignored by the money people. But in the ’70s, spurred by the need for some financial stability, we started to get organized; and in many cases, it worked. Wow! The problem is that organization implies patterns which imply definition. At some point these def­ initions are going to be made. The ques­ tion is: Who will make them, and will you and I have input into the process?

“The craft profession has bumbled about as an amiable anarchy; considered by society as a quaint and romantic aberration and generally ignored by the money people”

We may wake up someday and find our­ selves in a funnel from which we can’t escape. Let me, for the sake of argument, throw out a few bones to chew on: What is a craftsman? That’s a tough one. There are perhaps as many defi­ nitions as there are people making crafts. But, its craftsperson, dummy. Right! I agree, this is an aspect of our shared values (see, we do have some!). Historically, the craftsperson was the precursor of industry; if anything was made, a craftsperson would do it. The Industrial Revolution changed that, and since then, it has gotten complicated in­ deed. For instance, should we call anyone who makes a product by hand a crafts­ person? What if that person uses power tools, machines? When does a tool be­ come a machine? Do craftspeople use their own designs or someone else’s? Do they do more than one of each item; if so, how many? Does a craftsperson hire people to help with the work, or do it entirely alone? How about hiring some­ one to do it all? What is the relationship of the craftspeople to their work? Is there such a thing as a value system or ethos? Is there a standard of skill or originality 20 CERAMICS MONTHLY that should be applied to one’s work? He said that the root of many of our increase of the size of the show. Granted, What is the producer’s responsibility, if problems lies in the fact that we now a large fair will create interest and draw any, to the patron? Does the patron have have a leadership that legitimatizes our more people. The problem is whether the right to know by whom and how the worst instincts. Greed, selfishness and this will increase sales. It certainly helps object was made and whether there are lack of ethics are not only in, they are the gate. On the other hand, it never 1, 6 or 6000 others in the world? Gad! okay, chic even (that is, as long as you seems to lower the craftsperson’s entry It’s enough to give one an Excedrin #303. go to church). fee. But try as we may to ignore them, these We all rationalize, particularly if it There has been a lot of talk and pro­ issues will not go away. puts a buck in our pocket and it is really motion concerning the wholesale mar­ Well, for what it’s worth, here’s what hard to hold on to our souls in this kind ket; for many craftspeople it has been a I think (and I do invite response, as long of atmosphere. real boon. But there are sharks in these as it’s not tied to a brick): Before I start seeming holier than thou, waters too. The tendency toward craft Foremost, I believe that there should let me say that I have nothing against factories is much stronger there and be an intense involvement by the crafts- money, and after having been in the trade maybe one of these days buyers are going since 1961 or thereabouts, I have gained a healthy respect for eating (some of my “If entry fees become keyed to only best friends eat). The fact is that my “...what we would have felt very concerns spring from some rather prac­ guilty about ten years ago is now those who do well, many quality tical considerations as well as the phil­ c craftspeople will be squeezed out byosophical. being described as being I, as most craftspeople, have done and professional/ " pure economics ” are doing, work which we are not brag­ ging about, the “Pot Boiler” which gets us home from bad shows, etc.; and, yes, to realize that “craft galleries,” coast to person in each piece of work he or she we have a neighbor kid do some of our coast, are selling literally the same things produces, both in manual skill and de­ finishing. But this has little to do with and will go back to the department stores sign. To the extent that is successful, it the body of our work which is still one- where the stuff is cheaper. Well, pro­ is art. This implies integrity and pride of-a-kind, and that’s the way I want to duction people can always fall back on of workmanship. I believe that there is keep it. the fairs. But what if the same thing has an ethos and that is growth, not only of I certainly have nothing against those happened there? Where will we go then? income but mainly of the person and the craftspeople who have the preference and Even Doonesbury is starting to warn us work. That growth should be constant. patience to do production work, and I that craft fairs are losing their special- Let me indulge for a second in a little don’t challenge their right to sell in fairs. ness. shameless nostalgia. When I first started However, they should be very aware that Finally, another consideration is our out in this craziness, the craft fairs I their interests and those of one-of-a-kind kids, those who might have the talent went to were, to say the least, pretty artists are tightly intertwined. Quality and guts to follow in our somewhat stag­ scruffy. We didn’t make much moneyproduction work sells best at shows where gering footsteps. Are we going to be­ and I wince when I run across some of one-of-a-kind craftspeople can still sur­ queath to them a world of craft factories the pieces I sold in those days. But I do vive and draw the type of clientele who where to get started means spending ten have very warm memories of the artists very often end up buying production. years sticking handles on mugs before and the values we shared. I know that Anything which threatens the survival they work their way up, or adapt the if, at that time, one of the factory op­ of one-of-a-kind craftspeople threatens erations, which seem to be making an the interests of all. We know what hap­ pens to a fair when the quality starts to slip and the junk merchants show up. .. one of these days buyers are There are many factors that deter­ going to realize that David Leach, Warren MacKenzie, Jeff Oest- reich and Byron Temple) at lectures and workshops presented in conjunction with the exhibition that each has developed in­ dividual interpretations of the pottery forms and lifestyle that Leach exemplified. This is only natural as each came from a time and social environment different from that of Bernard Leach. At a workshop at Saint Louis Community College, Bernard’s son David answered questions about the philosophy of the “Leach tradition.” He noted that it had to do with a belief in the integrity of work, living life with high human values and being true to oneself. According to David, Bernard did not intend his writing to describe a fixed set of standards, but to encourage “in­ tellectual activity after the intuitive act of making.” To explain “the integrity of work,” David stressed that the repetitive making of forms known as “production pottery” is really the only way to become skilled enough to express oneself eloquently, just as other art disciplines such as dance and music require constant practice. With each repetition, good potters are intellectually engaged and curious about how a slight adjustment of the fingers or tool or glaze will affect the final form. They are constantly involved with the sculptural aspects, the tactile and visual elements, and finally how the pot will function at the table. Through repetition the potter develops characteristics that become a personal, identifiable vocabulary of form, gesture, texture and color. In thoughtful repetition there is a natural growth and true innovation rather than a forced self-conscious effort to be novel. In a sense, the five former apprentices who came to Saint Louis are quite daring. It is risky, in the current trend of politically relevant art, to whisper “I love you” to the clay. By making hand-sized, usable containers, they reveal themselves to the user of the pot in

22 CERAMICS MONTHLY OPPOSITE PAGE British studio potter Bernard Leach influenced generations through his writing and the many apprentices/students who disbursed throughout the ivorld after working for a time at the Leach Pottery at Saint Ives. Leach is shown (1960s) having tea in the comer of the pottery’s throwing room; note the clay drying over the fire. Stoneware vase with ash glaze and incising, thrown, 10 inches in height, by Bernard Leach, 1967.

March 1988 23 TOP LEFT Vase with finger-iuiped temmoku glaze, by Jeff Oestreich, above Stoneware vase, 12 inches slip, 8 ½ inches high, stoneware, by Taylors Falls, Minnesota. high, by Trevor Corser, Saint Ives. Jeffrey Larkin, Redwing, Minnesota. above left Wenford Bridge Pottery RIGHT Salt-glazed, incised TOP right Thrown and faceted plate, 10 ¾ inches in diameter, stoneware pitcher, 10¾ inches high, stoneware vase, 15 inches high, ivith stoneware, by Michael Cardew. by Michael Henry, Vancouver.

24 CERAMICS MONTHLY March 1988 25 TOP LEFT Stoneware pitcher, TOP right Faceted bottle, 11 inches ABOVE Loosely thrown covered 14 inches high, with yellow/green glaze high, by Kenneth Quick, Saint Ives. jar, 7 ½ inches high, by Glenn Lewis, splashes, by Clary Illian, Ely, Iowa. Ottawa, Ontario. above left Heavily salt-glazed TOP middle Shino-glazed stoneware bowl and pitcher, 9 ½ inches RIGHT Salt-glazed covered jar stoneware vase, 12 ¾ inches high, by in height, by Mirek Smisek, Te Horo, with bamboo handle, 7 inch diameter, by Daxnd Leach, Bovey Tracey, England. New Zealand. Byron Temple, Lambertville, New Jersey.

26 CERAMICS MONTHLY March 1988 27 TOP left Wood-fired stoneware wheel-thrown porcelain, by Daxrid ABOVE Temmoku- and kaki-glazed platter, 16½ inches in diameter, with Stannard, Fairbanks, Alaska. bottle, 11 ¾ inches high, by William wax-resisted glaze decoration, by John Marshall, Saint Ives. Leach, Langport, England. above LEFT Vase, 13 ½ inches in height, glazed stoneware, with oxide RIGHT Thrown raku bottle, TOP RIGHT Incised bowl with brushwork, by Robert Fishman, 9 ½ inches in height, stoneware, by celadon glaze, 4 Vi inches in diameter, Greenville, Rhode Island. John Bedding, Saint Ives.

28 CERAMICS MONTHLY March 1988 29 TOP LEFT Cane-handled teapot, wheel thrown, with applied shoulder above Pitchers, to 9 ½ inches 7 inches in diameter, stoneware, with lugs, by John Reeve, Vancouver. in height, glazed stoneware, by Anne iron-saturated glaze, by Scott Kjaersgaard, Laroque, France. Marshall, Saint Just Penzance, England. ABOVE LEFT Stoneware teapot, 4 inches in height, with green glaze drips RIGHT Thrown and faceted covered TOP RIGHT Shino-glazed over iron-saturated glaze, by Atsuya jar, 10 inches in height, stoneware, by stoneware vase, 10 inches in height, Hamada, Mashiko, Japan. Warren MacKenzie, Stillwater, Minnesota.

30 CERAMICS MONTHLY PHOTOS: S BURGESS, MICHAEL HOLOHAN, J. LOTZ. COURTESY OF PRO ART

March 1988 31 an intimate and caring way. They represent Fishman and Jeffrey Larkin, left in 1978,” philosophy was interpreted through the years. a larger group of potters who are self-con­ Oestreich (pronounced A-strike) wrote in his A major one lies in trying to play two ir­ fident enough to continue the tradition of curator’s statement. “The atmosphere was reconcilable roles—an aesthetic elite and a passing on techniques and philosophies in one of extremes. Intense periods were bal­ humble craftsperson—at the same time. An workshops and lectures. They are unafraid anced by periods of harmony. What tem­ educated person can only play the role of, of plagiarism or copyright infringement be­ pered these times was a shared passion for not actually be, an uneducated potter. To cause they believe that no one can copy an the making of pots. This carried the pottery achieve the naive and unself-conscious qual­ individual’s expression if it is true to the self. through difficult periods.” ity that many admire in historic pottery re­ A “real” pot is like a person’s fingerprint or Oestreich grew up in Minnesota and is quires a quantum leap beyond education and handwriting. now slowly restoring his farmhouse there, playing roles. For example, David Leach’s work is re­ building a studio large enough to eventually Another problematic aspect is that Leach, served, with a certain freshness contained take in individual apprentices for the sum­ Hamada and others recognized the aesthetic within a controlled, symmetrical form. Re­ mer. This description does not conjure up beauty of the humble pottery of the past and finement may be seen in elements such as the the image of someone hungry to make it in felt pottery made in that spirit should be con­ close-fitting lids sitting well on smooth flanges. a contemporary art market. He has instead sidered fine art. But they also subscribed to This is the work of an English gentleman. chosen to carry on the tradition of handmade the idea that fine art is separate from daily In contrast, Warren MacKenzie’s work is pottery because it represents his philosophy life (that is, to be exhibited and appreciated more gestural, more off-hand and casual, with of life. A Bellarmine jug that he owns em­ by connoisseurs), and coined the term “artist- the trimmed areas left unglazed and “open.” bodies what he likes about pots; it has warmth, potter” to give the craft movement credibility They are earthy and look comfortable hold­ humanity, volume, breadth and utility—veryin the world of culture—their world. Thus ing crusty bread and steaming tea. Mac- human qualities. their act of taking humble pottery out of its Kenzie has encouraged many young potters Clary Illian has also chosen a simple life original context and tagging on a price that to produce their own interpretations of the in a small town in Iowa. At her workshop reflects their discriminating selection is con­ Leach-Minnesota tradition (jokingly referred at Maryville College, she said that her forms trary to truly living a spartan aesthetic life to as the Mingei-sota School) through his are very much influenced by the “standard where common things are beautiful and teaching at the University of Minnesota and ware” that was produced by apprentices dur­ functional. innumerable workshops around the country, ing her two-year stint at the Leach Pottery During a panel discussion (at Washington and by continuing to make affordable func­ in Saint Ives. But, in contrast to that ware, University) with Clary Illian, David Leach, tional pottery. During his workshop at hers is overstated and anthropomorphic. She Warren MacKenzie and Byron Temple, Washington University, MacKenzie told of makes lids with oversized knobs that some­ moderator Barbara Okun asked how those the early days of his career. times resemble hats, or she “nudges” the pot present felt about their work commanding Warren MacKenzie and his wife Alix (who into a human stance, or uses the slowly turn­ high prices in galleries. Temple replied that died in 1960) were the first Americans to ing wheel to make broad planes “march down he needs to make a living. MacKenzie men­ apprentice with Bernard Leach. In a sense, the side of a bowl.” Her interest lies in con­ tioned disappointment that the high prices the MacKenzies were offspring of the match­ tinually changing the point at which the in­ make people cautious about using the work making Leach did between Japan and Amer­ side and outside of the form meet, then coun­ after a purchase. This same dichotomy has ica. In the early 1950s, American potters were terbalancing that with a nudged gesture and always existed in the Leach tradition. In the ripe for the intuitive approach to art. Ab­ shadow under the foot to visually lift the pot beginning at Saint Ives, a good portion of stract expressionism, jazz and other exuber­ off the table. Leach’s income came from his own work made ant art forms were replacing the subdued While Bernard Leach subscribed to the specifically for exhibitions. Later, the pottery “refined good taste” of the arts and crafts idea that the nobler aspects of English me­ had a mail-order business of “standard ware” movement. Many had read Leach’s A Pot­ dieval pots could be an antidote to the mon­ that was produced mostly by apprentices. ter’s Book (1940); and when he and Shoji ster of 20th-century industrialization,it should It seems that the toughest aspect of being Hamada toured the United States in 1950 come as no surprise that Saint Ives was not an artist-potter who believes in the Leach and in 1952, American potters were primed the site of some indigenous folk pottery, but tradition today is deciding how to support for a more intuitive handling of clay. was an artists’ colony populated in the ’20s oneself. Does one decide to make beautiful, “As word of Leach’s work spread, students and ’30s by Ben Nicholson, Barbara Hep- well-thought-out functional forms sold at from around the world contacted the pottery worth, Naum Gabo and others. Leach chose prices that do not inhibit one from using in Saint Ives,” MacKenzie recalled. “They to associate with artists, rather than people them—from appreciating the performance sought training they could not get in schools in the pottery trade who were no longer quality, the touch, lift, pour and sound of or other potteries. When selecting students, craftspeople but part of industry. them? Or does the potter produce pieces with Leach always looked for a creative energy, As Harry Davis once noted, there were the same materials, but, with the emphasis rather than skill in potting. He also looked several beliefs which laid the groundwork for on aesthetics rather than utility, made to “sing” for people he thought would continue to spread certain educated people to initiate the hand­ in a pristine gallery setting or glossy mag­ his ideas and ideals when they returned to craft movement. For one thing, the movement azine and sold at a much higher price? Often their homes. He did not want students who was a social protest against what they per­ these educated and sophisticated potters have would make ‘Leach pots,’ but rather those ceived to be the dehumanizing effect of in­ chosen to live at an economic level far below who could develop their own aesthetic in their dustry on the workers. The leaders of the that of their customers in order to fulfill a work at the pottery.” handcraft movement believed that machinery belief in the importance of handmade objects. At Saint Louis Community College, Jeff was evil and inhibited creativity. They thought It takes a truly strong person to continue Oestreich (an apprentice in the late ’60s and that the humble craftsperson of the past, who following this philosophy in our time, even curator of the Pro Art exhibition) spoke had the freedom to create forms for daily use though, as Barbara Okun put it, “integrity, thoughtfully about setting both daily and long­ from beginning to end, had a more satisfying honesty and pride in one’s work are never term goals; he had learned to set up a “mak­ existence which was reflected in the beauty out of style.” ing list” while apprenticing with Leach. “My of the ware created. The authorA clay and paper artist residing in experience as an apprentice was probably As one might conclude from Davis’s ob­ Florissant, Missouri, Linda Mosley is also editor not much different from that of Michael Car- servation, and perhaps from analyzing ce­ of the NCECA fournal published biannually by dew, who worked at the pottery in 1923, nor ramic art education in the college system, the National Council on Education for the Ceramic different from when the last students, Robert some problems have developed as Leach’s Arts.

