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editor Sherman Hall
assistant editor Renee Fairchild
contributing editor Kim Nagorski
design Paula John
production manager John Wilson
production specialist David Houghton
advertising manager Steve Hecker
advertising assistant Debbie Plummer
circulation manager Cleo Eddie
circulation administrator Mary E. May
publisher Mark Mecklenborg
editorial, advertising and circulation offices
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website www.ceramicsmonthly.org
Ceramics Monthly (ISSN 0009-0328) is published
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Copyright © 2003
The American Ceramic Society
All rights reserved
Ceramics Monthly September 2003
2
SEPTEMBER 2003 / Volume 51 Number 7
featu res
44 Teapots for Kiln Gods by Cathy Murphy
Nolan Babin’s evolution of function and form
48 Standing Their Ground
The Slab-Built Structures of Mary Fischer by Jim LaVilla-Havelin
51 Mark Shapiro by Scott Norris
Making functional pottery in a wood kiln
59
Michal Zehavi
Perforated vessels at Periscope Gallery in Tel Aviv, Israel
60
Feats of Clay
National juried exhibition in Lincoln, California
62 Tjok Dessauvage by Nesrin During
Geometry-inspired, double-walled forms
66 Jeannie Oh by John A. McElree
Ancient Korean techniques interpreted through modern Western experiences
68 Paul Heroux: A Natural Variety by scott Ruescher
The forests of Maine influence a potter’s surface composition
74 Sana Musasama by wuanda wails
Issues of social injustice portrayed with humility and respect
77 Subtle Elegance
The Vessels of Pete Scherzer by Anderson Turner
81
Alison Britton
Handbuilt pots at Barrett Marsden Gallery in London
82
Clay: A Life Story by Pat Kenny
Diverse experiences connected by the common thread of ceramics
86 Restless Focus by jack n. Mohr
Clay offers a new artistic direction
88 B. R. and Abhay Pandit byBrinda ghi
Father and son share a passion for pottery in India
departments
12 letters
20 upfront
34 new books
42 video
92 call for entries
96 suggestions
98 calendar
124 questions
126 classified advertising
128 comment:
Price and the Second Highest Bidder
by Larry Brow
128 index to advertisers
cover: Lighthouse jars, to 13 inches
(33 centimeters) in height, thrown and faceted
stoneware, with sgraffito decoration, salt and
wood fired, by Mark Shapiro; page 51.
Photo: Mary Schjeldahl.
5
upfront
20
Juried Crafts Exhibition in Ohio
Exhibition induding ceramics opens at the Ohio Craft Museum
in Columbus
Wood Firing in the Hudson Valley by Angela e. okajima
Works by nine artists at Germaine Keller Gallery
in Garrison, New York
22
Ryan Kelly
Exhibition of works by Lormina Salter Fellowship recipient
at Baltimore Clayworks in Maryland
22
Bryan Hiveley
Handbuilt sculpture at Miami International University of Art and Design
24
Juried Exhibition of Regional Art
Works by 14 ceramists at the Dairy Barn in Athens, Ohio
24
Gretchen Wachs
Slab-built forms at LewAllen Contemporary in Santa Fe, New Mexico
24
Truus Roest-Chapman
Raku work at the Gardiner Museum of Ceramic Art
in Toronto, Ontario, Canada
26
Peter Lenzo
26
Matthew Hyleck
Self-portait sculpture at Ferrin Gallery in Lenox, Massachusetts
Utilitarian ware at Clay Orbit in Cockeysville, Maryland
Teapot Invitational in San Diego byGienR. Brown
Functional and nonfunctional work by 17 ceramists
at the Publication’s artgallery999
28
Mardi Wood
Depictions of nature in ceramics at Contemporary Crafts Gallery
in Portland, Oregon
28
Lisa Merida-Paytes
Sculpture at 840 Gallery at the University of Cincinnati in Ohio
30
Beverly Crist
Tile murals installed at the North Hollywood Regional Branch Library
in California
30
Stefani Gruenberg
30
Tre Arenz, 1953-2003
30
Anne Kraus, 1956-2003
30
Graham Burr, 1929-2003
Animal sculptures at Gallery Eight in La Jolla, California
from the editor
As most longtime CM readers know,
space for letters in this magazine is typi
cally reserved for readers to voice opin
ions, debate, exchange ideas and
hopefully learn from each other. Rest
assured that this continues to be the case.
