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Copyright © 2004 The American Ceramic Society All rights reserved Ceramics Monthly January 2005 2 JANUARY 2005 / Volume 53 Number 1 featu res 38 Finding My Niche byAnnSeiberg Early 20th-century art pottery and architecture inspire graceful forms with precise surface decorations monthly methods Making and Glazing Incised Ware 43 Fractals Wrapped in Clay by Elina Brandt-Hansen Norwegian sculptor employs innovative techniques to create highly intricate compositions with colored porcelain monthly methods Creating Colored-Porcelain Patterns 48 Built by Hand, Painted by Nature Joan Carcia's Saggar-Fired Vessels by Barbara Rizza Mellin monthly methods Building, Packing and Firing Saggars by Joan Carcia recipe Terra Sigillata 50 Choosing the Right Clay byjeffzamek Ensuring your clay body is a solid foundation for your work 51 The Naked Truth: 2004 International Wood-Fire Conference by Jennifer Poeiiot Iowa conference unites wood firers for cultural and artistic exchange 55 Bob Nelson: In Solitude by Tom Turnquist A Colorado potter maintains focus through quiet living 58 Mixed Bag: Baggage by Sharon McCoy by Katherine Benke Whimsical, invented vehicles help artist let go of past baggage and travel lightly into the future 60 Ode to Japanese Pottery Sake Cups and Flasks by Robert Lee Yellin with introduction by Dick Lehman 63 Sacred Petals by Donna Rozman Ceramist explores relationship between spirituality and sensuality through religious iconography recalled from childhood 66 Residencies and Fellowships Professional-development opportunities in the U.S. and abroad cover: “Spirals,” 60 centimeters (24 inches) in diameter, handbuilt colored porcelain, fired to 1280°C (2336°F), by Elina Brandt-Hansen, Sotra, Norway. See page 43. Ceramics Monthly January 2005 5 departments 1 0 letters from readers 12 editorial deadlines Talent Search Free Listing for Summer Workshops 16 upfront reviews, news and exhibitions 28 answers from the CM technical staff 34 suggestions from readers 36 Tip of the Month: Bar-B-Q Glazes 68 call for entries 68 International Exhibitions 68 United States Exhibitions 72 Regional Exhibitions 72 Fairs, Festivals and Sales 74 new books 78 calendar 78 Conferences 78 Solo Exhibitions 80 Group Ceramics Exhibitions 84 Ceramics in Multimedia Exhibitions 86 Fairs, Festivals and Sales 88 Workshops 96 International Events 102 classified advertising 104 comment The Taiwan Incident by Joan Lincoln 104 index to advertisers online www.ceramicsmonthly.org current features, expanded features, archive articles, calendar, call for entries and classifieds expanded features Choosing the Right Clay by Jeff Zamek More to consider when buying or formulating clay bodies The Naked Truth: International Wood-Fire Conference by Jennifer Poellot Additional images of works by presenters special listings Gallery Guide Where to see ceramics in the U.S. and abroad Residencies and Fellowships Full listing of professional-development opportunities Ceramics Monthly January 2005 7 will be a renaissance of potters who are sup­ Only a famous potter, with tenure in the letters ported by our society, including universities. university system, can get away with indulging Rascal Ware is not unique or cutting edge in a body of work that is therapeutic. If Artistic Mischief to me. It’s already been done! Exploration of [Pilcher] was not such a respected potter, but I am a long-time reader of CM, and a teacher plasticity will likely continue by students of all an average, relatively unknown potter, would and artist of 45 years. The article about he have gotten so much acclaim? Georgette and Pilcher [“Don Pilcher Rein­ I have been making forms similar in spirit vented: Georgette Ore and the Rascal Ware to Rascal Ware for many years. I certainly do Story,” November 2004 CM] bandying about not get thousands of dollars for my work. And in space and time, toying with our minds, I must say, I was influenced by Asian ceram­ posing questions that ask us to re-examine ics. My thesis show in college was mainly those things we took for granted or accepted teapots, and over the years I developed what I as real—this is what art is all about! Hurrah would like to say is mine. Unfortunately for for Pilcher who turns us on our heads! Hur­ me, and so many other potters, I get rejected rah for Linda Hillman, who obviously has a from most of the juried shows I try to enter. real grasp on this art world. I did not go to graduate school, but earned Bill Farrell, Galena, IL my B.F.A. in ceramics from the New York State College of Ceramics at Alfred University Rascally Response in 1981. I was hired to teach at Washington I have mixed feelings about Rascal Ware University in St. Louis, Missouri, based on 25 [“Don Pilcher Reinvented: Georgette Ore and years of keeping a home studio, teaching the Rascal Ware Story,” November 2004 visual arts in the private sector, and exhibiting CM]. It is not funny to me. I appreciate the work in galleries and juried shows. My experi­ work because I love clay. I love ceramic mate­ ence as a pottery instructor within a university “Tornado Vase,” 12 inches (30 centimeters) in height, rials and I love the metaphors that equate (2000-2001) was like being fed to the sharks. porcelain, by Carol Eder, St. Louis, Missouri. pottery with life. But Rascal Ware angers me Students and faculty are under pressure to for the following reasons (but maybe it’s just levels. If I were grading a college student come up with something new and different. jealousy that has motivated me to write): The making similar forms, I would ask the student Pottery is not new and different! art of pottery has died in the university sys­ to first demonstrate expertise in other techni­ As an independent potter, I do not have tem. Perhaps (hopefully) in future years, there cal and conceptual aspects of pottery. the financial resources, nor the affiliation with Ceramics Monthly January 2005 10 letters useful. It is perhaps a difficult concept, espe­ time and the development of this potter. The cially for those still in the early part of their author was able to capture the potter’s barely efforts. A good piece can be very exciting. suppressed excitement about his clay experi­ an institution, to create in well-equipped Many good pieces, more exciting still. But ence. So many competent potters are poor studios with a group of like-minded col­ pieces that sing are rare. Thoughtful attention writers. The two skills are not necessarily leagues. I finance myself, including what it to that critical detail of line, form and appro­ compatible, are they? takes to produce and market my work.