32 CERAMICS MONTHLY Mindy Shrago by Maria Martinez-Canas

Low-fire wall Her columnar constructions are rem­ Slab constructed from a talc/earth- reliefs and colum­ iniscent of building blocks, assembled so enware body, each puzzle and block con­ nar block con­ that each side features a completed com­ struction begins with several sketches of structions, ex­ position; while the wall reliefs are like the concept. With the aid of a slab roller ploring forms and jigsaw puzzles. Images on the surfaces to ensure even thickness, ½-inch slabs imagery tradi­ appear and disappear, metamorphosed are rolled out on canvas, which is then tionally associ­ from two dimensions to high relief. The used to turn them over. ated with chil­ result is metaphor for both the “un- For a puzzle relief, a scale drawing dren’s playthings, whole” state of becoming and the “whole” on paper is transferred to the slab. Left by Miami artist Mindy Shrago, were of the completed creative process. By us­ to dry overnight, the patterned slab is presented recently in a solo exhibition ing clay as a field for painting on a three- cut into puzzle pieces with a knife. Clay at the Gloria Luria Gallery in Bay Har­ dimensional canvas, Shrago synthesizes is added to specific areas, allowed to dry bor, Florida (just north of Miami). painting and sculpture. until leather hard, then carved as relief

“The Puzzling Environment, ” 3 feet square, earthenware with underglazes, mounted on Plexiglas with Velcro, by Miami ceramist Mindy Shrago (TOP). March 1988 33 PHOTOS: RANDY BESTTTA, MICHAEL ZIMMERMAN

"Playing with the Environment #2, ” modular, slab-built earthenware sculpture, with under glazes, 16 inches in height.

“View from a Window,” 3 feet square, Velcro- Short Plexiglas rods were adhered to the Plexiglas backing to mounted earthenware puzzle relief. project elements of the composition from the surface.

34 CERAMICS MONTHLY imagery. With the carving complete, the Cone 08 oxidation firing allows for a (up to 4 inches in length) are glued to pieces are left assembled in controlled strong body without losing the bright the backing, then Velcro is glued to the humidity for about ten days so that they underglaze colors. A second firing is projecting tip. Sometimes, to expand the will dry evenly. necessary for underglaze pencil details. Velcro mounting surface, 1-inch squares After that, the blocks and puzzles are This is followed by spraying with com­ of ½-inch-thick Plexiglas are glued to airbrushed and brushed with under- mercial sealant to protect surfaces. the tips. Strong, yet flexible, Velcro al­ glazes. An airbrushed application of The completed puzzle reliefs are lows enough give to eliminate the hair­ overlaying colors for the background re­ mounted with heavy-duty Velcro on line cracking (caused by stress, weather sults in soft edges, subtle gradations and Plexiglas, using 2 inches of Velcro for changes and rough handling) which pre­ a sense of depth. Hand brushwork, to­ every pound of clay. Some pieces are in­ viously occurred when using epoxy. Also, gether with stencil and masking tech­ stalled directly on the Plexiglas backing, shipping damage has been nearly elim­ niques, define the composition, taking while others project from the surface on inated as all the pieces can be removed up to two weeks to complete. Plexiglas rods. The ½-inch-diameter rods and packed individually.A

“Putting Together the Pieces, ” 3 feet square, earthenware, with airbrushed, brushed and penciled underglazes, fired to Cone 08 in oxidation, sprayed with commercial sealant, mounted on Plexiglas with heavy-duty Velcro, by Mindy Shrago. March 1988 35 Bernard Dejonghe by Michele Moutashar

A REGIMENT of blue stoneware steles cessive and vaulted chambers, tiered on by Bernard Dejonghe were first pre­ the slope of the ground, an installation sented in the autumn light of the Arpille that is at the same time monumental and (Alps de Haute Provence) in Southern on a human scale. The moment came at France, then plunged into the shadows last when the artist opened with a ham­ of the Romanesque halls at the Cloister mer the bricked-up doors of the three Saint-Trophime in Arles. Seeing those chambers, like an archaeologist who had simple blue signs in the environment of created his own history and rediscov­ the cloister was like discovering an un­ ered, after the passage of the fire, the known music or the birth of a new lan­ objects he himself had placed there. They guage. appeared by families, side by side, close Everything which makes up the in­ together in the narrowness of each vestigation of sculpture—materials, depth, chamber, rising to the top of the vault, trajectory—is subjugated here. The usu­ gleaming blue striking the eye. al concern about form that is so for­ Out of the kiln and installed, it is from midable for many ceramists—when the above, from the stone path which sur­ clay reflects the glaze and the glaze re­ rounds the cloister, that the essence of flects the clay—come to an end at the the forms can best be understood: a ver­ edges of these forms, closed upon them­ tical plunge into transparency, some­ selves, grafted onto the stone of the Ar­ thing which takes into account the bot­ pille and into the floor of the cloister’s tom of the seas as well as the movement Romanesque halls. of the stars, yet anchored on the terrace, For months the work revolved around in harmony with the shadows and empty the kiln built inside the studio: three suc­ spaces. A

RIGHT “49 Steles, ” each approximately 53 inches in height, installed at the Cloister Saint-Trophime in Arles, France. 36 CERAMICS MONTHLY March 1988 37 PHOTOS: BERNARD DELGADO, C. T1BERGHIEN

“Buttresses for the Cloister Terrace, ” glazed stoneware, each approximatelyfeet 5 in height, installed along an upper terrace at the Cloister Saint-Trophime, by Bernard Dejonghe, Saint Auban, France. 38 CERAMICS MONTHLY The Eloquent Object

“Red Zig, ” 6 ½ inches in height, glazed porcelain, by Ken Price, South Dartmouth, Massachusetts; 1979.

Some 200 objects made from mate­ Selected to reflect the variety of “Some of the objects serve two rials once associated solely with cross-cultural phenomena influenc­ worlds. They are both art objects and crafts—clay, wood, paper, fiber and ing American art in craft media dur­ functional objects. Some are exercises glass—are featured in “The Elo­ ing the postwar years as well as the in exploration, pushing the limits of quent Object,” a survey of studio craft/ basis of their aesthetic integrity, the technology through the use of ma­ art works produced in the United objects in the exhibition were “not terials and techniques unimaginable States since World War II. Having made to cut bread, hold water, or to 50 years ago. Others focus spiritual opened at the Philbrook Museum in clothe, adorn or support the human energy as do the ritual objects of triv­ Tulsa, Oklahoma, the exhibition is body,” according to Philbrook exec­ ial societies, or blend the aesthetic im­ currently on view at the Oakland utive director Marcia Manhart. “They pulses of many diverse cultures, or Museum (through May 15), then will were made for the reasons art is made: make political statements as pun- travel to Boston, Chicago, Orlando to question, assert, celebrate and re­ gently and clearly as a bold stroke of and Richmond. cord. graffiti.”

March 1988 39 Crafts Is Art by John Perreault

Crafts should be approached with cau­ this remarkable shift were laid in the on-canvas art and noncraft sculpture. tion, for the terrain is full of pitfalls and last century. But we are not talking about New art of the East Village sort prides booby traps. As a critic conversant with an arts and crafts revival (or even some­ itself on lack of originality and on quo­ what might be called avant-garde art for thing as logical as a Bauhaus ideal). Since tation, repetition, appropriation. It is the last 20 years or so and as a partisan the 1950s there has been a seepage, an made to please a specific market; it is of art that was perceived as at “the cut­ interchange, an interface between once made to sell. It is usually portable, al­ ting edge,” I now find myself at a slight­ mutually exclusive realms of art pro­ ways “decorative”—that is, it can be ly different edge, but one that is no less duction or, more fashionably, a series of placed over a sofa or on a coffee table— cutting. appropriations—some achieved by stealth, and it certainly eschews ideas. Although I retain my passion for paint- some accomplished by bravado. Slowly Furthermore, production ware has long on-canvas art and noncraft sculpture, but surely the dividing line between so- been the downfall of attempts to con­ these forms presently seem tired, un­ called fine art and crafts has become a ceptualize craft-as-art, art-for-the-peo- inspired, and strangely commercial. More dotted line. ple idealism notwithstanding. But what challenging to me are the analysis and Although insights can be gained by about fine art productionware, those defense of ceramic art, fiber art, glass cataloging instances of crossover—some dreary photolithographs or even offset art, even metalwork and woodwork, as of them irritating, some of them spec­ prints cranked out by the thousands to art. It is here that the art spirit is still tacular—what once could be seen as a pad the coffers of both the dealers and in force, and not yet totally compro­ dialectic between art and crafts has dis­ the “artists” involved? By comparison, mised. solved into the bewilderment that signals craft art is involved with sincerity of The following sections—chunks, a change of paradigm. There is no need expression, originality and formal val­ blocks—represent a continuous attempt, here to list examples of artists trained ues. presented discontinuously, to grapple with in painting and sculpture suddenly us­ To summarize: 1) Crafts and fine art crafts-generated issues. Although inter­ ing crafts media or crafts artists quickly are one; it is only quality that makes a related, these thoughts do not pretend to assimilating fine art strategies and styles. difference. There is no such thing as a present a seamless argument. That they These were scouting actions or forays good craft object, for a good craft object are contradictory, that they are un­ into the unknown territory ahead. is an art object. 2) Crafts and fine art ashamedly present tense, that they re­ The time-tested categories have bro­ have switched places; it is paint-on-can- frain from mentioning particular artists ken down. One way of understanding vas art that is the middle-class mode, not or craft objects, is intentional. The use this is to proclaim that significant dif­ pottery. It is “fine art” that is kitsch. of the plural crafts with the singular verb ferences between fine art and crafts no Some insights may be gained by is likewise intentional and meant to call longer exist. One could also adjust one’s adopting either of these views of our cur­ attention to the way in which we address stance by deeming most visual produc­ rent predicament, but both delay a more such categories. We are working here at tion “art” and then creating a subcate- difficult insight. Crafts—meaning art in a level of abstraction scarce in crafts crit­ gory called “art in crafts media.” Some crafts media, in other words, ceramics, icism. Logic is at the service of insight, have proposed “alternative media” as a glass art, fiber art, et al.—can now be as is taste. new rubric for crafts. This has the virtue caught in the act of replacing “fine art” We will gain no intellectual or aes­ of eliminating the odious term crafts, but in art media, that is, paint-on-canvas art thetic advance if we back away yet again implies that these media—clay, glass, fi­ and noncraft sculpture. from the confrontation just beneath the ber, etc.—are inferior or secondary to Of course, it all depends on one’s surface of the art/crafts interface or ex­ the main business of art, which many priorities for art or what one expects or change; world-ordering philosophies are still believe to be paint-on-canvas art and hopes art can accomplish (or at least stand at stake. Thus severe anxiety—often ex­ noncraft sculpture. for). Here I am a traditionalist. I expect pressed by wit—surfaces at every turn­ What I propose is something more art to address, express, and add to hu­ ing. To tamper with categories, even if flamboyant. It is not that crafts (as tra­ man experience through material or the categories are painfully inadequate, ditionally understood) and art (i.e., fine conceptual forms that embody the spirit. is to tamper with power. art) are blurred, overlapping, merged. This can be done with love, with wit, These concepts represent an easy way and even with fury, but it cannot be done The Status of Crafts out of the dilemma and fail to dramatize with both eyes on the cash register. serious aesthetic issues. Everyone is re­ Hemmed in by the distribution context Coming into a new consciousness about lieved of responsibility; we are one big and by the economics of living and work­ the time of abstract expressionism, con­ happy family. People working in clay, as ing, artists must nevertheless follow their tinuing through pop art and minimal­ well as those dabbing in oil on canvas, own lights. It is in the craft area that I ism, persisting throughout the pluralist are all making Art, and the world is a see these principles expressed, and less period, and now rising above the instant better place for it. Go tell that to a paint­ and less in the high-power, high-money neo- and and post-X “style” clusters (X er. art world per se. Craft art is replacing equals anything in the history books) that Nor do I wish merely to propose that art; crafts is art, and perhaps no other clutter up the art world, a radical change crafts and fine art have switched places. art exists. has occurred: crafts is art. It is accurate This in itself might be mind-boggling to use the word radical to describe this enough to be productive—productive of Criticisms development, for the crafts are probably satire. Surely all the derogatory things the root of art, historically and spirit­ said of the crafts, in part helping to de­ An examination of crafts criticism is ually. In the crafts the practical is mag­ fine them as second-class pursuits, can not difficult. After stating that most of ical. In some senses, the foundations for now be said with more ti uth about paint- it is puffery, description, biography, or 40 CERAMICS MONTHLY “Pictorial Lake, ” 34 inches in length, earthenware landscape containers, raku fired, by Wayne Higby, Alfred Station, New York; 1986.