However, every once in a great while an
event occurs that warrants a remark from
the editor. Most recently, Ruth Butler
commented on the beginning of the 50 th-
volume year of the magazine (January
2003). Now, halfway through that volume
year, the departure of Ruth Butler from
her position as editor of Ceramics Monthly
is an event deserving of attention.
Ruth served on the Ceramics Monthly
staff for 24 years; quite nearly half the life
of the magazine. During that time, not
only was she witness to many improve
ments at the magazine, she was instru
mental in instituting several of them.
However, like the humble person she is,
she of course declined the opportunity to
10
shed light on these achievements. As a
result, it is my happy task to outline for
you some of the many contributions she
made to the magazine and the field of
ceramics as a whole.
During her seven-year tenure as editor,
several special annual features were added
to the magazine’s lineup. First, because it
appears in the beginning of the volume
year, is “Residencies, Fellowships and
Grants.” Included in each January issue,
it provides ceramics artists with careerdevelopment opportunities. The NCECA
conference preview, which appears in
each March issue, outlines conference
schedules and exhibitions, complete with
maps of the host city, marked with the
pertinent convention and exhibition
venues. The “Summer Workshops” fea
ture, in every April issue, has become a
valuable resource for ceramists of all skill
levels looking to grow and learn new skills
and techniques. “Emerging Artists,”
which appears each May, offers those
starting out in the ceramics profession an
opportunity for publicity and exposure to
galleries and the public. The October
“Gallery Guide” is an invaluable resource
for collectors and ceramics enthusiasts
looking for new places to see daywork.
Under her guidance, and partly due to
the above-mentioned features, the maga
zine grew from 1050 pages per year to
1250, translating into an average of 20
more pages in each issue. With all 1250
of those pages capable of full-color print
ing, opportunities broadened when it
came time to redesign the magazine for
the 50th-anniversary year.
The fact that she would probably not
accept the appropriate level of credit for
these developments is indicative of the
humility and class with which she con
ducted the business of the magazine. She
operated from the central idea that the
magazine exists to serve and expand the
field of ceramics and improve the lives of
those who participate in the field. This is
precisely the reason for her effectiveness
as editor and advocate in the field of
studio ceramic arts. Her integrity is one
of the reasons she has gained the respect
and admiration of a long list of people. I
would hasten to put the staff of Ceramics
Monthly on the top of that list.
letters
Bruce Cochrane Kudos
I’d like to compliment Tony Clennell for
his eloquent article on Bruce Cochrane
[JunelJuly/August CM]. I first became
aware of Bruce’s work through an article
[November 1990 CM] on his thrown and
altered earthenware. This article led me to
invite Bruce to teach a workshop here in
Kansas City, and his forms have stuck with
me ever since, even though I have not had
an opportunity to see much more of his
work until recently.
I too saw his January 2003 exhibition at
Prime Gallery in Toronto while teaching in
Waterloo, Ontario, and I was blown away
by the power of his new work. Most of it
had been removed from the realm of func
tion by sheer scale, but it was the combina
tion of form, surface and at least the
potential for function that captivated me. I
could barely tear myself away from the
exhibition and, had I been feeling flush,
would have had one of his oval serving
dishes shipped home to me!
Later that weekend, Bruce brought a
group of students through threatening
Toronto winter weather to my workshop.
While speaking with him, I was reminded
of his humility. I commend Tony Clennell
not just for seeing the worth of Bruce’s
pots, but for recognizing his humanity and
dedication as a teacher.
Steven Hill, Kansas City, MO
Cease Generic Praise
As a long-time reader of CM, I have often
found many of the letters you choose to
publish both interesting and stimulating.
And I value the forum of ideas and view
points this can provide. But frequently
(virtually every issue), I read letters like the
generic one I have invented here:
“I can’t wait for each month’s copy of
CM to arrive. I read it cover to cover and
never fail to get interesting tips and ideas.
Keep up the good work!”
Though such a letter may be gratifying
for the CM staff, it holds little interest for
your readers. Might I suggest a more dis
criminating selection process for your letters
column in the future?
Jon Ellenbogen, Penland, NC
Online Info Appreciated
I am very happy with CM in its current
evolutionary form. I get something out of
every issue and am pleased with the mix. I
12
13
letters
am particularly pleased with the addition of
online indexing and information on the
availability of back issues at your website
www.ceramicsmonthly.org. Thanks!
