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 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.—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 $18, 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 March 1986 3 4 Ceramics Monthly Ceramics Monthly Volume 34, Number 3 March 1986 Feature Articles May I Help You? by Joe Weingarten................................................. 21 Buffalo Crafts National by Roberley Ann ............................................Bell 22 Margaret Chatelain................................................... 26 Edges, Part ..............................................................2 27 Toyozo Arakawa by Joseph Pugliese................................................. 33 Designer Craftsmen Fairs......................................... 37 The Internationalization of Emily by Everette L. Busbee........................................... 45 Departments Letters to the Editor...................................................... 7 Where to Show.............................................................. 9 Questions.................................................................... 11 Itinerary...................................................................... 13 Suggestions................................................................. 15 Comment: Marketing by Greg Charleston............................................... 17 News & Retrospect..................................................... 59 Film and Video........................................................... 62 New Books.................................................................. 64 Classified Advertising............................................... 78 Index to Advertisers.................................................. 80 The Cover Even from a distance you can smell the aroma of wood smoke as tall flames rise quietly from the flue of the 56-foot-long anagama (a Japanese-style tube kiln) at Peters Valley (Layton, New Jersey), a crafts com­ munity occupying land leased from the National Park Service. After the flame recedes, another load of split oak will be stoked. The cycles of stoking and waiting continued throughout the nearly five-day period in this kiln’s first firing to be led by westerners. Turn to page 45 for a complete account. Photo: Barbara Tipton. March 1986 5 6 Ceramics Monthly Letters Not Ready for Criticism Is every polychrome low-fire sculpture great? in the garage. Also the glaze didn’t freeze off In response to the article on “Ceramic Is a plate that is painted but is not a painting my hands while stirring and mixing. I can Criticism” (December), I have a tendency to dynamic and profound? I think writers have listen to the radio now while I throw. Before, dismiss the entire article as another “let’s try an obligation to write about all aspects of the I couldn’t because I couldn’t hear my phone to make ceramics high art.” I also have a arts (including ceramics) with gusto and in­ ringing in the garage if the radio was on. strong tendency to agree with Jeff Perrone telligence. However, there must also be ce­ There are disadvantages. I am not with [who wrote a section of the article]. I don’t ramic art that is capable of being good enough my family as much. The new house is so big think people who work with clay (as opposed to be written about. Why does ceramics have we seem to spread out and get lost. Also, I to acrylic, metal, plastic or cotton balls) are to be like painting? Why is there such a hol­ lost a lot of regular customers. My gas kiln ready for criticism. Except for a relatively low fuss about ceramics and fine art? still is not operating because of complications small number of artists working with clay, I think it’s because everyone is waiting for in going from a gas line to a tank. I am the general ceramics/pottery community is the Julian Schnabel of clay to appear. The paying a shop to do my firing. still thinking about funk vs. function. first coming of someone—anyone—who can The most surprising disadvantage that I On the other hand, Perrone is completely make some real money from clay in the gal­ did not expect is that my work area does not off base when he mentions “that ceramics lery system. It’s a combination of ego and get cleaned regularly like it used to when it itself has to get its own house in order before economics. Lots of people who work in ce­ was the kitchen counter. it starts commiserating with painting and ramics also teach. The “university” itself is Mary Mulkey sculpture.” I find it very interesting that Jim a unique situation: Teachers and artists? Sumner, Wash. Romberg would pay Jeff Perrone to fly from Teacher/administrator, artist/teacher, never New York City to Sun Valley, Idaho, to take artist/administrator. Strange? Every person Ted Randall part in a symposium [wherein] one would (except Perrone) in the “Criticism” article is After learning of Ted Randall’s death in expect Perrone not to be sympathetic to the a teacher. late 1985, I was prompted to seek out his nonissues. Who is kidding whom about Per­ I think it’s time for a different kind of article “Being and Meaning” (November 1984 rone going with ceramics? And why is it that criticism, possibly some self-criticism. Take Ceramics Monthly). only “ceramists talk about ceramics”? As a closer look at why we ceramic makers are When I re-read it, I was overcome with Patterson Sims (associate curator at the so bound up in the quest for recognition— a sadness because Ted, I am sure, knew at Whitney Museum of American Art) said, [in as if it were some kind of movement. the time of his writing that he was dying of the Whitney collection are] “about 15 works The final irony is Steve Reynolds’s brief cancer. It seems to me that in his writing he which are made of clay and they’re there not horn-blowing, in which he mentioned that was looking for a way to justify his own being because they are made out of clay any more “Peter Voulkos’s bellicose posturings were and meaning; all of which need no justifi­ than we have things in the museum because sublimely ridiculous,” etc. Certainly, Voulkos cation. they’re made out of canvas and oil. They’re needs no defense, but I would remind Steve He made a tremendous contribution to our there because they have sculptural possibil­ Reynolds that if he (Reynolds) will do half art form and elevated its state to new levels ities, or they seem engaging as sculptural as much as an artist as Voulkos has done, he throughout his life. works of art.” (Reynolds) can then stand up, chest puffed Sheila Rogers There has always been a healthy irritation out like a goosed chicken, and crow till the East Hampton, N.Y. between California and New York City. There break of day. Certainly, Voulkos is not nearly is not a healthy irritation between critics who as bellicose as say, Pee Wee Herman or As the first wave of the contemporary clay write about painting and sculpture and ce­ Sylvester Stallone. experience matures, increasingly there will ramics. It is going to be a very long time Jens Morrison