“Two Figures on a Stand,” 26½ inches high, porcelain, with decals over glaze, by Richard Shaw, San Francisco; 1984.

March 1988 41 technical tips, little is left to say. But to more money or some money, along with ditions, even if only by virtue of the ma­ proclaim that something is wrong with the larger amounts usually earned byterials, forms, and techniques employed. crafts criticism, and this has ever been dealers and collectors who have a stake Most of these artworks are not made by the case, is not enough. In fact, some­ in the art and the career. humble, untutored folk, but by people thing is wrong with criticism in general: Criticism, as now practiced, is largely who have studied their metier in uni­ it has not been thought through. I am composed of a series of hidden agendas, versities and art schools, having taken referring to criticism of the visual arts. even when—particularly when?—the studio classes in ceramics, fiber art, glass Art criticism itself—where attempts critic is trying to focus on specific ob­ art, papermaking, metalsmithing, et al. have indeed been made to blend descrip­ jects. Sometimes the critic is not influ­ That they have had to set themselves tion, evaluation, and philosophy—is not enced by envy, unexamined prejudices,upon an academic track to learn their in a very creative period. Here too what historical knowledge or its lack, a bad craft is telling. we have is puffery, description, biog­ stomach (or an empty one), but there Ideally craftworks, like all artworks, raphy and marketing tips. Confined to are always people involved, looking over are made to express the unexpressible the promotional mode by commercial in­ the critic’s shoulder. Criticisms, like art­ or to discover new forms and new terests, burdened by uninspired lan­ works, are mainly social. This can be a thoughts. Craftworks factor into the aes­ guage conventions that are reinforced by debilitating truth, for it is impossible to thetic mix particular material and tech­ mediocre editors, weighed down by slop­ parse all vectors of the social dynamic. nical traditions along with function and/ py thinking, and compromised by the If criticism in its highest form has some­ or decoration. On the practical level, rush to embrace the latest French ruffle, thing to do with analyzing, discovering however, craftworks, unlike artworks, art criticism currently has little to offer and creating values, then what we are are earmarked for several market con­ as a model for evaluative writings about really dealing with is a triangulation: texts. First is the populist marketplace craft art. aesthetic value, economic value and so­ of studio sales, craft fairs, and craft shops; Like the crafts criticism that it always cial value interact. this area, with luck, offers some a chance prided itself on being above and beyond, Perhaps if art criticism itself were not at making a living. Second is the craft art criticism has now excluded the neg­ in such a bad state, it would be easier gallery network, featuring unique items, ative. Criticism cannot be defined as ne­ to claim that crafts criticism need not higher prices, and more prestige. Fi­ gation, ordinary usage of the term not­ differ significantly. Values and meth­ nally, there is the fine art market, pre­ withstanding. odology should be the same. Crafts crit­ viously reserved for paint-on-canvas art, Nevertheless, positive reinforcement icism is merely art criticism applied to works on paper, and noncraft sculpture. as a critical tactic be damned, criticism craft objects. Surely both kinds of writ­ This market, now slowly being infil­ without the threat of negation is criti­ ing share the difficulties presented by trated by craft art, offers even more fi­ cism without impact. The critic must language. Language is linear; art or craft nancial reward but only to a small num­ smile, but carry a whip. objects are not. ber of artists. However, it is probably Criticism, of course, does not exist in Writing about craft art, however, is the chance of being included in art his­ a vacuum. Criticism is written (or spo­ more difficult than writing about paint- tory that makes the fine art market so ken) by persons for other persons—or on-canvas or noncraft sculpture. Beyond desirable, for the other markets offer this at least is so addressed—about the art what can be adapted from established not at all. Immortality is seductive. production of other persons. Where crit­ critical vocabularies, the proper dis­ icism is published is another factor, for course for crafts criticism is still being Craft Issues Are the Real Art Issues the print media involve still other per­ formed. We are dealing with uncharted sons: publishers, editors, copy editors and areas of visual production, usually con­ Why have we separated art and use? above all, advertisers. Money is in­ fined to the cataloging mode of the dec­ Is there a valid distinction to be made volved; but before we assume venality orative arts template or to oral culture. between art and crafts? Since the ma­ and greed, it should be known that most We must also factor in the understand­ terial criteria for art no longer applies, critics are paid a pittance for their la­ ing that crafts objects present experi­ why is a stigma attached to media his­ bors. It is glory that oils the machine. ences that more effectively balance, play torically associated with crafts? How does Money does come into the picture, how­ with, or set in contradiction optic and art, through the eyes, affect the hands ever. Criticism is exposure for the artist. haptic forms of perception than either and the body? Can these effects happen Even an attack is of commercial value. paint-on-canvas or noncraft sculpture. the other way around? Is there a per­ Existence in print is historical existence In the meantime, there is the enor­ ceptible effective difference between a and often it leads to the artist earning mous task of straightening things out, handmade object and a machine-made for confusion reigns. What we call crafts one? If two objects, one handmade and The author Currently director of visual arts now is different from what used to be one machine-made, were virtually iden­ at Snug Harbor Cultural Center on Staten called crafts. Craftspeople as well as tical, could we still somehow feel the Island, New York art critic John Perreault outsiders are confused, causing difficul­ difference? If so, how? has written for a number of publications, in­ties for all concerned. Many who find Although the crafts field has been cluding Artforum, ArtNews, Art in America, crafts anathema have never really looked weighed down with decades of roman­ Art International, Le Monde, and the Village at craft art with open eyes and are in ticism, anti-intellectualism, antimodern­ Voice. He has received criticism fellowships reality thinking of the horrors perpet­ ism, and anti-industrialism, the notion from the National Endowment for the Arts in 1973 and 1979, and has taught as a vis­ uated by well-meaning high school of the artist as important and perhaps iting professor at the University of California, teachers and handmade-ashtray ven­ crucial to human life has been held to San Diego; the University of Arizona, Tuc­dors. with a steadfastness that flies in the face son; and the State University of New York, What we call crafts now in the United of normal evidence. When this idealism Binghamtom. This text is reprinted from the States are artworks or, if one prefers, art is not sentimentality, it is a powerful catalog, The Eloquent Object, published by propositions made with some reference creative force. This idealism has been the Philbrook Museum. to nearly extinct, preindustrial craft tra­ lost in the fine art field, one hopes only 42 CERAMICS MONTHLY Raku vase, 18 inches in height, stoneware, by Paul Soldner, Aspen, Colorado; 1965.

“Sanbon Ashi,” 19 inches in height, stoneware, with slips and glazes, by Jun Kaneko, Omaha, Nebraska; 1969.

March 1988 43 temporarily. Perhaps crafts, because they knows, the kettle is entirely black, does larger art system can absorb their work. are rooted in some kind of physical ex­ not make the kettle white. If the kettle They play both ends against the middle. ertion, are less susceptible to self-de- is gray, calling it white might emphasize In the meantime, the artification of ception. Skill and patience are required. its difference from the pot. However, if crafts continues—preserving and some­ Yet crafts are looked down upon be­ the kettle is indeed gray, calling it so may times enlarging endangered craft disci­ cause they are associated with manual be difficult but is proper and just, and plines and forms; helping artists to earn labor, and thus with poverty. The gen­ helps avoid false conclusions. their livings; encouraging the more tal­ eral tendency in modern Western civi­ But before we begin changing the ented by virtue of the potentially greater lizations has been to consider physical names of things—if that is indeed what feedback, honor, and financial reward. labor demeaning. Those who work with we must do—we should give some thought But there are drawbacks. The art mar­ their gray matter are thought of as better to what art objects are usually called, ket, because it is so commercial, may (and better off) than those who actually and, more importantly, why they undergo inhibit freedom of creativity and force touch and lift the awful stuff of matter. categorization. In a world that is gov­ compromises of media-specific tradi­ There is too a minor tradition—per­ erned rather than illuminated by clas­ tions and techniques. The process of petuated by the genteel—that physical sifications, taxonomy is destiny. It is aiming one’s work for the fine art con­ work is purity itself and spirituallytempting to think of groupings and la­ text may co-opt the non-art energy of transformative. I think we should not bels as merely instrumental, but ease of crafts and corrupt the true art spirit. romanticize physical work; only if it is reference is also ease of manipulation. For the art world, there are positive approached with the correct attitude is Efficiency disguises control. aspects of the crafts invasion. Markets it spiritually nourishing, and it should The area of visual production usually and audiences will expand. Art critics, not be debilitating as it often is in peas­ called crafts has changed enormously. as market demands force them to deal ant societies. We must also remember The old precepts and concepts do not with art in crafts media, will find deal­ that mental work can be boring and de­ apply. A preponderance of conundrums, ing with these strange objects creates a bilitating too. Craft fairs and depart­ mishaps, misunderstandings and gen­ remedial dislocation of language. ment store boutiques notwithstanding, eral messiness prevails. Nevertheless, the The artification of the crafts tends to the handmade may be acknowledged as shift from crafts as pre-art or sub-art to involve the elimination of the utilitarian having some charm, but it is almost uni­ art in crafts media has already taken and a downplay of the decorative. But versally thought of as being for those place. It has not been adequately ac­ divorcing craft objects from use—put­ who cannot afford the mass produced. knowledged. The old definitions and ting them on a pedestal, as it were—is As the world of work becomes uni­ prejudices linger because they are com­ dangerous. Use factors often control key versally computer dominated, forcing fortable. A change in definition is a change aspects of form and meaning. If the craft upon one’s mental life a space that is no in thought; new thought is painful. object has not been made for actual use, space, a space that is without hue, sub­ Should we abolish the word craft? this lack of intention will show. Viewers stance, texture or poetic resonance, art Would that we could. Old words die hard. will know that the spout or the handle has two choices. It can capitulate to the They usually survive by adopting newwill fall off the teapot, the vase will leak, no-space, exploiting the speed, efficiency meanings. the colors of the fabric will bleed or and boredom of bits and bytes, or it can Great numbers of people still make transfer to the skin. The work in ques­ balance the no-space with the intense things by hand and sell them or try to tion will then become merely an image tactility that art in crafts media alone sell them: uninspired scarves, belts, can­ that stands for or refers to craft objects can provide. When one is working with dles, boxes, wallets, cups and saucers, of one or another kind. a computer, even if it is only for word teapots, vases and costume jewelry. Most Eliminating use makes form symbol­ processing—as I am now doing—the of these products are either inept or dull. ic, denying the full force of the chief body disappears. They are generally inferior to mass-pro- aesthetic virtue of craft objects: their duced counterparts of a similar price and perceptual and conceptual complexity. More Questions have as little aesthetic value. They are Most craft objects have a more balanced almost always dusty rose, powder blue, relationship between their haptic and How may a work, an art object, or or violet when they are not overwhelm­ optic qualities than paint-on-canvas or art proposal, be placed in either a crafts ingly brown. True artists and artisans noncraft sculpture, thus allowing a dou- category or a fine art category? Why do sometimes appear at the craft fairs where bleness of being. Seeing and touching we want to categorize this work? Conve­ these wares are peddled, but they are merge or contradict each other. This is nience? Salesmanship? Illumination of soon squashed by the rigors of the mar­ the purest art quality of objects made in particular qualities? Honor? Purposes ketplace. Craft fair crafts make hippie the craft tradition and one unique to them. of comparison? Toward what end? Why crafts, therapy crafts, and hobby crafts It is such a strong quality that objects can’t an object be a craft object and an seem artistic by comparison. that look like or represent craft objects art object simultaneously? Is the dis­ What we look at when we gaze at the partake of it through association. tinction between art and craft object rel­ photographic reproductions in the crafts Experiencing craft art that retains and evant, productive, useful? Why are the magazines and books is something very celebrates utilitarian forms requires the categories maintained against all evi­ different: it is art. Should we stop calling ability to receive, perceive, and process dence? Who has gained? Who will con­ it craft? Or is it the craft fair items that more than one constellation of sense data tinue to gain? Why do some of us want we should stop calling craft, reserving at a time. By extension this means that to abolish the categories? the term for the better things? It won’t one must also be able to think more than Changing what things are called can work. Crafts as a term draws customers one thought at a time. If we can simul­ be successful only if this reassignment at the high end of the market as well as taneously manage seeing and touching functions as an acknowledgment of a shift the low. Most craft artists have decided and using, we have accomplished some­ of meaning that has already taken place. for convenience to take advantage of the thing quite miraculous. Only craft art Calling a kettle white when, as the pot already existing craft system until theallows us this. A 44 CERAMICS MONTHLY PHOTOS: SCHENCK & SCHENCK, DON WHEELER, COURTESY OF THE PHILBROOK MUSEUM

“First Kumu, ” 22 inches in height, glazed stoneware, by Henry Takemoto, Los Angeles; 1959.