Michael Sisson, Jamul, CA
Arleo Kudos
What a superb combination! I am referring
to Adrian Arleo and Marnie Prange [June!
JulylAugust CM]. You may be able to tell, I
am superbly biased to both of these women.
I am a fan of Adrian’s from the ‘80s. I am a
mom/fan of Mamie’s since her beginning.
Sally Bowen Prange, Chapel Hill, NC
No Censorship
In reference to the letter by Sharon Kabbes
in the May 2003 issue, please do not censor
articles and images according to their mes
sage! Advise the concerned parent to pre
view her magazine before sharing it with her
child. She can cut up her own magazine and
rid herself of the offending pages, while the
rest of us will have the opportunity to see
them and judge for ourselves.
Darlene Carillo, Fort Myers, FL
Furry Reply
Regarding “The Rhetoric of Feathers
and Furs,” Letters, June/JulylAugust 2003:
Oh well, such is the world of art today.
Simply put, if you don’t understand it or
like it, don’t read it or look at it. Just pass
over it. Spend less time writing scathing
commentary and more time making work,
and perhaps, one day, you too will be a
well-known, well-regarded artist like
Maren Kloppmann.
Name withheld
Politics of Clay
My habit upon receiving my Ceramics
Monthly is to immediately abandon all
pretense of productivity and take myself off
to my favorite coffee shop, order my favor
ite beverage and settle in to enjoy every
word. I am usually only peripherally aware
of my surroundings as I read. This month, I
had just settled in at a table near the news
paper rack. Two preteen boys were idly
reading the headlines and I heard one say to
the other, “What does GOP mean anyway?”
I chuckled as the youngster responded, “I
think it means Grumpy Old People.” Just
then, my eye fell upon the letter from James
H. Grohl [June!July!August CM] com
plaining about Susan Nowogrodzki’s ac
count of her encounter with Republican
disingenuousness. I laughed—no, I guf
fawed—at the serendipity of my overheard
conversation and the oh-so-very-grumpy
tone of Grohl’s letter.
Donna Ward,, Auburn, CA
Clay and Politics Meet in the Middle
Each month, I write a response (often only
in my head) to some befuddled person who
has written a letter to the CM editor and
needs help out of his or her confused state.
When I read Susan Nowogrodzki’s letter, I
sat right down at my computer and wrote
the following: “Ignoring fears that I might
add to an avalanche of prattle, I wish to
address the inappropriateness of Susan
Nowogrodzki’s letter (May 2003) express
ing her fear of the current administration’s
policies toward small business.”
In that initial reaction, I wanted to
remonstrate just how inappropriate politics
were to this venue. CM is my sanctuary.
CM is my rose-colored glasses. I felt that
Ms. Nowogrodzki had only superficially
hidden her political agenda under the weak
connection of small business. She wasn’t
14
letters
going to violate this most sacred garden and
not hear about it.
Then, as I re-read the paragraph, trying
to plan out my attack, I read aloud the
words I’d written. “Expressing her fear of
the current administration’s policies toward
small business.” It wasn’t until that moment
that the thought came to me: She owns a
small ceramics business, a pottery perhaps.
Maybe she sells other people’s ceramics.
The CM issue was still in my lap. A
random flip of the pages yielded a page with
three small ceramics-related businesses. Flip,
flip, flip; another twelve small ceramics
businesses. A seller of kiln elements, another
selling safety equipment, and someone here
has a new twist on bats. Then, I hit the
pages of workshops. The magazine was
chock full of small businesses, all in jeop
ardy as our economy flails.
Perhaps I was overreacting just a bit. Ms.
Nowogrodzki had gotten a call from Tom
DeLay’s office that she felt was a betrayal to
her and other small ceramics businesses. She
was trying to alert the small-business owners
with whom she had contact. If I had re
ceived a call from someone trying to sell me
swampland in Florida as a lifetime supply of
clay, wouldn’t I try to let others know about
the scam? In less than 30 minutes, I had
done a complete reversal of my original
position. I closed the letter and moved it to
an unsent-letters folder, knowing my gestalt
was in good repair.
Enter James H. Grohl (JunelJuly!August
2003). Wow! Other than his unneeded and
disrespectful “whiny and self-indulgent”
comments, it was where I was headed with
my original letter. So I opened my
unfinished letter to the editor.
