www.ceramicsmonthly.org Editorial [email protected] telephone: (614) 895-4213 fax: (614) 891-8960 editor Sherman Hall assistant editor Renee Fairchild assistant editor Jennifer Poellot publisher Rich Guerrein Advertising/Classifieds [email protected] (614) 794-5809 fax: (614) 891-8960 [email protected] (614) 794-5866 advertising manager Steve Hecker advertising services Debbie Plummer Subscriptions/Circulation customer service: (614) 794-5890 [email protected] marketing manager Susan Enderle Design/Production design Paula John graphics David Houghton Editorial, advertising and circulation offices 735 Ceramic Place Westerville, Ohio 43081 USA Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. 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Prior to photocopying items for edu­ cational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional pur­ poses, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Senior Director, Publications, The American Ceramic Society, 735 Ceramic PL, Westerville, OH 43081, USA. postmaster: Please send address changes to Ceramics Monthly, PO Box 6136, Westerville, OH 43086-6136. Form 3579 requested. Copyright © 2004 The American Ceramic Society All rights reserved Ceramics Monthly October 2004 2 Ceramics Monthly October 2004 3 OCTOBER 2004 / Volume 52 Number E featu res 32 Lynn Duryea: The Energy of Edges by Glen R. Brown Sculptor approaches the minimalist aesthetic from a potter's perspective, exploring the utilitarian potential of objects monthly methods Tar-Paper Molds 37 Central Carolina Community College The Beginning of an Arts Incubator by Jan Rider with CCCC Two-Year Clay Sculpture Curriculum 43 San Angelo National Competition Biennial competition aims to illustrate the current state of ceramics in the United States 46 Nino Caruso: 2004 Regis Masters Exhibition iby Mason Riddle Sculptor blends elements of vessel forms, the human figure and architecture at Northern Clay Center 48 California Clay Competition Works diverse in composition, technique and artistic vision showcased during 15th-annual clay conference 50 Ceramics in Deruta, Italy by Christopher Garcia A pottery school in a town known for majolica embraces tradition while encouraging innovation 52 Stephane Janssen on Falling in Love by Sherman Hall An impassioned collector reflects on his lifetime love affair with art and the donation of his ceramics collection 55 2004 Gallery Guide Up-to-date listing of ceramics exhibition venues in the United States and abroad cover: “Orange Oval,” 12 inches (30 centimeters) in height, slab-constructed terra cotta, fired in oxidation, by Lynn Duryea, Boone, North Carolina. Ceramics Monthly October 2004 5 departments 1 0 letters from readers 1 2 Upfront reviews, news and exhibitions 28 answers from the CM technical staff 30 suggestions from readers 30 Tip of the Month: Mini Calipers 72 call for entries 72 International Exhibitions 72 United States Exhibitions 74 Regional Exhibitions 74 Fairs, Festivals and Sales 78 new books 84 calendar 84 Conferences 84 Solo Exhibitions 84 Group Ceramics Exhibitions 88 Ceramics in Multimedia Exhibitions 90 Fairs, Festivals and Sales 92 Workshops 98 International Events 104 classified advertising 106 comment The Myth of the Neglected Ceramics Artist: A Brief History of Clay Criticism by Matthew Kangas 112 index to advertisers Ceramics Monthly October 2004 6 Ceramics Monthly October 2004 7 his special, pure soul. He was a kind, gener­ letters ous person who gave freely of himself and his clay knowledge. He supported any potter who asked for help and assisted those Conference Excitement who needed advice in the world of clay. I just attended the “California Conference There was an aura of nobility that en­ for the Advancement of Ceramic Art,” in circled Harding Black. There will always Davis, California, hosted by the John exist for me some wonderful memories of Natsoulas Gallery. It was very informative, Harding. If heaven exists, I am confident with a combination of slide shows, demos that he is discussing glazes with Binns and and gallery openings [see “California Clay Voulkos, perched upon a pale blue cloud. Competition,” page 48]. Some of the pre­ Thomas Turnquist, Lakewood, CO senters seemed more involved with the feelings and the emotions expressed, and Necessary Incentive they just happened to choose clay as a I am so pleased to receive Ceramics Monthly medium. Others were full of information every month. The magazine is my incentive and articulated why they do their particular to work—truly inspirational and quite type of work, what drives them, what in­ helpful, both technically and professionally. spires them, and they explained the techni­ Thank you for keeping me up to date on cal aspects of their work. the ceramics world! The emphasis of the conference is ce­ Vania Setti, Bend, OR ramic sculpture, as opposed to pots. After all the talk about sculpture, when Ah Leon Criticism and Junya Shao started making teapots, it Include more critical writing. The ceramic was very interesting to see the crowd surge medium can only be taken more seriously forward. The energy level just about with more serious criticism by important brought the house down. One woman was critics. Please up the ante for ceramics. almost sitting in Leon’s lap! Junya Shao is a Linda Lighton, Kansas City, MO master of the Yixing teapot tradition and it was amazing to see her handle the clay. Validation of Efforts Teapot as sculpture, as art\ The source of many of your letters, it If we can reinforce the public perception appears, is readers who have been subscrib­ that something made of clay is art, and that ers of your magazine for years. We come it is valid and important, not a lesser craft, from diverse backgrounds and technical compensation ($) for ceramics artists can be abilities, but we all share a common link in raised and the term starving artist can be our love of clay and the myriad ways it replaced with rich and famous artist. allows us to express our ideas. Eileen P. Goldenberg, San Francisco, CA Your magazine is a window into the lives of other ceramists and is a source for great Reaching Students and varied technical information. I read My students and I eagerly await each issue with great interest the pieces about artists of Ceramics Monthly. The range, from who make forms based on instinct or esoteric to the functional, really reaches out intuition. So I am writing to congratulate to a diverse group of students. I always find your publication for helping another ceram­ myself thinking, “So-and-so would love this ist feel validated about his ideas and work. work!” Thanks for the wonderful resource. Luke Cano, St Louis, MO Continue to provide variety. Ann Fremgen and Students, Arvada, CO Correction In the article “Harlan House,” on page 51 Tribute to a Friend of the September issue, the “Mixing Clay The day that pottery legend Harding Black and Casting Slip” sidebar stated that 80 cc passed away was a sad day for pottery. He (cubic centimeters) of slip should weigh was a good friend and a wonderful soul. In 180 grams—a specific gravity of 1.8. In 1985, Karl Martz told me that I must con­ fact, 100 cc of slip should weigh 180 grams tact Harding Black. He said any serious in order to have a specific gravity of 1.8. collector would have work by Black in a collection. I phoned him and was amazed In keeping with our commitment to providing an open forum for the when he described the length of his clay exchange of ideas and opinions, the editors welcome letters from all career and the number of pots he had cre­ readers; some editing for clarity or brevity may take place.