Hopi jar, 5 ½ inches high, urith polychrome slips, by Dextra Quotsquyva, Polacca, Arizona; circa 1980.

March 1988 45 Anna Silver

“Many YEARS of active painting and handles, feet and other additions. sculpting have evolved into my personal “The forming process permits consid­ interpretation of simple, classical forms— erable freedom and imposes little or no urns, hydriae, amphorae—using the full restriction on size. Slabs are shaped and palette of color which is attainable in joined over temporary forms sewn from low-fire work,” commented Anna Silver, muslin and filled with plastic beads. (Brentwood, California). “The quality When the clay has set up, the forms are of Southern California light and the gar­ emptied and removed. From this point, den surrounding my studio are also im­ the process is one of final shaping, some portant influences.” additions and surface refinement.” Typically, Silver’s vessels are slab built Decoration includes both under- and from whiteware “to give maximum free­ overglazing which leads to at least three dom to the painterly process. Because firings: bisque at Cone 04; glaze at Cone the clay body has such low plasticity (but 06-05; and luster at Cone 019-017. great dry strength) and because the scale Anna Silver’s painterly earthenware ranges to 30 inches in height, only very vessels were recently featured in a solo limited wheel-thrown and extruded ele­ exhibition at Garth Clark Gallery in Los ments are employed for decorative rims, Angeles. A

Whiteware vase, 22 inches in height, slab built over a seum muslin form filled with plastic beads, brushed with underglazes, glazes and lusters, by Anna Silver; shown above in her Brentwood, California, studio. 46 CERAMICS MONTHLY PHOTOS: ANTHONY CUNHA, COURTESY OF GARTH CLARK GALLERY

March 1988 47 Sixty Years of Seattle Sculpture by Matthew Kangas

As PART of the city’s annual Bumber- below “Northwest Dreamer, clay bottom Clay, glass and wood shoot arts festival, a 60-year survey of with Contact paper, 17 ½ inches in sculpture, untitled, 38 inches in length, Seattle sculpture was exhibited at Se­ height, by Howard Kottler. by Harrison Jones. attle Center. On view during the week- long festival, “Seattle Sculpture 1927— 1987” demonstrated that any history of Seattle’s sculpture would not be com­ plete without examples of the important contributions made by ceramic artists associated with the University of Wash­ ington—from as early as George Tus- takawa’s “Two Sisters,” done in 1935 in Alexander Archipenko’s sculpture class at the University of Washington, through to the present day works by younger art­ ists like Lauren Grossman and Debra Sherwood. The University of Washington did not develop its ceramics department until after World War II, under Swiss pro­ duction ware designer Paul Bonifas, but Archipenko’s two master classes there in 1936 and 1946 both stressed terra cotta. Robert Sperry succeeded Bonifas as de­ partment head after completing an M.F.A. with him, and the broad, na­ tionally recognized movement LaMar Harrington chronicled in her book Ce­ ramics in the Pacific Northwest: A His­ tory was underway. Sperry’s first gen­ eration of students included Fred Bauer and Patti Warashina; they were followed by Pat McCormick, Joyce Moty, Clair Colquitt, Dennis Evans and Margaret Ford. Howard Kottler joined the faculty and spurred further innovative clay sculpture by students who went on to establish their own national reputations, such as Anne Perrigo and Michael Lu­ cero. Everett DuPen, the nominal head of the sculpture department for 37 years, was also represented in the exhibition by a clay figure, suggesting that even the more traditional, foundry-based faculty have been influenced by the hotbed of ceramics done off-campus at the fire arts facility near the Laurelhurst neighbor­

hood. A PHOTOS: ROGER SCHREIBER AND COURTESY OF THE SEATTLE ART MUSEUM 48 CERAMICS MONTHLY March 1988 49 April 11 entry deadline medium. Jurors: members of the Chauatuaqua ... Where to Show Fort Wayne, Indiana “The 20th Annual Festival Crafts Alliance. Entry fee: $5. Booth fee: $85. Continued from Page 9 Arts and Crafts Show” (July 9-10) is juried from Send SASE to Gale Svenson, Director, Chautauqua 5 slides (4 of work and 1 of booth display). Fee: Crafts Festival ’88, Box 89, Mayville, New York darhurst Craft Fair” (September 10-11) is juried $40. $1000 in cash awards. Contact Three Rivers 14757. from 5 slides. Entry fee: $5. Booth fee: SI25 for Festival, Betty Newton, 1707 Kensington Blvd., May 7 entry deadline a 10x15-foot space. Contact Dawn Gibson, 5 Fort Wayne 46805. Marietta, Ohio “Indian Summer Festival” (Sep­ Fairway Dr., Mount Vernon 62864; or phone (618) April 15 entry deadline tember 16-18) is juried from 5 slides. Entry fee: 242-1236. Louisville, Kentucky “Waterside: Kentucky Art $75 for a 10x10-foot space. Cash awards. Contact Clinton, Iowa “Art in the Park” (May 14-15) and Craft Summer Fair” (July 15-17) is open to Indian Summer Festival, Box 266, Marietta 45750; is juried from 5 slides. Awards. Fee: $40 for a all craft artists from Illinois, Indiana, Kentucky, or phone (614) 373-8027. 10x12-foot space. Contact Carol Glahn, Clinton Ohio, Missouri, Virginia and West Virginia. Ju­ May 16 entry deadline Art Association, Box 132, Clinton 52732; or phone ried from 5 slides. Booth fee: $125. $2500 in cash New York, New York “WBAI Holiday Crafts (319) 259-8308. awards. Contact Water Tower Art Association, 3005 Fair” (December 2-4, 9-11, and 16-18) is juried Morristown, New Jersey The 12th annual Upper River Rd., Louisville 40207; or phone (502) from 5 slides. Entry fee: $20. Booth fee: $690-$725. “Morristown Craft Market” (October 7-9) is ju­ 896-2146. Send SASE to Matthew Alperin, WBAI Crafts Fair, ried from 5 slides. Jurors: Thomas Farrell, Jan April 20 entry deadline Box 889, Times Square Station, New York 10108; Gilmor, Robert Kasnak, Patricia Malarcher, Wil­ Greensburg, Pennsylvania “Westmoreland Arts or phone (212) 279-0707. liam McCreath, Cindy Spolek and Bibi Stein. En­ and Heritage Festival” (July 1-4) is juried from May 23 entry deadline try fee: SI 5. Contact Michael and Barbara Feno, slides or photos of up to 4 entries. Fee: $20. $9000 Muskego, Wisconsin “Civil War Days and Art Box 2305-R, Morristown 07960; or phone (201) in cash and purchase awards. Contact Olga Gera, Festival” (July 23-24) is juried from 3 slides or 263-8332. Westmoreland Arts and Heritage Festival, De­ photos. Entry fee: $50. For further information Dayton, Ohio The 21st annual “Art in the Park” partment of Recreation, Box 203, R.D. 12, contact James Lang, W185 S9550 Parker Dr., (May 28-29) is juried from 3 slides. Booth fee: Greensburg 15601; or phone (412) 537-7627. Muskego 53150; or phone (414) 679-0606. S50-S80. For prospectus contact Don Webb, April 30 entry deadline June 1 entry deadline Chairman, Art in the Park, Riverbend Art Center, Central Falls, Rhode Island “The 1988 Summer Richmond, Virginia The 13th annual “Rich­ 1301 E. Siebenthaler Ave., Dayton 45414; or phone in the Park Artists’ Market” (June 17-19) is ju­ mond Craft Show” (November 19-22) is juried (513) 236-7746 or 228-1115. ried from 5 slides. Entry fee: $5. Space fee: $15. from slides. Fee: $10. For further information con­ April 8 entry deadline Send SASE to R. L. Anderson, Summer in the Park, tact Linda Smalley, Project Coordinator, Hand Evanston, Illinois “Ninth Annual Fountain Channel One, 507 Broad St., Central Falls 02863; Workshop, 1812 W. Main St., Richmond 23220; Square Arts Festival” (June 25-26) is juried from or phone (401) 728-7891. or phone (804) 353-0094. slides. S3000 in cash and purchase awards. Con­ May 1 entry deadline July 13 entry deadline tact Evanston Chamber of Commerce, 807 Davis Dubuque, Iowa The tenth annual “DubuqueFest” Pittsburgh, Pennsylvania The 18th annual “A St., Evanston 60201; or phone (312) 328-1500. (May 21-22) is juried from 3 slides or color pho­ Fair in the Park” (September 9-11) is juried from Garrison, New York The “19th Annual Arts and tos. Fee: $50 for a 10X 10-foot space. Awards. 5 slides. Entry fee: $5. Booth fee: $90. Contact the Crafts Fair” (August 20-21) is juried from slides. Contact DubuqueFest, 422 Loras Blvd., Dubuque Craftsmen’s Guild of Pittsburgh, Box 10128, Pitts­ Entry fee: $5. Booth fee: $150 for a 10x10-foot 52001; or phone (319) 588-9751. burgh 15232. space. Send SASE to Garrison Art Center, Box 4, Saint Joseph, Michigan “Saint Joseph’s 27th July 15 entry deadline Garrison 10524; or phone (914) 424-3960. Annual Outdoor Art Fair” (July 9-10) is juried Baton Rouge, Louisiana The “13th Annual Fall Salem, Oregon The “39th Annual Salem Art from slides. Fee: $65; 20X20-foot booth spaces Crafts Festival” (September 21-23) is juried from Fair & Festival” (July 15-17) is juried from 6 available. Contact Krasl Art Center, 707 Lake Blvd., slides. Booth fee: $110; $100 for members. Cash slides. Booth fee: $60 fora 10x10-foot space. Send Saint Joseph 49085; or phone (616) 983-0271. and purchase awards. For prospectus send SASE SASE to 1988 Prospectus, Salem Art Fair & Fes­ Chautauqua, New York “Chautauqua Crafts to River City Festivals Association, 427 Laurel St. tival, 600 Mission St., SE, Salem 97302. Festival ’88” (July 2-4) is juried from 4 slides per Baton Rouge 70801; or phone (504) 344-3328.