Mr. Grohl asks the question, “What was
the reasoning behind publishing the snide
ramblings of Susan Nowogrodzki...?” I
would like to answer from one who has
been there. If the economic trends continue
(regardless of which party is in power),
many more small ceramics businesses will
be no more. If enough small ceramics busi
nesses fail, Ceramics Monthly will be no
more (knock on wood, cross yourself and
heaven forbid)! Ceramics are a luxury in
hard economic times. Not to alert small
ceramics business owners to a scam is what
would have been inappropriate.
Clayton N. Baggs, Felton, CA
Well Balanced
An excellent balance of instructional fea
tures, highlighted potters, enjoyable-to-read
opposite opinions, and high-quality pho
tos—I look forward to every issue.
Doris Rock, Englishtown, NJ
Caption Mixup
On page 56 of the May 2003 issue, the
caption information was inadvertently
reversed. The top figure was actually made
by Mary Ann Predebon, and the bottom
by Hugh Ralinovsky.
On page 24 of the JunelJuly!August
2003 issue, the first image under “Genera
tions in Flux” was attributed incorrectly.
The caption should read: Linda Sikora
wood-, oil- and salt-fired porcelain jar, 15
inches (38 centimeters) in height.
In keeping with our commitment to providing an
open forum for the exchange of ideas and opinions,
the editors welcome letters from all readers; some
editing for clarity or brevity may take place. All letters
must include the writer’s full name and address, but
they will be withheld on request. Mail to Ceramics
Monthly, 735 Ceramic PI., Westerville, OH 43081;
e-mail to [email protected]; or fax to
(614) 891-8960.
16
upfront
Juried Crafts Exhibition in Ohio
“The Best of 2003,” the Ohio Designer Craftsmens annual juried
members’ exhibition, opened recently at the Ohio Craft Museum in
Columbus. Juror Michele Tuegel, executive director of Florida Crafts
men, selected 81 works by 60 artists. During the jurying process, Tuegel
was “most excited by the works that were refreshingly inventive....I was
also drawn to the pieces that emulated extraordinary craftsmanship, a
sophistication of design, and a masterful (and maybe improbable) use of
materials.” Tuegel also selected works that “expressed a sense of personal
vision and ‘identity.’”
Roger Baumann, Paul Chaleff, Pascal Chmelar, Richard Conti, Jane
Herold, Grace Knowlton, Tony Moore, Tim Rowan and JefF Shapiro
offered a solid scope of what can be achieved by using this ancient
technique. Their work confirmed that contemporary artists can use the
wood-firing process to achieve a variety of artistic visions.
Placed nearest to the gallery’s windows that look out to the Hudson
River, Roger Baumann’s horizontal, boatlike ikebana vases looked as
though they could float out on the water. Upon closer inspection, they
are more archaic in shape; the thought of filling them with water for use
Roger Baumann’s “Ikebana Flower Vase,” 16½ inches
wood fired; at the Germaine Keller Gallery, Garrison, New York.
(42
centimeters)
in
length,
as a vase adds a sense of stabilizing weight. His work brings together
both a sense of abandon and of control.
Richard Conti’s teapot and teacups are full and elegant, and glow
with warmth. Perhaps the friendliest pieces in the show, they reveal that
wood firing is not always fierce—it can be serene and gentle as well.
One can easily be carried away by the dramatic results of a wood firing;
however, Conti proves that there is a beauty to those pieces that are not
Mark Nafziger’s “Fan Grid Jar,” approximately 8 inches (20 centimeters)
stoneware with slip trailing, $325; at the Ohio Craft Museum, Columbus, Ohio.
in
height,
Among the works fitting her criteria was “Fan Grid Jar” (shown
here) by Archbold, Ohio, artist Mark Nafziger. Not only was his work
chosen for the exhibition, Tuegel presented him with the Award for
Excellence in Traditional Craft.
Alter closing at the museum, it traveled to the Southern Ohio Mu
seum in Portsmouth, where it will be on view through September 29,
then to the Dairy Barn in Athens, October 7-November 9.
Richard Conti’s “Teapot,” 51/2 inches (14 centimeters) in height,
anagama fired with natural fly ash glaze.
directly bombarded by flames and ash. His unassuming pots contribute
an important dimension to the attitude, appreciation and perception of
by Angela E. Okajima
wood-fired ceramics.
