2 Ceramics Monthly William C. Hunt.................................... Editor Ruth C. Butler..................... Associate Editor Valentina Rojo.................... Assistant 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 SI8, 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. 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All rights reserved May 1987 3 4 Ceramics Monthly Ceramics Monthly Volume 35, Number 5 MAY 1987 Feature Articles Mongoro Women Pottersby Maya Lightbody........................................................... 18 Eye of the Clay by Dong-Hun Chung with Jeffrey Werbock ..................................22 Mongoro Women PottersWhile folk pot­ tery around the world is disappearing in Craft in the ’80s at the American Craft Museum...........................................24 favor of modern vessels made of plastic or enameled metal, in this West African vil­ lage, traditional wares are still made. But Frederick Rhead by Sharon Dale.....................................................................27 here the gods are said to allow only women to work with clay; page 18. Ralph Rankin by Laura Stewart ...................................................................................37 A Not So Still LifeAfter teaching in the Midwest and South, Karen Koblitz “made by Karen Koblitz the right choice” in returning to California A Not So Still Life ..................................................................40 to devote full time to her ceramic still lifes; page 40. Blood of Kings...............................................................................................44 Pamela Skewes-Cox...................................................................................... 47 Departments Letters to the Editor..................... 7 Comment: Crafts in the 21st Century Itinerary......................................... 9 by Matthew Kangas............................. 17 New Books..................................... 49 Questions........................................ 11 Film & Video................................. 71 Frederick Rhead Remembered by most as Where to Show............................. 12 a historical ceramics figure among many, Classified Advertising................... 78 Rhead was much more—a giant in influ­ encing ceramics as we know it today. Dur­ Suggestions..................................... 15 Index to Advertisers..................... 80 ing his 50-year career, he directed art pot­ teries from coast to coast, and taught clay and glaze technology to some of the greats. Even less widely known is the fact that News & Retrospect Rhead designed Fiesta ware (which in ce­ ramics has become practically symbolic of John Toki ................................................... 59 “Cups II” at Prime..................................... 67 mass production). See page 27. What’s in a Name?.................................... 59 Kathryn Narrow......................................... 69 Sharing Resources Leach Centenary Exhibition..................... 69 The coverTerra-cotta warrior, 8 inches in by Susan Wood......................................... 59 Indianapolis’s Rare Chinese Box ............. 73 height; even after 1100 years, the maker’s fingerprints are visible on the earflares and Randall Chitto............................................ 61 Rhode Island Grad Show .......................... 73 headdress. Recent analyses of Maya ce­ DeWitt Smith............................................. 61 North Carolina Annual.............................. 73 ramics have disclosed not the peaceful star­ Three Kilns: One Stack gazing culture once perceived by wishful In Brazil..................................................... 61 by Robert Scherzer......................................... 75 historians, but instead a society preoccu­ Martha Heavenston................................... 63 pied with blood, the supernatural and rit­ Anne Storrs................................................ 75 ual sacrifice; see “Blood of Kings” on page Functional Ware at Alma College Dennis Christopher Murphy .................... 79 44. Photo: Justin Kerr. by Carrie Parks-Kirby............................... 63 Val Cushing Workshop Richard Notkin/Irene Vonck..................... 65 by Deborah Horrell....................................... 79 May 1987 5 6 Ceramics Monthly Letters Let Art Talk tressing one: The awarding of substantial sition for tradition and function, and devotes A ceramic artist said about her work: “Se­ NEA fellowships to so many craftspeople the entire issue to the aesthetics of function. ries of forms in transformation, creating ten­ and/or teachers who really do not need them In a ten-part craft manifesto of principles for sion between repose and activity. Nature is in order to continue their “creative devel­ guidance and a declaration of personal mo­ a point of emanation, evoking some identi­ opment.” tivations and views for our present decade, fication and recognition. As the forms meta- There is no doubt that many emerging the number one statement is: “Acknowledge morphize, they move beyond the specific to craftspeople are genuinely aided by this fi­ cheerfully that function is the root of craft. more enigmatic abstraction.” nancial support at a time when their creative The fact that an object is functional does not A potter said: “I’ve always done it and growth is limited by the need for noncreative necessarily remove it from aesthetic appre­ always will.” employment. There can be no objection to ciation. A functional object can be beautiful The previous remarks represent two ex­ that—it is what the grants should be doing! or ugly, depending on factors unrelated to its tremes in ceramists’ views of their work. One But, year after year, when reviewing the names function.” is simplistic, the other too complicated for of that year’s “winners,” one finds craftspeo­ The NEA ought to place greater emphasis most people to understand. However, both ple who are nationally and internationally on the work of traditional potters who make have one thing in common: neither of them acclaimed and renowned; whose work is pots—functional pots! There is just as much communicate. sought by collectors and museums, and sells opportunity for beauty and personal creativ­ Why not let the art talk for itself instead at substantial figures; or who have long-held, ity in them as in the nonfunctional variety. of creating mysterious illusions and percep­ secure teaching situations that provide con­ William E. Pitney tions in people’s minds? siderable free creative time and studio facil­ Sharon, Conn. Pirjo Polari-Khan ities, summers off and the opportunity for San Jose, Calif. sabbaticals with salary. It seems like an un­ Word Games fair disbursement of funds by the NEA, as Allow me a word or two about the Feb­ Word Clutter and Confusion well as an inappropriate application by such ruary 1987 issue: I feel that the discussion of aesthetics among craftspeople. MacKenzie is absolutely right Wayne Higby—if you are out there—your clay people is very important. However, there when he says, “Let the established artists show type of word babble and self-indulgent mind should be some