50 Ceramics Monthly ... Letters Continued from Page 7 poor Texas ladies couldn’t throw! When that clay was pulled up to 3 inches, it slumped back down to 2 inches. So Maribel let them use some of our good, tough, desert clay and the lessons went well from then on. Edwin Todd Puriscal, Costa Rica Memories I’ve made pottery from native clay which I find by the roadside and many other places. I blended other materials with it and fired it in many different ways. Some are beautiful; some I’ve used for 30 years. I’ve enjoyed CM along the way, but I wish the magazine was more like it used to be. Some of the things being shown are not pleasing to me. I like pottery that I can use in my home year after year and feel like it’s an old, trusted friend. With many of my things, I can remember where I got the clay and details about the making, decorating and firing. My children have asked that I put their favorite pieces in my will because they also remember the picnics, or camping trips, or Sunday drives we took as a family. That means more to me than any money I ever got for my pottery. Margie J. Russell Modesto, Calif. True Success Unless one is born with a silver spoon, one must start with a so-called makeshift studio. Then, through much desire, determination, dedication and time, one will succeed and the makeshift studio will become the fully equipped studio. That’s how America was built... for those who choose to start in a fully equipped studio, you will doubtless nev­ er be truly successful, but congratulations on being able to use someone else’s money and success to afford you the fully equipped stu­ dio. Let’s get back to the basics in pottery; the heartbeat of American pottery is production. Ceramics Monthly is wasting its pages on college funk, junk, crapolla. I throw away better pots than some of the stuff that adorns CM’s covers. Garry L. Larson Salem, Ore. Subscribers’ Comments I am always interested in Jack Troy’s ar­ ticles. Maggie Smith Bainbridge Island, Wash. I’m tired of articles on “old” established potter/artists. Find some new blood. Helen Gorsuch Altoona, Pa. Share your thoughts with other readers. All letters must be signed, but names will be withheld on request. Address: The Editor; Ceramics Monthly, Box 12448, Columbus, Ohio 43212. March 1988 51 ... Itinerary Continued from Page 19 zona, New Mexico and Texas; at Corbett Center Gallery, New Mexico State University. New Mexico, Los Alamosthrough March 13 “Fuller Lodge Art Center/Pajarito Art League Juried Exhibition”; at Fuller Lodge Art Center, 2132 Central Ave. New Mexico, Taosthrough March 5 Winter group exhibition; at Clay and Fiber Gallery, North Pueblo Road. New York, Albanythrough April 2 “Furniture and Decorative Arts from the Permanent Collec­ tion”; at Albany Institute Galleries, Albany In­ stitute of History and Art, 125 Washington Ave. New York, AuburnMarch 1-April 24 “Common Thread: Hybrids of Substance,” multimedia works incorporating a supplied fabric; at Schweinfurth Art Center, 205 Genesee St. New York, Binghamtonthrough March 31 “Peo­ ple of the Longhouse: Iroquois and Woodlands,” prehistoric Indian artifacts from Broome County; at Roberson Center for the Arts and Sciences, 30 Front St. New York, Brooklynthrough May 30 “Progres­ sive Taste: Decorative Arts 1885-1985,” over 30 craft and industrial-design works. March 30-fune 7 “The Hugo Munsterberg Collection,” over 100 works spanning nearly 5000 years of Japanese art history; at the Brooklyn Museum, 200 Eastern Pkwy. New York, Ithacathrough March 13 “Stories from China’s Past: Han Dynasty Pictorial Tomb Reliefs and Archaeological Objects from Sichuan Prov­ ince, People’s Republic of China”; at Herbert F. Johnson Museum, Cornell University. New York, New Yorkthrough March 4 “Projects and Proposals,” a New York City Percent for Art Program exhibition, documenting the relationship between art and architecture in contemporary ur­ ban environment, includes nine medallions by Donna Dennis; abstract murals for the Staten Is­ land Children’s Zoo by Amanda Jaffe; a 3-acre brick paving design for the Police Plaza by Valerie Jaudon; and a tile and mosaic design for the in­ terior walls of P.S. 7 in the Bronx by Justin Ladda; at City Gallery, New York City Department of Cultural Affairs, 2 Columbus Circle. through March 11 The “12th International Small Works Competition,” juried exhibition of works less than 12 inches in any dimension; at 80 Wash­ ington Square East Galleries, New York Univer­ sity, 80 Washington Square, E. through April 24 “Scandinavian Craft Today,” ex­ hibition of 180 works by 35 artists from Denmark, Finland, Iceland, Norway and Sweden; at Amer­ ican Craft Museum, 40 W. 53 St. through August 28 “Selections from the Mr. and Mrs. John D. Rockefeller III Collection of Asian Art,” includes 119 objects divided into three cat­ egories: Buddhas and Bodhisattvas, works depict­ ing the life of Shakyamuni; Gods and Goddesses, includes terra-cotta sculptures of the three major Hindu gods; and Ceramics, includes earthenware, stoneware and porcelain; at the Asia Society, 725 Park Ave. March 1-30 “Couples: Partners in Art,” includes pottery by Larry Bush; at Jane Hartsook Gallery, Greenwich House Pottery, 16 Jones St. New York, Rochesterthrough March 5 “Craft as Environment,” with columnar sculpture by Mary Roehm; at Pyramid Arts Center, 421 University Avenue. March 26-August 15 “International Invitational Sculpture Exhibition,” works by 26 artists; at the Lamberton Conservatory, Highland Park. North Carolina, Charlottethrough March 20 “Mint Museum Biennial,” juried exhibition of 40 works by 11 Southeastern artists, including Mary Lou Higgins, stoneware; Catharine Murray, graphite on porcelain; and Robert Porter, neon and brick; at Belk, Dwelle and Jones Galleries, Mint Museum, 2730 Randolph Rd. Ohio, Akronthrough March 27 “The Ties that Bind: Folk Art in Contemporary American Cul­ ture.” through April 3“Folk Art from Akron Col­ lections”; at Akron Art Museum, 70 East Market Street. 52 Ceramics Monthly Ohio, Parmathrough March 12 Two-person show with clayworks by Marvin Smith; at Cuyahoga Community College, Western Campus, 11000 Pleasant Valley Rd. Ohio, Youngstownthrough March 16 “Herstory: A Visual Celebration of Women,” works by wom­ en artists; at Kilcawley Art Center Gallery, Youngstown State University. Pennsylvania, HarrisburgApril 2-30 The “60th Annual Juried Exhibition”; at Art Association of Harrisburg, 21 N. Front St. South Carolina, GreenvilleMarch 15-May 15 “Just Like a Woman,” national invitational of works by women artists; at Greenville County Museum of Art, 420 College St. South Carolina, OrangeburgMarch 6-April 8 “The 1988 Annual Juried Exhibition and Invi­ tational,” works by artists from South Carolina; at I. P. Stanback Museum, South Carolina State College. Tennessee, Gatlinburg through April 30 “Arrow- mont Faculty Mixed Media Exhibition”; at Ar- rowmont School of Arts and Crafts Gallery, 4320 Parkway. Tennessee, Johnson Citythrough March 18 “Positive/Negative IV National Exhibition”; at Slocumb Galleries, Department of Art, East Ten­ nessee State University. Texas, AustinMarch 11-April 17 “The Hun­ tington at 25: The Gallery Collects”; at the College of Fine Arts, University of Texas at Austin. Washington, Seattle through March 27 “The Chinese Scholar’s Studio: Artistic Life of the Late Ming Dynasty,” 130 objects from the Shanghai Museum; at Seattle Art Museum, Volunteer Park, Seattle Center Pavilion. Wisconsin, La Crossethrough March 9 “Com­ puter Art,” includes vessels with digitally trans­ ferred surface designs by William Hunt; at the University Gallery, University of Wisconsin, Vine and 16 Sts. Wisconsin, Milwaukeethrough March 6 “Dy­ namic Dimensions: Craft in the New Age.” through April 10 “Craft Today: Poetry of the Physical,” decorative and utilitarian objects by 286 American artists; at Journal/Lubar Galleries, Milwaukee Art Museum, 750 N. Lincoln Memorial Dr. Wisconsin, SheboyganMarch 6-May 15 “Six Counties,” juried exhibition of works by artists from east-central Wisconsin; at John Michael Kohler Arts Center, 608 New York Ave. Fairs, Festivals and Sales Arizona, PhoenixMarch 5-6 The “30th Annual Indian Fair”; at the Heard Museum, 22 E. Monte Vista Rd. Arizona, TempeMarch 25-27 “Old Town Tempe Spring Festival of the Arts”; at Old Town Tempe, along Mill Ave. Florida, New Smyrna BeachMarch 12-13 ’’Im­ ages ’88: A Festival of the Arts”; at Riverside Park, downtown. Florida, SarasotaMarch 4-6 “Sarasota Arts Fes­ tival”; at Sarasota Fairgrounds. Florida, TampaMarch 5-6 “The 1988 Gaspar- illa Sidewalk Art Festival”; behind the Tampa Museum of Art, downtown. Illinois, Highland ParkMarch 19-20 The “28th Annual Beth El Festival of the Arts”; at North Suburban Beth El Sisterhoo, 1175 Sheridan Rd. Kentucky, LouisvilleMarch 11-13 “The Ken­ tucky Crafts Market”; at Kentucky State Fair­ grounds and Exposition Center. New Jersey, East RutherfordMarch 25-27 “Super Crafts Star Show”; at Meadowlands Stadium Club, Giants Stadium. Pennsylvania, HarrisburgMarch 25-27 “Sixth Annual Pennsylvania National Arts and Crafts Show”; at Pennsylvania State Farm Show Com­ plex. Workshops California, MendocinoMarch 26 “Alternative Handles for the Potter,” with Peter von Wilken Zook, will explore various nonclay materials and techniques. Participants should bring fired ware. Fee: $35; members, $30; includes materials. April 23 “Lusters and China Paint: Traditional Tech- March 1988 53 Florida, TampaMarch 19-20 Workshop with Jefferson, Detroit 48214; or phone (313) 822-0954. ... Itinerary George Timock, slab construction and surface dec­ New Jersey, New BrunswickMarch 26 “The oration through multiple low firings. Fee: $85. May Business of Crafts,” forum with Wendy Rosen at niques for Contemporary Ceramics,” with Kathy 21-22 Low-fire workshop with Dave Gamble, un­ Douglass College, will focus on: Approaching Your Erteman, will include a slide lecture and dem­ derglaze decoration. Fee: $60. Contact Clay Fac­ Ideal Market Place; Pricing Structures; Graphics; onstrations of onglaze decoration methods. Fee: $45; tory, 804 S. Dale Mabry, Tampa 33609; or phone Booth Design; Photography; and Public Relations. members, $40. May 14 “Primitive Firing and Low- (813) 872-8819. Contact Hortense Green, New Jersey Council on Fire Salt,” with Peter von Wilken Zook, will focus Hawaii, Kailua March 24-26 “Functional Ce­ the Arts, 109 W. State, Trenton, New Jersey 08625; on alternative firing techniques using fuel such as ramics—Stoneware and Porcelain,” with Warren or phone (609) 292-6130. Or phone Marilyn Druin wood, sawdust, shavings and dung, and introduc­ MacKenzie, throwing demonstrations and infor­ (201) 577-0179. ing rock salt and colorant oxides to the firing. Fee: mal discussions. Fee: $75, includes potluck lunch New York, ClaytonMay 2, 4, 9, 11, 16 and 18 $35; members, $30. Contact Mendocino Art Cen­ on Saturday. Contact Carole Iacovelli, 1376 Kain- Evening workshop with Kathy Kortz includes var­ ter, 45200 Little Lake St., Box 765, Mendocino ui Dr., Kailua 96734. ious forming techniques, plus bisque, glaze and 95460; or phone (707) 937-5818. Illinois, ChicagoMarch 15 “The Technology of single fire methods. Fee: $100, $95 for members; California, Walnut CreekMarch 12 “David Sha- Chinese Celadon,” lecture with Pam Vandiver. includes firings. Contact Margaret J. Rood, Thou­ ner: What Pots Are All About.” Fee: $30, includes March 22 “Ice and Green Clouds: Traditions of sand Island Craft School and Textile Museum, potluck. Contact Walnut Creek Civic Arts Edu­ Chinese Celadon,” lecture with Robert W. Esk­ 314 John St., Clayton 13624; or phone (315) 686- cation, Box 8039, Walnut Creek 94596; or phone ridge. Contact the Art Institute of Chicago, Mich­ 4123. (415) 943-5846. igan Ave. at Adams St., Chicago 60603; or phone New York, New YorkMarch 4 Larry Bush lec­ Connecticut, BrookfieldMarch 6 “Slide Jury (312) 443-3600. ture on the historical, conceptual and technical Workshop: Critique for Craftspeople” with David Illinois, Palos HillsMarch 19 Ron Mazanowski, basis for thrown functional ware. Fee: $5; mem­ Egan. Fee: $50; members, $40. Contact Brookfield handbuilt, slip-cast sculpture. Fee: $15. Contact bers, $4. March 5 Workshop with Larry Bush, Craft Center, Box 122, Brookfield 06804; or phone Center for Community and Continuing Educa­ thrown functional ware and design elements. Fee: (203) 775-4526. ^ tion, Moraine Valley Community College, 10900 $25; members, $22. April 29 Lecture with Pauline Connecticut, MiddletownMarch 7-11 Work­ S. 88 Ave., Palos Hills 60465; or phone (312) 371- and Tony Hepburn on their previous and current shop with Jack Troy. Contact Wesleyan Potters, 3800. work. Fee: $5; members, $4. April 30 Workshop Inc., 350 S. Main St., Middletown 06457; or phone Indiana, IndianapolisApril 4-8 Stoneware dem­ with Tony Hepburn and Jun Kaneko. Fee: $25; (203) 347-5925. onstrations with Peggy Ahlgren. Contact India­ members, $22. May 3 Lecture with Jun Kaneko, Connecticut, South NorwalkMarch 5 “Self-Pro­ napolis Museum of Art, 1200 W. 38 St., India­ the philosophical basis for his work. Fee: $5; mem­ motion and Communication Skills Workshop” with napolis 46208; or phone (317) 923-1331. bers, $4. Contact Alexandra B. Trub, Greenwich Stan Siegel. Fee: $70; members, $60. Contact Massachusetts, Williamsburg March 26 Porce­ House Pottery, 16 Jones St., New York 10014; or Brookfield SoNo, Brookfield Alley, 127 Washing­ lain workshop with Ellen Jacobson. April 9“Dec­ phone (212) 242-4106. ton St., South Norwalk 06854; or phone (203) oration and Glaze Techniques” with Angela Fina. March 26 “Festival of Korean Ceramics,” includes 853-6155. Contact Horizons, 374 Old Montague Rd., Am­ lectures and films on Korean ceramic history, and D.C., WashingtonMarch 10 “Future of Contem­ herst, Massachusetts 01002; or phone (413) 549- demonstrations by four Korean potters. Fee: $15. porary Craft: Possible Directions” with Sara Bod- 4841. Contact the Asia Society, 725 Park Ave., New York ine and Michael DuNas. Fee: $5; reservation re­ Massachusetts, WorcesterApril 9-10 “Imagery 10021; or phone (212) 288-6400. quired. Contact Anton Gallery, 2108 R St., NW, on Clay,” with Susan and Steven Kemenyffy. For April 22 “Utilitarian Ceramics,” with Byron Tem­ Washington 20008; or phone (202) 328-0828. further information contact Worcester Center for ple. Contact 92nd Street Y, 1395 Lexington Ave., Florida, Fort LauderdaleMarch 17 Ruth Duck­ Crafts, 25 Sagamore Rd., Worcester 01605; or phone New York 10128; or phone (212) 427-6000. worth slide presentation. Contact Joseph Moli- (617) 753-8183. ^ New York, ScarsdaleMay 15 Slide lecture and naro, Broward Community College, Fine Arts De­ Michigan, Detroit March 25 and 28 Functional demonstration with Penelope Fleming, raku and partment, 3501 S.W Davie Rd., Fort Lauderdale workshop with Karen Karnes. Contact Jeff Guido anodized-metal wall pieces. Fee: $40. Contact Gloria 33314. or Mary Jane Hock, Pewabic Pottery, 10125 E. Sherman or Carol Stronghilos, Art Department,