“Passionate Fire: Wood-Fired Ceramics from the Hudson Valley” brought
Adding a highly modern sensibility to the process are the works of
together nine artists who live and work in a major river valley north of Pascal Chmelar. Like most artists, Chmelar lets the flame “do its thing,”
New York City. Presented at Germaine Keller Gallery in Garrison, the
while making it create geometric designs of his choice by masking
exhibition was intended to expose and introduce the process and results certain areas of the surface. His forms incorporate nature with formal
of wood firing to a wider general audience.
ism and graphic design. The only works mounted on the wall, his
Wood Firing in the Hudson Valley
20
21
upfront
dizzying fits of viewing passion I have experienced for myself. I want to
satisfy that lust we all have for the lovely useless object, objects of desire
and pedestrian comfort.
“Suckered and excited by those candy-coated, merchandise qualities
that I can get with clay, I am creating a walloping mess of carnival-colored
ceramic gimcracks,” he commented. “Why do we collect these things,
and when do they cross that threshold of kitsch? When we see these
familiar objects and forms, who can help but to tie them to some event or
memory of importance, to narratives real or imagined? Our particular
Pascal Chmelar’s “Three Plates,” 13 inches (33 centimeters) in height,
anagama fired with natural fly ash glaze.
“Three Plates” depict this most keenly. While these pieces are definitely
ceramic, they also venture into the realms of painting and poetry.
Made by the only nonceramist in the group, Grace Knowlton’s
spheres are purely sculptural. Gently textured with a range of colors,
they reveal how they may have been placed in the kiln. Amidst func-
Grace Knowlton’s “Four Wood-Fired Spheres,” to 18 inches (46 centimeters) in
diameter, anagama fired with natural fly ash glaze.
tional pottery, nonutilitarian ceramics reaffirms the fact that the strength
of the material lies in its breadth of flexibility.
Given the technological advances of our modern society, many may
wonder why potters wood fire. The process takes an enormous amount
Ryan Kelly’s “Oh Boy!” 4 inches (10 centimeters) in height, slip-cast earthenware;
of arduous physical labor and the end results are never assured. Why
at Baltimore Clayworks, Baltimore, Maryland.
devote their lives to the wills of a kiln? Why sit out in the piercing winter
biases will override the set story, and our own associations and insinua
cold and spend long nights tossing logs? Why sit under the blistering
tions fill in. That is what I am after, tapping into familiarity and comfort,
summer heat, next to a roaring and even hotter kiln?
entering in at this easy place, but finding things chaotic and absurd.”
An artist’s choice of medium and method can be intuitive, concep
tual, philosophical, situational, personal or political. Choices abound
and answers vary. Ultimately, what burns within the nine artists whose Bryan Hiveley
work was featured in “Passionate Fire” is a true and clear passion for
Handbuilt sculpture by Florida artist Bryan Hiveley was exhibited
what they do.
recently at the Miami International University of Art and Design.
Ryan Kelly
“Cerama-lama-ding-dong,” an exhibition of ceramic sculpture by
Lormina Salter Fellowship recipient Ryan Kelly, is on view through
September 20 at Baltimore Clayworks in Baltimore, Maryland. “I am
caught in the sway of gee-gaws and keepsakes, in our idiosyncratic,
associative impulses,” Kelly noted. “I want to re-create for others the
“Nature has been a dominant factor that has influenced and inspired
my current body of work; the theme of balance has also been of prime
importance,” Hiveley noted. “Balance, coupled with a strong sense of
economy, has forged my work into dynamic organic sculptures that play
with relationships of form, texture and space.
“I separate areas of color with abrupt transitions to emphasize
contrast in surface,” he continued. “Space is divided symmetrically and
22
Upf font
work informs my ceramics as well. I experiment by using different slips
and glazes as well as firing methods, and have found a way of painting
on clay that gives a richness and depth to the forms. I enjoy what
happens to an image as it travels around the surface of different shapes.
“One of the things I love about both printmaking and ceramics is
process. There is so much that happens that is not in my control. It
teaches me to stay open and available to life’s surprises. For me, art is a
Bryan Hiveley’s “Gold Hook,” 21 inches (53 centimeters) in length;
at the Miami International University of Art and Design, Florida.
asymmetrically to add variety to form, and the malleability of clay
allows for unlimited opportunities to experiment with surface. I use
glazes that emphasize and unify these elements, which coincide with
other conceptual concerns.”
