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All rights reserved April 1983 3 4 C eramics Monthly Ceramics Monthly Volume 31, Number 4 April 1983 Feature Articles Cone 06-6 Oxidation Clay Bodies by Gerald Rowan.......................................................28 Richard Bresnahan 29 Beatrice Wood by Richard Handley and Jim Danisch...................... 32 Designer Craftsmen Fairs ...........................................38 Eve Watts......................................................................43 Teapots at Cardiff by Michael Casson.................................................... 44 Louisville Alumni Invitational 46 Elizabeth MacDonald 48 Paul Chaleff 49 A Filtered Spray Booth by Garry Cerrone.......................................................52 Summer Workshops 1983..........................................53 A Fuel-Saving Timer by Larry Brown........................................................87 Departments Letters to the Editor 7 Where to Show.............................................................13 Suggestions...................................................................15 Itinerary........................................................................17 Questions 21 Comment: A Change of Attitude by Arne Ase...............................................................23 News & Retrospect 61 New Books 85 Classified Advertising 86 Index to Advertisers 88 The Cover “Mortar with Stand,” 4½ inches in height, porcelain with raku base, by Adrian Saxe, associate professor at UCLA. The artist’s style has evolved from an in­ terest in the formalist history of decorative arts, pitting the forces of European 18th century porcelain against the colorful and ebullient phase of historical Japanese ceramics (i.e. Momoyama period). This work was among 25 such objects presented as a one-man show January 21 through March 6 at the Everson Museum of Art, Syracuse. Photo: Nancy Hirsh and courtesy of Garth Clark Gallery. } April 1983 5 6 Ceramics Monthly Letters Borrowing from the Past as a means to salvage those seconds by re­ flux from the body or a body takes some of Credit where credit is due, please. In the glazing and refiring. the glaze. This interaction, essential to adhe­ December 1982 issue a handsome, decorated, Jim H. Rowe sion, can cause glaze failure when body/glaze salt-glazed jar was featured in “Functional Antigo, Wis. are ill matched. The most common trouble Ceramics 1982.” This piece of stoneware may I’ve had is too little flint in the clay body. have been made by Timothy Galligan and B. Zigman who “is fairly new to potting” Cone 6 (or any cone for that matter) in­ Kathryn Kellagher at Cooksburg Pottery in is “about to quit trying” glazes given in CM, dicates that the contributing potter plus the 1982, yet its design was straight out of the and thinks “the contributing potter leaves out clay body, plus the firing method (time, fuel, late 19th century. In my own stoneware col­ an important ingredient,” because B. Zig­ kiln) produced the stated result. I remember lection I have a first cousin to the Cooksburg man’s luck has been all bad. at school a bank of “identical” electric kilns, jar which is marked “N.A. White & Son, Glazes relate to bodies. Many glazes take Continued Utica, New York” and which was made be- \^ijun,juurg i iJLicfy iv./i,rvriiLe uiin tween 1882 and 1886. Since I have done quite a bit of research on 19th-century decorated stoneware and am familiar with many pots made at the Utica kilns, it was obvious that the Cooksburg jar motif was either a copy or a very close variation on the theme of a White’s Utica philodendron design. We all borrow from the past as potters, but an ex­ hibit presenting new works “fulfilling the duality of utility and beauty” should give credit for the beauty of the design to poor old Noah White or his contemporaries in Utica. Carolyn N. Curran Glens Falls, N.Y. For Collector Credit In the past the magazine has always left off the gallery credits and the owners of works. This is very important and we hope CM will pay attention to this. Michelle Kirsten Hadler/Rodriguez Gallery Houston Finding Your Own Glaze I had a problem similar to B. Zigman’s (February Letters). Being self-taught in the “craft” of potting, I fretted over my glaze problem to no avail. Yet I had a twisted con­ cept that the glaze wasn’t mine unless I for­ mulated it. Alas, I had to admit I wasn’t a chemist and hadn’t the funds to dole out those ever-precious greenbacks for every fly-by-night formula. Nevertheless, CM published two great ar­ ticles: “Variation with One Base Glaze” by Melvin D. Rowe (Summer 1981), and “A Versatile Oxidation Glaze” by Gerald Ro­ wan (December 1981). I have tested both glazes with spectacular results and have sub­ stituted available chemicals in the Rowe glazes. Why not try [at Cone 6-8] an 85% Albany slip, 15% Gerstley borate glaze in combi­ nation with or by itself? It even works well April 1983 7 8 Ceramics Monthly Letters functional potters alike. The relationship of parts to the whole is so close to nature, yet all the same make, bought at the same time, his forms are ageless. I looked at his vases had a two-cone difference in firing results and teapots for hours and undoubtedly will (that is: one’s Cone 4 [in the kiln sitter] was do so for many more to come. another’s Cone 6). Indicated [kiln sitter] cones Jamie MacRae are an approximation. Newmarket, Ontario Raw materials (especially clays, feldspars) bought at different times have different anal­ Departure Points from Down Under yses. (There are many kinds of Cornwall stone.) CM’s greatest value is that it is crammed I will not claim potters are saints but most with “departure points.” An example of this are generous to a fault [and thus unlikely to occurred last year when one of my students leave ingredients out of recipes]. I suggest was intrigued by the “Clay and Bullets” ex­ that B. Zigman stop blaming others, try each periments (September 1979 CM). Not hav­ glaze on two to four bodies and fire a cone ing access to a gun, he handbuilt some solid up and a cone down from Cone 6. forms with small polyethylene bags contain­ Lili Krakowski ing cordite (nitroglycerin, gun cotton and Constableville, N.Y. mineral jelly) embedded in the clay. He then detonated the cordite electrically. The results Not Funky Enough? were impressive, to say the least. How could CM report on Faenza’s 40th I do not always appreciate the results of International Competition—show pieces, some of the experimental approaches, name names and not show the winning work? though—the highly creative destruction of No prizewinners shown. Why bother? Not perfectly good silverware (December 1981 funky enough? The article was like being cover)—but I can understand the desire to sent home during intermission. push the boundaries of work in ceramics ever Hannah Douglas outward. Tallulah Falls, Ga. One minor criticism: The antipodean in­ vasion of the United States on several cul­ All the works pictured in “Faenza’s 40th tural fronts cannot have escaped your notice. International Competition” (February CM)In the fields of art, film and television,