54 Ceramics Monthly YM & YWHA of Midwestchester, 999 Wilmot Canada, Ontario, TorontoMarch 3-19 “A Group Rd., Scarsdale 10583; or phone (914) 472-3300. Show of Ceramics”; at a Show of Hands, 1947 New York, West NyackMarch 27 Ancient Jap­ Avenue Rd. anese raku firing methods with Rosemary Aiello. May 27-29 “A Weekend with Wayne Higby and Fee: $40. April 12, 24 and May 15 Ceramic mug Jerry Rothman,” includes demonstrations, lec­ workshop with Don Bradford. Fee: $75, includes tures, slide presentations; Fusion: The Ontario Clay materials and firings. May 1 “Throwing Big Pieces” and Glass Association’s annual general meeting; with Cliff Mendelson. Fee: $40, includes mate­ trade fair; gong show; and clay Olympics.Fee: rials. Contact Julianne Ramos, Rockland Center Can$l 15-Can$215 (approximately $87—$163), for the Arts, 27 Greenbush Rd., West Nyack 10994; includes meals, accommodations, workshop and or phone (914) 358-0877. banquet; Can$65-Can$140 (approximately North Carolina, Winston-SalemMarch 26-27 $49-$ 106), workshop only. Registration deadline: Weekend workshop with Don Reitz, includes dem­ May 7. Contact Fusion: The Ontario Clay and onstrations, slide presentation and lecture on en- Glass Association, 140 Yorkville Ave., Toronto M5R gobes, sculpture, slab work and throwing. Fee: $80. 1C2; or phone (416) 923-7406. Contact Noel Rhodes Scott, Sawtooth Center for Canada, Quebec, MontrealMarch 11-April 2 Visual Design, 226 N. Marshall St., Winston- “Indian Artists Today,” work by contemporary art­ Salem 27101; or phone (919) 723-7395. ists from Quebec and Ontario; at Centre des Arts Ohio, WoosterApril 21-23 “Functional Ce­ Visuels, 350, avenue Victoria. ramics,” with Virginia Cartwright, folding, lay­ Canada, Saskatchewan, SaskatoonMarch 5-31 ering and inlaying colored clays; Robin Hopper, “Hansen-Ross Ceramics”; at Saskatchewan Craft glaze and color development, plus decoration, de­ Gallery, 1231 Idylwyld Dr., N. sign and surface enrichment; and Richard Zakin, England, Cambridge April 2-May 15 “Kettle’s clays, glazes and electric kiln firing techniques. Yard and Cambridge Darkroom,” juried exhibi­ Fee: $65; full-time students, $30. Contact Phyllis tion of works about death; at Kettle’s Yard, Castle Blair Clark, 102 Oakmont Ct., Wooster 44691; or St. and Cambridge Darkroom, Gwydir St. phone (216) 263-2388 or 345-7576. England, Gateshead March 3-April 10 “The New Pennsylvania, RichboroApril 15-17 “Ceramics Spirit: Innovation in British Craft and Design”; in Britain Today,” slide lecture/demonstration with at Shipley Art Gallery, Prince Consort Rd., Tyne Mick Casson, wheel-thrown functional forms, and Wear. decoration techniques and problem solving. Con­ England, Hovethrough March 13 “David Gar­ tact the Pennsylvania Guild of Craftsmen, Box land: Ceramics Reviewed at the Crafts Council”; 820, Richboro 18954; or phone (215) 860-0731. at Hove Museum and Art Gallery, 19 New Church Tennessee, Gatlinburg March 6-11 “Electric Kiln Rd., Sussex. Ceramics—Low Fire,’ with Richard Zakin, em­ England, Hull through March 13 “The Ferens phasis on colorful work. March 13-18 “Electric Winter Exhibition 1988”; at the Ferens Art Gal­ Kiln Ceramics—High Fire,” with Richard Zakin, lery, Queen Victoria Square. emphasis on durable, economical work. March England, Londonthrough March 5 Works by Mo 20-25 “What Is Decoration?,” with Jim Lawton, Jupp; at Contemporary Applied Arts, 43 Earlham raku firing and “painting” with low fire. March St., Covent Garden. 27-April 1 “Functional Pottery,” with Michael Si­ March 15-April 10 Christine Constant, raku mon. Contact Cynthia Huff, Arrowmont School sculpture; at Crafts Council Shop, Victoria and of Arts and Crafts, Box 567, Gatlinburg; or phone Albert Museum, 12 Waterloo Place, South Ken­ (615) 436-5860. sington. Texas, Austin March 4-6 Hands-on workshop England, Manchester through March 13 Man­ with Janet Leach. Contact Don Herron, Univer­ chester Academy of Fine Arts “129th Annual Open sity of Texas, Art Department, Austin 78712; or Exhibition”; at Manchester City Art Gallery, phone (512) 471-1711. Heaton Park, Prestwich. Texas, San AntonioMarch 19-20 “Studio Por­ England, Peasmarsh Near RyeApril 11-15 “The celain,” hands-on throwing and decorating work­ John Solly Pottery Course,” workshop focusing on shop with Tom Turner. Fee: $110. April 9-10 throwing, press molding and slip decorating. Fee: “Raw Glazing/Raw Marketing,” with Michael £85 (approximately $155), includes materials, fir­ Saul, focuses on single-firing techniques and dif­ ings and meals. Contact John Solly, Goldspur Cot­ ferent methods of marketing and promotion. Fee: tage, Flackley Ash, Peasmarsh Near Rye, East $65. Contact Southwest Craft Center, 300 Au­ Sussex TN31 6YH; or phone 079 721 276. gusta, San Antonio 78205; or phone (512) 224- England, PortsmouthMarch 19-May 22 “David 1848. Garland: Ceramics Reviewed at the Crafts Coun­ Vermont, MiddleburyMarch 19-20 “Elemen­ cil”; at Portsmouth City Museum. tary Glaze Formulation Workshop,” with Angela England, SuffolkMarch 12-April 24 “Shape and Fina, includes discussions on materials, oxides, Surface,” multimedia show with works by 19 ce­ molecular formulation, colorants, flaws, altera­ ramists; at Gainsborough’s House, Sudbury. tions to glaze formulations and trouble shooting. France, Le Mans through March 13 “Contem­ Fee: $50; members, $45. Contact Vermont State porary Ceramics”; at Ville du Mans, Palais des Craft Center at Frog Hollow, Middlebury 05753; Congres et de la Culture, Cite Cenome. or phone (802) 388-3177. France, Saint Brieuc April 9-15 A hands-on Virginia, Harrisonburg March 24 “Ban Kajitani workshop on handbuilding, throwing, glazing and Ceramics Workshop.” Contact Masako Miyata, kiln design. Instruction in French. Fee: Frl530 James Madison University, Harrisonburg 22801; (approximately $260), includes materials and fir­ or phone (713) 568-5216. ings. Contact Marcel Legras, C.E.D.T.E., Mom- brier, 33710 Bourg S/Gironde, France; or phone (57) 64 30 13. International Events Netherlands, DeventerMarch 6-April 3 Works Canada, Alberta, Calgarythrough March 15 by German ceramists Thomas Naethe, Rolf Over- “Going for Gold,” juried Canadian ceramics ex­ berg, Rita Ternes and Antje Wiewinner; at Kunst hibition, in conjunction with the XV Winter and Kermiek, Korte Assenstraat 15. Olympic Games; at Harry Hayes Building Atrium,Netherlands, Maastricht March 19-27 “The Eu­ 220 Fourth Ave., SE. ropean Fine Art Fair” (formerly the Antiquairs through May 1 “Artistic Traditions of Canada’s International & Pictura Fine Art Fair); at Maas­ First Peoples,” includes over 600 Indian and Inuit tricht Exhibition and Congress Centre. artifacts; at the Glenbow Museum, 130 Ninth Ave., Switzerland, GenevaMarch 16-26 “The Orlandi SE. Contest,” competition exhibition of ceramic tile Canada, New Brunswick, FrederictonMarch designs; at Halle Sud. 18-20 “A Life in Clay,” workshop with Karen Wales, Carmarthen through March 5 Works by Karnes. Contact the New Brunswick Craft School, John Davies; at Carmarthen Library, Abergwilli. Old Military Compound, Box 600, Fredericton Wales, Newportthrough March 5 Works by Steve E3B 5H1; or phone (506) 453-2305. Mattison; at Newport Art Gallery and Museum, Canada, Ontario, BrockvilleMarch 4-April 9 5 John Frost Square, Gwent. “Up, Up and Away,” includes works by Carolyn Wales, Ruthin through March 19 Magdelene Gibbs and Garry Moxam; at Heritage Crafts, Odundo, coil-built pots; at Ruthin Craft Centre, 182-186 King St., W. Park Rd., Clwyd. March 1988 55 56 Ceramics Monthly tent of quartz provide the required thermal shock resistance for fast-fire cycles. When incorporated in a wall tile body formulation, News & Retrospect the primary function is as a filler, and the secondary is as a flux. It has a characteristi­ cally columnar nature which provides a higher green and fired strength. A relative decrease Andrea Gill Workshop in total shrinkage as well as the increase in by Mark Chatterley firing range is a characteristic of a body con­ The recent Andrea Gill workshop (orga­ taining wollastonite. It is also free from high nized by the Michigan Potters’ Association temperature, gas-producing constituents at Albion College) could be categorized as which might lead to glaze defects.” the Julia Child approach to ceramics—good Sainamthip and Reed’s experiments uti­ food and glaze recipes. This cookbook atti­ lized various mixtures of two grades of wol­ tude enables Gill to achieve a “delectable” lastonite (fine and coarse), kaolin and nephe- look in her large, handbuilt forms. line syenite, prepared as a powder, then These are begun by forming slabs in molds pressed to form a round disk and fast fired that Gill made from coiled vessels. By using to as high as 3632°F (almost Cone 42). They what she calls a bomper (a small sand bag), Onglaze colorants are brushed through stencils concluded that the following body: the slabs are pressed uniformly into each half the imagery used on the piece should relate Fast-Firing Tile Body to the form as object as well as giving an idea (Wide-range firing) of the personality of the artist. After glazing a form with the following Wollastonite (coarse) ...... 65% majolica base glaze, she draws basic designs Nepheline Syenite (400 mesh)...... 5 with instant coffee (which burns out), then Kaolin...... 30 uses stencils to apply colorants made from 100% 60% Mason Flux 6908 and 40% stain. “showed good flexural strength, low shrink­ age, good resistance to moisture expansion, WOM Glaze and water absorption in the desired range.” (Cone 04) But don’t bother trying this one on the pot­ Whiting...... 7% ter’s wheel. Plasticity is not one of its strong Frit 3124 (Ferro) ...... 77 points; it’s a body strictly for pressing. Kona F-4 Feldspar ...... 14 Edgar Plastic Kaolin ...... 2 Tom Spleth Mural 100% “Green,” a 10x20-foot tile mural by North Add: Superpax...... 10% Carolina studio ceramist Tom Spleth, was Tin Oxide ...... 5% installed recently in the lobby of the Albe­ Bentonite ...... 1 % marle Building, North Carolina Department While developing patterns, she pays close of Human Resources and State Treasurer, attention to line and form so there is no con­ flict between the three-dimensional infor­ mation and the two-dimensional surface, making a piece that can be read by whatever attitude to which you subscribe—painter or ceramist. Wollastonite Tile Bodies Readers whose interest was piqued by those amazing wollastonite tile bodies (see “Large- Scale Flexible Ceramics!” in the June/July/ August 1986 CM; and “Working at Otsuka” 20-foot-long “Green,” slip-cast, vitreous china tiles in the February 1987 issue) will appreciate ivith earth tone glazes Andrea Gill press-molding and assembling an earth­ research done by Prinya Sainamthip, a post­ in Raleigh. Commissioned by the North Car­ enware vase form doctoral research fellow; and James Reed, olina Art in State Buildings program, and chair of the Ceramic Engineering and Sci­ produced in conjunction with the Arts/In­ of the mold. After the halves are joined, a ence Division at New York State College of dustry program at Kohler Company in Wis­ slab-built tube is attached to the top, re­ Ceramics, Alfred University. consin, the mural was composed of 20-inch- minding one of a bottle form. Then, addi­ As reported in the December 1987 issue square, slip-cast, vitreous china tiles, glazed tional, winglike elements are attached. of the American Ceramic Society Bulletin, with a palette of earth tones to represent a During the construction process, discus­ wollastonite is an excellent raw material for botanical scene. sion ranged from the “crank unit,” the work tile body compositions, “because its relatively a potter has to do to survive before getting low linear thermal expansion and low con­ to more personal pieces; to the frontality of Lee Rexrode contemporary ceramics (because of the prac­ You are invited to send news and photo­ Teapots, cups and pitchers by faculty artist tice of jurying major shows from slides). The graphs about people, places or events ofLee Rexrode were featured in a recent solo most heated debate revolved around showing interest. We will be pleased to consider exhibition at the Worcester Center for Crafts in big-name galleries and concern about the them for publication in this column. Mail in Worcester, Massachusetts. With his work, attitude that painters are the only ones ca­ submissions to News and Retrospect, Lee often strives for “a sense of the malleable pable of anything new on the surface of clay. Ceramics Monthly, P.O. Box 12448, clay in the finished piece.” Currently, he is Gill feels that an asymmetrical form is more Columbus, Ohio 43212. interested in developing quatrefoil (a circu­ interesting than a symmetrical one, and that lar design made up of four converging arcs) March 1988 57 ... News& Retrospect

Quatrefoil teapot, 10 inches high, porcelain with carbon trap glaze, by Lee Rexrode forms, such as this teapot, 10 inches in height, thrown and altered porcelain, with carbon trap glaze. 300 Years of Salt Glaze “Salt-Glazed Pottery—300 Years,” an ex­ hibition of historic and contemporary ware, was presented recently at the Thunder Bay Museum in Ontario. Included in the show were pots representing 17th- to 19th-century production from Germany and tracing the transfer of that technology to 19th-century

Salt-glazed pitcher, 8½ inches in height, thrown from a light broivn stoneware, decorated with mother-of- pearl and blue slips, by Alan Moon, Thunder Bay, Ontario Ontario potteries; plus current adaptations by four contemporary potters—two from Germany and two from Thunder Bay. The German Consul in Toronto provided examples of works by Volker Emmelmann and Claus Tittmann. While Emmelmann follows traditional form and decoration, Tittman reflects the strong Japanese influ­ ence on Western potters. In contrast, works by Canadian potters Trudy Jamieson and Alan Moon display a greater range of color. Besides the traditional 58 CERAMICS MONTHLY cobalt blue, they also use mother-of-pearl, apple green, opalescent blue, brown and yel­ low slips on various clays, ranging from a body which develops a soft brown, matt glaze, to a siliceous gray clay which develops a high gloss when salt glazed. Caryn Kreitzer “Cityscape” teapots, casseroles and large serving bowls, combining influences of living in New York together with appreciation for Japanese Oribe ware, byCaryn Kreitzer,

"New York Teapot Set, ” with 17-inch-long tray, slip- decorated earthenware were on view recently at Greenwich House Pottery in New York City. Handbuilt from red earthenware, the forms are brushed with slips in scenes reminiscent of urban exis­ tence. “I strive for fluid and strong forms, and for painted surfaces that add life and spirit,” Kreitzer commented. Ian Symons “Decorated Tableware II” was the second solo exhibition of majolica-glazed functional earthenware by Ontario potter Ian Symons at Prime Canadian Crafts in Toronto during the past two years. Characteristic of the works

Earthenware tureen with majolica decoration on view, this handbuilt tureen is approxi­ mately 10 inches in length. Symons feels strongly that more value should be assigned to the everyday preparation and enjoyment of food. Consequently, his pots are made to encourage frequent use and to make each meal a special occasion. Catalog Listing Escalates Sales The 1987 “Ultimate Toy Catalogue,” dis­ tributed by F.A.O. Schwarz (a New York- based store known for introducing unique March 1988 59 60 Ceramics Monthly News & Retrospect

Ellen Matlins decorating child-size teapots for sets sold by F.A.O. Schwarz and top-of-the-line toys), featured a child- would appear in the description of her work. size, porcelain tea set by Ellen Matlins, She persuaded F.A.O. Schwarz it was im­ Springfield, Illinois. A potter for 15 years, portant for people to recognize that these tea Matlins does not want to do wholesale shows, sets were hand decorated, and that recog­ but she wanted to increase her market. So nition would have an impact on sales. Con­ in February 1987, she approached Schwarz sequently, she was the only individual toy with an introductory letter and photographs maker identified in the catalog. And as a re­ of four tea set designs, then “followed up sult of this listing, sales of her work escalated with phone calls and finally sent a sample elsewhere. Once the catalog was released, set to the buyer,” she explained. By June, Matlins put together a marketing package she had received a purchase order. including a news release about the listing, Because her primary reason for listing in the catalog cover and page showing her work, the catalog was publicity, Matlins made sure photos/slides of other child-size tea sets, plus in negotiating with the company that her name her standard functional and decorative ware, “Stripes,” 14 inches long, slab-built and extruded and a resume. This resulted in several shops/ porcelain platter, with brushed pastel slips galleries across the country, ordering work for year-round as well as holiday sales.