Juried Exhibition of Regional Art
“Art on View,” a juried regional exhibition, was presented recently at the
Dairy Barn in Athens, Ohio. Juror Charles Desmarais, the Alice and
Harris Weston Director of the Contemporary Arts Center, Cincinnati,
Gretchen Wachs’ “Vessel,” I6V2 inches
at LewAllen Contemporary, Santa Fe.
(42
centimeters)
in
height;
practice, it’s about being awake and connected. Art gives me a mirror, an
opportunity to continually reflect on my life and my environment, to
take the images and ideas that are meaningful and express them.”
Truus Roest-Chapman
Handbuilt sculpture and thrown, nonfunctional vessels by Montreal
artist Truus Roest-Chapman were exhibited through August 31 at the
Steven Schaeffer’s “Roman Shots,” to 13 inches (33 centimeters) in height,
wood-fired stoneware and soda-fired porcelain; at the Dairy Barn, Athens, Ohio.
chose works by 49 artists from Kentucky, Ohio, Pennsyvlania and West
Virginia. Athens artist Steven Schaeffer, whose work is shown above,
was among the 14 ceramists whose pieces were selected.
Gretchen Wachs
Ceramics and paintings by New Mexico artist Gretchen Wachs were
exhibited recently at LewAllen Contemporary in Santa Fe. Wachs’
forms are slab built, then surfaced with patterns, textures and glazes.
“My work has often found expression in large sculptural vessels with
bold painted surfaces,” Wachs noted. “Surfaces are intriguing and excit
ing to me. Often, the weaving of patterns and textures seems to refer
ence things in nature. Sometimes they are purely abstract.”
A painter and printmaker as well as a ceramist, Wachs has “discov
ered all sorts of techniques for achieving varied surfaces on paper. This
Truus Roest-Chapman bowl, 13 inches (33 centimeters) in width,
with copper matt glaze, raku fired; at the Gardiner Museum of Ceramic Art,
Toronto, Ontario, Canada.
24
upfront
traditional face jugs, these are signed and dated, many with Lenzo’s
birthdate and age.
Gardiner Museum of Ceramic Art in Toronto, Ontario, Canada. A
native of the Netherlands, Roest-Chapman has been working with raku
for over 20 years. Her latest works “reflect an interest in the juxtaposi
tion of a carefully executed design that is then subjected to the unpre
dictable and exciting surprises that occur with this firing process.
“I can anticipate how a piece will turn out, but there are so many
factors that influence the outcome,” she explained. “A conscious deci
sion of which areas not to glaze becomes an integral part of the overall
design as the smoke and flames leave their markings.”
Matthew Hyleck
Functional ceramics by Baltimore potter Matthew Hyleck were exhib
ited through August 31 at Clay Orbit in Cockeysville, Maryland. “My
ceramic work is defined directly by my love for natural objects,” Hyleck
Peter Lenzo
“Self-Portraits in a Southern Tradition,” an exhibition of ceramics by
Columbia, South Carolina, artist Peter Lenzo, was presented recently at
Ferrin Gallery in Lenox, Massachusetts. Using the format of face jugs
Matthew
Hyleck’s
“Field
Plate
Set,”
9
inches
(23
centimeters)
in
diameter,
stoneware, Shino with iron inlay, fired to Cone 10 in reduction; at Clay Orbit,
Cockeysville, Maryland.
commented. “Natural forms and symbols are always finding their way
into my work.” His most recent pots “have evolved from my search for
place and the placement of object in a defined landscape environment.
The interaction [resulting from] an object’s ability to shape its environ
ment is what I look to capture in my functional works.”
Teapot Invitational in San Diego
by Glen R. Brown
The persistent value of the teapot as a site for comparative analysis was
confirmed by “27@999: A Teapot Invitational,” on view at the
Publications artgallery999 in San Diego. Held concurrently with the
Peter Lenzo’s “Face Jug: Self-Portrait 3,” 18 inches (46 centimeters) in height,
with slips and glazes, salt fired; at Ferrin Gallery, Lenox, Massachusetts.
combined with the practice of making memory jugs by adhering me
mentos and pieces of broken china to a pot’s surface, Lenzo created a
series of works that express his ongoing struggle with epileptic seizures,
and their effect on his mind and thoughts.
