William C. Hunt........................................ Editor Barbara Tipton...................... Associate Editor Robert L. Creager........................ Art Director Ruth C. Butler.............................. Copy Editor Valentina Rojo....................... Editorial Assistant Mary Rushley............... Circulation Manager 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.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North­ west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates:One year SI6, two years $30, three years $40. 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 November 1984 3 4 Ceramics Monthly Ceramics Monthly Volume 32, Number 9 November 1984 Feature Articles The 65th May Show................................................. 24 Being and Meaning by Ted Randall.................................................... 28 A Small-Scale Pottery by Jane Graber.................................................... 31 Guido Mariani............................................................ 33 Slip-Ash Glazes by Peter Lochtefeld............................................. 34 Robert Arneson: Ground Zero............................... 36 Contemporary Australian Ceramics..................... 38 Sachiko Kawamura by William Hunt.................................................. 41 Keramisch Werkcentrum Exhibition................... 44 Jay Kvapil................................................................ 46 Women in Clay by Sue Luger........................................................ 48 Viola Frey at the Whitney by Patterson Sims................................................ 51 A Thermal Gradient Furnace by John Ranney and Maynard Bauleke ... 54 New Hampshire Plates............................................ 57 Departments Letters....................................................................... 7 Where to Show......................................................... 11 Suggestions............................................................... 13 Questions................................................................. 15 Itinerary.................................................................... 17 Comment: Resistance by Richard Meyer................................................ 21 News & Retrospect 63 New Books................................................................ 85 Classified Advertising 86 Index to Advertisers................................................ 88 The Cover Wheel-thrown covered jar, 14 inches in height, por­ celain, with hand-formed and extruded additions, glazed, sandblasted, by Don Pilcher, Champaign, Il­ linois. November 1984 5 Letters Work Resolves Issues tomers like an enthusiastic salesperson. Write often used. An 8-gauge thermocouple is best Intelligent and perceptive curators and us more articles like this! for Cone 9 and reduction firing. Most ce­ critics are needed to interpret and present Mary Haggis ramic supply houses sell thermocouples but controversial art. However, the dilemma London, Ont. lead you to believe that no protection is re­ voiced by Garth Clark, Margie Hughto and quired unless you are firing to high reduction echoed by Lorne Falk (September Com­ I thoroughly enjoyed the Ross Murphy temperatures. ment), that the lack of critical writing is what article, but is he kidding with those heavy- It is possible to reverse the connections to muddies the issues in ceramic art and slows handed sales techniques he is recommend­ a thermocouple and then reverse them again its acceptance as a fine art medium, is off ing? My personal favorite was this exchange at the pyrometer, and the instrument will base. The “concentrated and decisive attempt to a man buying a pitcher as a gift for his read upscale as the temperature increases. to articulate and resolve the issues” in the wife: “Look, before she gets here, I’ve got The readings will be inaccurate because the clay movement doesn’t come from the people these beverage cups that match the pitcher. extension wire is matched to the character­ who monitor the pulse of the movement, but They’re only $5 each. Is she worth it?” And istics of the thermocouple and if you reverse from those who create it. to the wife: “I’ve just been learning what a the connections, you have produced another The artists themselves must decide how to terrific husband you have here.” Several oth­ thermocouple that may subtract or add to the define themselves and they must create the er suggestions were no less insulting. Maybe readings. work that resolves the issues. Critics have some people can pull it off and sound sincere H. David Woodin not articulated any defining statements be­ enough to succeed, but is this kind of thing Applied Industrial Service, Inc. cause they can see the hesitancy and inde­ necessary? I know I’ve walked away from Reno cision in the unique pluralism of progressiv- any number of sales approaches of this type ism and traditionalism in ceramic art. At the myself, preferring to do without than to be Potters’ Machinery for Illiterates? risk of being yellow or self-assuming, how treated in this manner; and I would expect A frantic call on a Sunday to the manu­ can a critic interpret more than what is pres­ that my customers have, too. A well-made facturer about leather-hard clay in my year- ent in a work or a movement? pot, or anything else worth selling, for that old pugmill was worth a try. Luckily some­ Laurie Eldridge matter, shouldn’t have to be hyped in such one was there to answer. I had done the right Indianapolis a way that degrades both the seller and the thing by adding water and letting it sit, hav­ potential buyer. ing smelled the motor burning, but I would Selling Controversy Continues Craft fairs are often my only chance to get have been better off if detailed instructions It is very funny to see the eruption of the out and socialize with the public and with had come with the equipment when I bought good old controversy (craft vs. art) in Letters fellow crafters, as well as to rest from the it last November. Instead, kindergarten in­ under the new guise of “How to Sell Your throwing and toting of my wares to that point. structions had come with it, and so is the Pots Profitably.” It seems clear that the peo­ I’m just not up to arm-twisting and all that trend with kilns, wheels, and I imagine with ple who are angry with the article regard slick dipping and dodging. When a customer other newer technologies in pottery. An art sales efforts as demeaning, and probably think leaves with one of my pots, I like to think degree doesn’t mean illiteracy, so why don’t that their work should be “discovered” by that it’s my craftsmanship he’s bought, not manufacturers enclose state-of-the-art man­ knowledgeable patrons, as in Cinderella (art); my sales technique. uals for their state-of-the-art equipment? My the ones who like the article are those who Jean Reynolds sewing machine came with a 50-page in­ make work quietly, laboriously, and sell it Concord, N.H. struction manual. How about it, manufac­ with effort for a living (craft). turers? In an economic system like ours, where Business Articles Joanne Thompson everything is merchandise, I don’t see why I think the recent business-oriented arti­ Torrington, Conn. it should be shameful to try to keep in step cles have been very helpful. Making pots is with the rest of society. This brings to mind my chosen profession and I need all the help On the Run the old English custom where those working I can get in keeping myself afloat. My fa­ Bravo! I appreciate the good letters that in trades, merchants, salespeople, were so­ vorite time of the year is winter when I’m emphasize keeping