Joan Weissman Mural by Susan York Through the City of Albuquerque’s 1% for Art Program, ceramist Joan Weissman was commissioned to create a 100-square- foot tile mural for the Bear Canyon Senior Citizen Center. Made in collaboration with 17 elderly assistants, the mural was a de­ parture from Weissman’s inlaid colored por- March 1988 61 62 Ceramics Monthly ... News & Retrospect

Segment of 100-square-foot glazed mural by Joan Weissman celain abstractions. “Because this would be the windows of the building, affording a pan­ a permanent part of their center, I wanted oramic view of Los Angeles from 47 stories to incorporate their ideas into the design as up. well as develop techniques which would en­ Earlier in the year I had attended an ex­ courage their participation,” Weissman said. hibition of Mimbres pottery and was so tak­ “And I needed to make sure that the finished en by the decorations that I referred to them piece would be a meaningful work of art, in the patterning of the tiles. At the center and not merely a class project.” Weissman designed a geometric frame­ work of interlocking tiles which contained elements of Native American design and ar­ chitectural detailing of the ’30s. Inserted with­ in this framework are a series of tile “win­ dows,” depicting the cultural backgrounds of the seniors, their ancestral homes, illustra­ tions of their current activities and specific landscapes of New Mexico. Along the top is imprinted a poetic legend tying together the scenes from the past and present, and ex­ "Mimbres Pottery Murals” pressing love for the arts and appreciation for nature’s beauty. of the panels, each composed of 11 -inch-square The 500 tiles were cut from slabs of white tiles, are two ceramic “fabrics” with still life stoneware prepared on a slab roller. The geo­ imagery. In the still lifes I incorporated the metric and figurative designs were carved, foods of the Indians, such as fish, corn and pressed, added in low relief and slip trailed. Detail: ceramic “fabric” and still life The glazes were all low fire—but fired to Cone 6 for a glossy flowing quality in the colors. A Corporate Commission by Karen Koblitz In late October 1986, my drawings for two ceramic murals were accepted and I was giv­ en the go-ahead to begin work. These panels were to hang in the corporate dining room of Cranston Securities, a company located in one of the tall buildings composing the down­ town Los Angeles skyline. On my initial visit to the site, the room was still filled with desks and the noise of a busy office. The murals would go in alcoves on either side of the double door, each 5 feet in height by 6 feet in length with a depth of 9 inches. Across from the alcoved wall were March 1988 63 64 Ceramics Monthly ... News & Retrospect The first production of majolica in Italy centered around Florence and Faenza. By the 1520s, towns in the Duchy of Urbino squash, along with contemporary utensils. had taken the lead with the production of The tiles were formed by pressing slabs istoriato ware, the surfaces of which were of clay onto plaster molds, then drying them completely covered by narrative scenes, many between sheets of drywall. Extra tiles were derived from contemporary paintings and made to allow for loss due to warpage, crack­ engravings. Among the jars, bowls, plates, ing and imperfections in the glazed surfaces. pitchers, salt cellars, urns and vases shown As the tiles dried, I fashioned four “still life in the exhibition was this plaque of Saint fabrics” and incised patterns from the tiles Jerome, 10½ inches in height, produced in onto the still life objects to create a visual Deruta circa 1530-40. relationship between both. Traditionally, Italian majolica forms are The low-fire underglazes and glazes cho­ shaped by throwing at the potter’s wheel or sen for the tiles and still lifes were a com­ by pressing into molds. Following the bisque bination of the colors that the Indians em­ firing, a porous tin glaze is applied to pro­ ployed on their pottery, garments and blankets duce a white ground, over which colored glazes and the colors present in the dining room in are brushed. Sometimes metallic lusters are which the murals were to hang. Added were applied after the glaze firing, and the pot accents of green representing plant life and receives a third, lower-temperature firing. the company’s color, and of blue to comple­ ment the sky seen through the windows. Sand Bonshommes de Terre was mixed into some underglazes for tex­ Clay caricatures, sometimes humorous, tural accent on some of the tiles and as the sometimes nonchalant, sometimes ridiculous, surface of the ceramic fabrics; the still life were exhibited in “Bonshommes de Terre objects were surfaced with gloss glazes. (Earth Characters)” at the Centre Genevois Because the company did not want the murals to be a permanent installation, it was necessary to build frames to support the panels. Sheets of ½-inch plywood were framed with lx2’s to prevent warping. Each panel was made up of two sections for easier handling. The tiles were then attached to the plywood with ceramic tile wall adhesive. The four ceramic fabrics were transported separately and hung securely onto the tiled panels after they had been installed. Sackler Maj’olica Collection Some 100 examples of Italian majolica from the Arthur M. Sackler collection were on view recently at the California Palace of the Legion of Honor in San Francisco. The ma­ jolica (tin-glazed earthenware) tradition in Italy can be traced to medieval pottery and to wares imported from Muslim Spain and Earthenware caricature by Dany Jung the East. The name itself is thought to have de l’Artisanat in Geneva, Switzerland, ear­ been derived from Majorca, the Mediterra­ lier last year. Created by studio pottersIs­ nean island through which much Islamic ware abelle Amoudruz, Marie-Pierre Duru, Dany was exported to Italy. Jung and Gerard Lachens, the figures were 16th-century majolica plaque from Deruta made as a break from the everyday routines involved in the production of functional earthenware. Douglas Fey White earthenware platters and jars with slip-trailed decoration by Douglas Fey, Longmont, Colorado, were on display re­ cently at Hibberd McGrath Gallery in Breckenridge, Colorado. Fey explained that he uses “the idiom of slip-trailed earthen­ ware as a basis to expand personal expressive statements and exercise intuitive reactions to and interaction with surfaces as they relate to the form and color of the works.” On large platters, such as “Heron and Fish Platter,” 21 inches in diameter, “the surface composition is usually concerned with the exploration and development of a design through an intuitive interpretation of a theme March 1988 65 66 Ceramics Monthly ... News & Retrospect

Anne Hirondelle’s “Haniwa Cup Diptych” la, California, recently. Among the ceramic works on view was “Haniwa Cup Diptych,” glazed stoneware on a lacquered base, 15½ “Heron and Fish Platter, ” by Douglas Fey inches in length, by Anne Hirondelle, Port and its variations,” according to the artist. Townsend, Washington. Photo: Roger “As I expand my working vocabulary of Schreiber. materials, forms and colors, I continue to refine functional forms within the structure of relevant, contemporary, utilitarian pot­ The Urban-Gama tery. My functional pottery must by necessityby Clifford Jacobs be responsive to the crafts market,” Fey re­ Many potters are drawn to the clay work marked. At the same time he seeks to con­ of Japanese potters from Bizen, Shigaraki, tinue his “involvement with larger, more ex­ Iga and Tamba. The beautiful surfaces of perimental works which are more freely their traditionally unglazed pots have been expressive and not so bound by requirements achieved primarily through the use of kilns of utility.” (anagamas and noborigamas) fueled with wood—most often red pine. Similar kilns have been built in the United States, usually in Ian Godfrey rural areas where wood is available and where A selection of stoneware vessels and ani­ there are no fire or smoke restrictions on mal forms dating from the ’60s by British burning wood. But those of us living in cities potter Ian Godfrey was exhibited at Graham or towns are often constrained from firing Gallery in New York City last fall. Among with wood because of possible combustion the works on view were (from left) “Shallow hazards and antismog regulations.

Carved stoneware vessels by Ian Godfrey Cup,” 5 inches in diameter; a pierced and I faced this barrier years ago on returning carved stoneware plate, 9½ inches in diam­ from a month-long visit to Japan, including eter; and “Animal Jug,” 7 inches in height, a week’s stay in the small town of Imbe, with matt white glaze. Photo: Ellen Page center of Bizen pottery. There, wood-burn­ Wilson. ing kilns have been utilized for hundreds of years to achieve textured surfaces with the characteristic colors of clay exposed to fierce California Cup Invitational fire drafts and fly ash. Intrigued and chal­ Interpretations of the cup format in var­ lenged, I began a series of experiments, hop­ ious media were featured in an invitational ing to create similar ware utilizing a gas kiln group exhibition at Gallery Eight in La Jol­ in a crowded residential setting. The result: March 1988 67 68 CERAMICS MONTHLY smoke) when the kiln temperature reads ... News & Retrospect around 750°F. Thirty minutes of heavy re­ duction is begun at 1625°F. Overreduction a technique I call “urban-gama” firing in causes the clay to become darker than I like which the work is fired in wood rather than and the sought-after color variations are lost. with wood. After the heavy-reduction period, the kiln is To begin, I work with a Cone 9-10 grogged lightly reduced until Cone 9½ has been clay body with high iron content. To this is reached. This is followed by soaking for 30 added sand, vermiculite and perlite for great­ minutes to reach Cone 10. (The temperature er strength and surface texture. Thrown, slab- within the saggar reaches about Cone 6.) and coil-built vessels are bisqued, then glazed Cooling takes 11-12 hours. After unload­ only on the inside to permit use as flower ing, the ware is cleaned with a wire brush containers. Although the outsides are not to remove any excess ash residue. glazed, I welcome the color achieved by sift­ ing ash mixed with small amounts of borax Robert Brubaker and salt on the shoulders and sides of the Ceramic artist Robert Brubaker recently bisqueware. Thus the fired surfaces range in moved his family and studio from Sacra­ color from grayish to brown and red with mento to Cornville, Arizona, to pursue his green and black shadings and spots. fascination with the Southwest “to its core.” Loading the kiln is the key element of the Coinciding with the big move was a solo ex­ urban-gama technique. My updraft gas kiln hibition of his human/animal figures at Elaine has 7½ cubic feet of stacking space (33 inches Horwitch Gallery in Scottsdale. high). A saggar incorporating the back wall Brubaker’s sculptures of human figures is constructed from standard full- and half- with animal heads allude to “a sort of desert size firebricks. The saggar’s height may range from 4½ to 22 inches; if the saggar occupies

Ware loaded in a saggar for wood-fired effect more than two-thirds of the total stacking space, it is difficult to achieve good reduction “Still Willin'” figure, 22 inches in height and reach the proper temperature. The bricks are stacked vertically and horizontally, with Minotaur or the fabled trickster coyote.” ½ to ½ inch space between to permit suffi­ Handbuilt from white stoneware and fired cient air and heat circulation. The bisqued to Cone 8 in oxidation, they are then surfaced pots are then positioned, with ½ to 1 inch of with multiple layers of enamel. Shown is an space between them, within the saggar walls. untitled figure from the “Still Willin’” series. Small chunks of oak (up to 6x3x3 inches) are placed carefully around, in and on top Lizbeth Stewart of the ware. Finally, the saggar is closed with The dogs and monkeys of Philadelphia ce­ a front wall of bricks; shelves span the top. ramist Lizbeth Stewart “are all territorial Because the saggar is built to a maximum creatures, watchful and anxious about the of 22 inches, this leaves approximately 10 limits of their domains,” observed Judith Stein, inches of space for additional glazed or un­ associate curator at the Pennsylvania Acad­ glazed ware on the shelves. emy of Fine Arts. “The expressions on their Firing to Cone 10 takes approximately 11 faces reveal a provocative admixture of hu­ hours. The wood begins to burn (with no man intelligence and animal instinct. March 1988 69 70 Ceramics Monthly century, we see them revealed to us in con­ ... News & Retrospect tinually new and potent ways. “Originality is measured in degrees. Many of the final selections for ‘Clay in ’87’ are inventive. A few are highly original. No doubt it is good for an artist to keep peripheral