Working with stoneware or porcelain to form the head, Lenzo
embeds shards, cast forms and found objects. The pieces are then
surfaced with slips and glazes, and once fired in a salt kiln. Like the
Hea(her „,Brien,s
9 inches (23 centimeters) in height.
26
"Heian-lnspired Water Dropper,”
upfront
annual conference of the National Council on Education for the Ce
ramic Arts (NCECA), the exhibition’s exclusive focus on this utilitarian
form made distinctions in style, technique and level of proficiency easy
to discern among the works of the 17 participants.
Curvilinear handles and contours combined with the impression of
solid mass to create in Heather O’Brien’s “Heian-Inspired Water Drop
per” (see page 26) a simultaneous gracefulness and stability. Jeff Irwin’s
“Egg Timer Teapot”—a vertical form of ostensibly stacked units in stark
white flanked by tree-branch handles—was the most animated piece.
explained. “I am now incorporating words, writing and poetry with my
images. The dimensions of words breathes and provides more informa
tion and emotion. I am challenged by materializing my love and
concerns for nature into clay.”
Wood began depicting Chum salmon on her wall pieces when she
learned about the work of the Nez Perce to save the fish. “Wood’s
Landing, my family’s property on the Columbia River, is an important
spawning ground for the Chum salmon, an imperiled species,” she
Mardi Wood’s “Columbia River Chum Salmon,” 32
in length; at Contemporary Crafts Gallery, Portland, Oregon.
inches
(81
centimeters)
commented. “Cold fresh water seeps from the springs under the riverbank
into beds of gravel in the river. It is a native spawning area for the Chum
that return in November and December.
“I have taken many photos, observed them for hours, and have
drawn them as they circled around, came out of the water, thrashed at
one another and defended their redds (nests). I was entranced by this
mating dance. I acquired books about salmon, information about the
Nez Perce tribal groups working to save the salmon in the Columbia,
and about the significance of salmon, stories, and the cultural and
spiritual meaning of salmon in their lives.”
Lisa Merida-Paytes
“From Water to Air and Back Again,” an exhibition of ceramic sculp
ture by Cincinnati, Ohio, artist Lisa Merida-Paytes, was presented
recently at 840 Gallery at the University of Cincinnati. “I have centered
my artwork around material, process, design and self-expression,” MeridaPaytes stated. “When I search for sources of inspiration that hold the
Jeff Irwin’s “Egg Tinier Teapot,” 20 inches (51 centimeters) in height,
earthenware with glaze.
Most striking about the exhibition as a whole was the irony that the
consistent element—the teapot form—was effectively eclipsed by the
diversity of approaches to it. It seemed, in fact, a perfect neutral ground.
Mardi Wood
“Memory of Water,” an exhibition of ceramics by Oregon artist Mardi
Wood, was on view recently at Contemporary Crafts Gallery in Port
land. “As I grew up and wondered what I would be, I was pulled in two
directions: one working with wildlife, the other being an artist. I didn’t
know at the time that I would be combining my interest of wildlife with
being an artist.
“I work with clay, glaze, related colorants, metal oxides and com
mercial stains that I push into, draw into and onto surfaces to pull out
nature, animals and the wild to which I’ve always been drawn,” Wood
Lisa Merida-Paytes’ “Earwig Remainder,” 9 inches (23 centimeters)
porcelain with acrylics and wire; at 840 Gallery, University of Cincinnati, Ohio.
28
in
length,
upfront
same integration of method and form, I am always drawn to nature’s
instinctive procedures, formations and energy.
“My artwork expands on these organic forms and processes, as well
as the idea of an interior growth pattern dictating the shape of the
object, while going beyond appearance and touching on something of
the essence—a systems-contained energy that forces growth and change,”
she noted. “My work continues to focus on the integration of fulfilling
material needs and communicating my feelings. In addition, I have
been emphasizing porcelain’s hardness, whiteness and potential translucency, and utilizing these characteristics to enhance my sculptural forms.”
Beverly Crist
California artist Beverly Crist recently completed a City of Los Angeles
public art commission, which consisted of four tile panels, for the
North Hollywood Regional Branch Library. Crist’s theme for the mural
was the joy of discovery that comes from reading. Each panel depicts a
person with an open book, surrounded by plants, animals and objects
representing the knowledge that can come from books.