18-inch "Monkey ” by Lizbeth Stewart “At first glance, they appear breathtak- ingly trompe l’oeil. Upon closer inspection, the viewer confronts such arbitrary details as expressionist colors, decoratively patterned markings, and unnaturalistic scale changes. Stewart’s interest in verisimilitude is decep­ tive, actually being limited to consulting a handpile of National Geographic magazines in her studio and to taking occasional trips to the Philadelphia Zoo to make mental notes on her models.” Shown from a recent exhibition at the Pittsburgh Center for the Arts is Stewart’s handbuilt earthenware “Monkey,” 18 inches in height, surfaced with underglazes, china paints and paint. Photo: Eric Mitchell. Southwest Clay Stephen Fleming’s “Vergessenheit” On view recently at the University of New vision open—to know what the next artist is Mexico Art Museum in Albuquerque was doing and to be aware of what is ‘in the air’— a juried competition featuring 76 vessels, but we must also trust ourselves, even though sculpture and wall forms by 60 Southwest much of the time we will feel alone. Origi­ artists. “Clay in ’87” was open to ceramists nality is impossible without deep personal residing in Arizona, Colorado, Oklahoma, conviction and the drive to encounter the cre­ Texas and Utah, as well as New Mexico. In ative process with dedication.” reviewing the over 300 entries, juror Wayne Shown from the exhibition are “Fish,” 8 Higby, Alfred University ceramic art pro­ inches in length, porcelain, by Sherry Stew­ fessor, looked for work that was original, “or art, San Angelo, Texas; and “Vergessenheit at least original in the context of my expe­ (Fall into Oblivion),” 50 inches in height, 16 rience. inches in depth, by Stephen Fleming, Ros­ “Originality is not a matter of new forms well, New Mexico. but of new connections,” he commented. “These new connections may occur in rela­ Frank Giorgini tion to skill inventively used or to the ex­ Life-size environment installations by ploitation of materials and process. Also, well- Freehold, New York, ceramic artist Frank Giorgini were on view recently at Greene County Council on the Arts Gallery in Cats- kill, New York, and at Art Awareness Gal­ lery in Woodstock, New York. Both works revolved around the use of raw, unfired clay. “The clay is fresh and alive when wet,” Gior-

Detail of “Room with a View”

Sherry Stewart’s “Fish” established subject matter may be rejuve­ nated through acute observation and a know­ ing touch. The vessel and the figure are both subjects of artistic expression with roots deep in antiquity. Nevertheless, in the late 20th March 1988 71 72 Ceramics Monthly pay homage to the deco era, Rousseau and ... News & Retrospect the Arabian Nights. gini commented, “but it slowly dries, fades Arthur Gonzalez and crumbles to dust, reflecting our own life “Two Weeks in Hawaii,” an exhibition of forces. The capturing of a visual, three-di­ sculpture, drawings and monotypes by ^4r- mensional moment in time, then being able thur Gonzalez (a bicoastal artist who main­ to witness the various stages of its changing tains studios in Brooklyn and Oakland), was and passing, are integral to the concept of shown at the Allrich Gallery in San Fran­ this work.” cisco earlier last year. While Gonzalez’s past “Room with a View,” at Art Awareness, work was about personal experiences ex­ made reference to the building’s hotel “mem­ pressed in a surreal or symbolic way, the ories,” with its room-enveloping, surrealistic images in this show were inspired by a trip images of people and furniture emerging from to Hawaii and the figurative pieces vary more and disappearing into walls and floor. in their “language.”

‘Artists in Their Element, ” unfired clay sculpture by Frank Giorgini “Artists in Their Element,” at the GCCA Some are narrative: “Ghost Story” depicts Catskill Gallery, oozed across the floor from a young boy huddling in the broken shell of a break in the brick wall. Happily floating a boat. In the safety of this makeshift tent, in the mud were a clay man and woman, he is illuminated by the glow from an actual their heads, hands, knees and toes breaking plastic flashlight. the surface. “Other works are social comments and are depicted in a more abstract/symbolist ar­ Bunny Tobias rangement,” says Gonzalez. “The rest is about New Mexico artist Bunny Tobias recently “Ghost Story, ”48 inches in height exhibited a series of decorative vessels at Elaine Horwitch Gallery in Palm Springs, Califor­ nia. Each slip-cast pot tells a story, some­ times tongue-in-cheek narrations complete

"Nude in Deco,” 14 inches in height with figures attached to the outside in the contemporary fetish style of Native Ameri­ can pottery, sometimes referring to various periods in art history. New areas of work March 1988 73 74 CERAMICS MONTHLY commented. “The application of painterly ... News & Retrospect concerns to my work is facilitated through the use of multiple firings and alternating clearer understanding of the current art world between two different slips that are both and trends when looked at from a small is­ compatible to themselves and the clay body.” land in the South Pacific.” Photo: Jacques Sculpture Body Gael Cressaty, courtesy of the Allrich Gallery. (Cone 06-1) Wollastonite ...... 12% Lewis Snyder Nepheline Syenite...... 18 A solo exhibition of reduction-fired stone­ Edgar Plastic Kaolin ...... 40 ware by Lewis Snyder, Murfreesboro, Ten­ Lincoln Fireclay...... 30 nessee, was featured at the South Gallery of 100% Florida Junior College at Jacksonville Add: Bentonite ...... 3% through February 16. Color is an emphasis Iona Grog (60 mesh) ...... 7% Per each 100-pound batch, add 555 grams nylon fiber. Cook develops surface color and texture through successively layering slip. An initial layer of the following recipe, colored with commercial stains, is applied by brush or plastic trowel; adding 3 grams Macaloid to the dry 100-gram batch, and approximately lcc or 3 eyedrops of sodium silicate to the slightly wet batch, yields a thick, impasto, tempera quality: Slip Like Tempera Paint (Cone 06-2) Kona F-4 Feldspar ...... 25% Edgar Plastic Kaolin ...... 25 17-inch “Birth of Daum, ” reduction-fired stoneware Flint...... 50 in all of Snyder’s work, “but especially on 100% large trays [such as ‘Birth of Dawn,’ 17 inches Color variations are possible with the fol­ in diameter, wheel thrown] which I treat as lowing additions: a canvas on which to paint.” Mexican Brick Red: Superlite Yellow Oxide Judith Cook Cement Stain ...... 6% The large-scale wall forms by Judith Cook, Bright Yellow: exhibited recently at the Harry Wood Gal­ Mason Stain 6440 ...... 10% lery, Arizona State University, Tempe, fo­ Lemon Yellow: cused on conveying the “powerful energy ex­ Drakenfeld Stain 41545 ...... 8% uded by entities and occurrences encountered Primary Blue: Standard Stain 553 ...... 8% Turquoise Blue: Mason Stain 6373 ...... 15% Pacific Blue Green: Mason Stain 6396 ...... 10% Standard Stain 553 ...... 2% Jungle Green: Burnt Umber...... 2% Drakenfeld Stain 51035 ...... 5% School Bus Orange/Yellow: Drakenfeld Stain 41545 ...... 3% Mason Stain 6485 ...... 10% Light Bright Lavender: Mason Stain 6020 ...... 15% “System Ready to Be Wound Up,” 76 inches high Standard Stain 553 ...... 2% only at night.” Working in a collage/assem- Basic Black: blage manner, Cook combines clay forms and Mason Stain 6600 ...... 16% mixed media. Shown from the exhibition is “System Ready to Be Wound Up,” 76 inches Different tones are achieved by adding in height, low-fired clay, with plastic and wire. varying amounts of the basic black variation “Through an interest in illusion, I transfer or up to 3% burnt umber. two-dimensional marks into three-dimen­ To brighten the slip colors, an extremely sional forms that exist in space freely, or which light coat of the following clear glaze is either interact with relief work on the wall,” Cook Please Turn to Page 79 March 1988 75 76 CERAMICS MONTHLY pendixes, bibliography and index. 18 color and 133 black-and-white illustrations. $49.95, plus $1.95 shipping and handling. University New Books of Pennsylvania Press, Blockley Hall, 13th Floor, 418 Service Drive, Philadelphia 19104. Henry Chapman Mercer and the Dutch Trade and Moravian Pottery and Ceramics in America Tile Works in the Seventeenth Century by Cleota Reed by Charlotte Wilcoxen A leading figure of the arts and crafts move­ Written for collectors, historians, archaeol­ ment in the United States, Henry Chapman ogists and museum personnel as a practical Mercer “transformed the art of the ceramic source of information about early Dutch ce­ tile, elevating it from a prosaic form of dec­ ramics and the trading activities by which oration to a medium of plastic expression this ware was imported, this study examines capable of conveying original and complex three types of pottery made in the Nether­ ideas,” notes the author of this biographical lands but widely used in colonial America: account of scholar-artist Mercer and his Mo­ slip-decorated earthenware, majolica and ravian Pottery and Tile Works in Doyles- faience. Though previously thought to be town, Pennsylvania. [For more information German in origin, certain types of lead-glazed on Mercer, see the December 1978 CM.] slipware were produced in the Dutch prov­ With his handmade relief designs, he, in his ince of Utrecht through the 17th century. own words, “stirred up things pretty well in Majolica, introduced in the Netherlands the tile world” between 1900 and 1930. around the middle of the 16th century, was Mercer thought “that if tiles are to be con­ “the prototype of the later and vastly more sidered as decorative art, no one should make celebrated Dutch faience that is popularly them without first reverently and faithfully known as ‘Delft.’” However, current use of studying the great decorative art of the past. the word Delft among archaeologists and In a high estimate of the aesthetic value of museum personal is limited to wares known these ancient works, namely their mastery of to have originated in that city. Instead, ware color, conventionalism, balance of pattern, is distinguished as majolica, “the early Dutch splendid decorative effect, I agree with my ware with stanniferous glaze on only the ob­ artistic friends, but in the best of these mas­ verse side,” and faience, “the more sophis­ terpieces I find a story, a sermon, that my ticated ware with a tin glaze on both sides.”109 friends care nothing about. Yet to me, this pages including bibliography and index. 16 so-called ‘literary’ side of the craft, this story color plates; 33 black-and-white photo­ telling, which I understand has been said to graphs. $14.95 (softcover), plus $2 postage ‘contaminate’ painting, has been my primary and handling. Albany Institute of History <£r impulse or inspiration. I agree with them Art, 125 Washington Avenue, Albany, New that the design must be an aesthetic success York 12210. in color, pattern, conventionalism, balance, etc., and further that it may be such a success English China without any meaning at all. But if tiles could by Geoffrey A. Godden tell no story, inspire or teach nobody, and Of interest to collectors, this book was com­ only serve to produce aesthetic thrills, I would piled from 15 of the author’s previous ref­ have stopped making them long ago.” erence works “to give a balanced account of The first part of the text examines influ­ various aspects of English ceramics.” Follow­ ences in Mercer’s life; involvement with the ing a chronological survey and an illustrated arts and crafts movement; establishment of glossary of various types of ware, the text his “tile works,” its production materials, focuses on 18th-century production includ­ techniques and equipment. “The great tile ing blue-and-white porcelains; the London processes of the past were precluded in the factories at Bow and Chelsea; Lowestoft por­ United States on account of the high cost of celains; Chamberlain-Worcester porcelains; labor. My first effort therefore was to invent Coalport porcelains; and Mason, Minton and new methods of producing handmade tiles, Ridgway wares. There is also a chapter de­ cheap enough to sell and artistic enough to voted to hints and warnings for the invest­ rival the old ones.” ment collector, which concludes with this “last Part 2 focuses on the development of pat­ snippet of advice: I have been discussing, in terns and themes, and identifies various de­ the main, old or antique porcelains, but re­ signs and installation sites. His early relief member that these were once new and pur­ tiles were standard geometric forms. From chased for use or pleasure. You, too, can fol­ there he moved on to mosaics and “brocades” low this example and keep a weather-eye to depict increasingly complex subjects, all open for pleasing examples of contemporary rooted in one way or another in his own ex­ porcelain. Some modern studio potters now periences. “Veneration for the past; great in­ produce some delightful individual porce­ terest in the technical history of industries; lains. Such articles can be far superior to several visits to Europe; my experience in some of the avidly collected earlier factory- archaeology and museums; consultations with produced porcelains.” 16 color and 509 black- friends who have studied directly the clay and-white illustrations. 362 pages, including work of primitive peoples, all these have helped bibliography and index. $65. David <£rCharles, me very much.” 255 pages, including ap­ Inc., North Pomfret, Vermont 05053. March 1988 77 78 CERAMICS MONTHLY ... News & Retrospect

sprayed or brushed directly over the slip or onto the greenware: Clear Glaze (Cone 08-2) Frit 3134 (Ferro) ...... 85.0% Edgar Plastic Kaolin ...... 15.0 100.0% Add: Bentonite...... 2.5% With the hand application of slip being important, Cook also uses a slip that holds the physical properties of the way it is ap­ plied, and also possesses the brightness and intensity of color that are characteristic of low-fire glazes: Slip Like Finger Paint (Cone 06-02) Frit 3134 (Ferro) ...... 45 grams Edgar Plastic Kaolin ...... 50 Flint...... 25 120 grams Color variations are achieved with the same additions listed for Slip Like Tempera Paint. Also, soda ash (15 grams) is often added to the Finger Paint recipe to allow the slip to take on the characteristics of a self-glazing engobe. When soda ash is used, thin surgical gloves are worn during application to protect the hands. These recipes were developed as part of the artist’s M.F.A. degree studies at Arizona State University last spring. Judith Cook is now a visiting instructor at Whittier College in Whittier, California. Photo: Steve Loe.

Northwest Ceramics Today A touring exhibition of works by 35 ce­ ramists residing in the northwestern section of the United States opened at Boise State University and will be on view during April at the Charles Russell Museum in Great Falls, Montana. “Having seen earlier this year the nation­ ally selected ‘American Ceramics Now’ ex­ hibition at the Everson Museum and several of the large wholesale/retail fairs sponsored by American Craft Enterprises, I am glad to see that the Northwest has ceramists re­ sisting the bandwagon of trendiness,” ob­ served Lloyd Herman, former director of the Renwick Gallery. “No new art deco or Mem- phis-style dinnerware here, or the ceramic equivalent of neo-expressionist painting. Not that some of the same artists in this exhi­ bition weren’t also selected for these other national projects. They were. Their distinc­ tive styles undoubtedly stood out, and excited the interest of the selectors more than others from the region who might have submitted work for consideration. “‘Standing out’ is often what gives one art­ ist’s work national—even international—vis­ ibility and not another’s. And though this exhibition has some standout objects, the more modest ones better characterize for me March 1988 79 ... News & Retrospect

“Sabi,” 16 inches in height, saggar-fired stoneware, by John Takehara, Boise, Idaho. “No new art deco or Memphis-style dinnerware here, or the ceramic equivalent of neo-expressionist painting. ” what I believe ceramics in the Northwestern United States to be. Americans have a ten­ dency to prize the new and novel in art, rath­ er than study the nuance of change as an artist refines a form or surface in striving for a personal ideal. There is room for both.”

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