Stefani Gruenberg’s “Pink and Brown Horse,” 13
in height, stoneware; at Gallery Eight, La Jolla, California.
inches
(33
centimeters)
liberating for me to abandon the wheel.” After firing, the Susanne Kane
Lizard Glaze (from Ceramics Monthly, January 2001 issue) is applied
over underglazes to create a crackle surface.
Tre Arenz, 1953-2003
Texas ceramist Tre Arenz died at her home in Austin on May 8. Arenz
received her undergraduate degree from the California College of Arts
and Crafts; since then, her work has ranged from tableware, tiles,
installation pieces and sculpture to drawing and painting. Over the
years, she presented numerous workshops and taught at the University
of Washington, New Mexico State University, the University of Texas at
San Antonio, Southwest Texas State University, University of California-Davis and Ohio University. She was scheduled to teach at the
University of California-Berkeley this fall.
Beverly Crist tile panel, 54½ inches (138 centimeters) in length, pinched and
modeled tiles, with glazes and underglazes, and wrought iron; installed at the
North Hollywood Regional Branch Library in California.
The relief tiles were pinched and modeled, then brushed and sprayed
with underglazes, followed by a light spraying of a clear glaze. Between
the larger relief tiles is a mosaic of smaller, letter-shaped tiles. Partly
framing each of the four panels is a wrought-iron border.
Stefani Gruenberg
Animal sculptures and vases by Stefani Gruenberg were exhibited re
cently at Gallery Eight in La Jolla, California. Gruenberg has been
making stoneware animal figures for 40 years. “As I look back on my
creative life since childhood, I can clearly see it has been about making
art out of animals,” she said. “It has been about celebrating nature. At a
very young age, I drew animals. I then fell in love with clay and began
using the wheel, slab construction and glazes to fashion my visions. As I
work, I am very conscious of how man has been associated with clay
since prehistoric times and of the low-tech nature of my art.
“I am very aware of trying to make something beautiful, even
romantic. There is no protest—no commentary or complaint in my art,
perhaps unfashionable in today’s world, but closer to what is in my
heart, closer to our core human aesthetic.” Her latest work “has been
evolving in a new direction, which is exciting to me,” she commented.
“The new animals are almost totally slab construction. It has been
Anne Kraus, 1956-2003
Colorado ceramist Anne Kraus died from cervical cancer on May 23;
she was 47. Kraus first studied painting at the University of Pennsylva
nia, graduating in 1978. In 1980, she decided to attend Alfred Univer
sity to study ceramics. Her first solo exhibition was in 1985 at Garth
Clark Gallery in New York City, shortly after her graduation from
Alfred. Her work—vessels and tile panels surfaced with images and texts
from her dream diaries—has been acquired by museums throughout
North America, Asia and Europe.
Graham Burr, 1929-2003
British artist Graham Burr died on April 8. Burr studied fine art at
Chelmsford, where students were required to learn a craft, then went on
to study ceramics at Camberwell School of Art. Torn between being a
potter or a painter, Burr decided to combine both with part-time
teaching positions at Camberwell, Beckenham and Oxford schools of
art. In 1965, he was appointed lecturer in ceramics at Ravensbourne
College of Art. His work has been exhibited and collected both nation
ally and internationally.
Submissions to the Upfront column are welcome. We would be pleased to consider
press releases, artists’ statements and original (not duplicate) slides or transpar
encies in conjunction with exhibitions or other events of interest for publication.
Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081.
30
new books
cause they convey essential experiences, resonateand experiential. Sensual and hard, multiscaled,
in a Turner vessel. He creates pots, not 20-foot- stable yet precarious, they balance his life expe
high metal abstractions, because the vessel is for riences with his ideals, physically and conceptu
him an expressive object with a long history of ally. A Turner vessel is an affirmation of the
Robert Turner
wide-ranging
significance. His work has in
ecumenical spirit that links us all.”
Shaping Silence
cluded
that
past
within
the
interdisciplinary
Interspersing comments by the artist through
A Life in Clay
concerns of contemporary art.
by Marsha Miro and Tony Hepburn
out her text, Miro examines Turner’s life
“As a ceramist whose artistic identity is rooted “With deliberate purpose, he uses the com and career, including
in the idealism of America in the 1950s and the mon threads of instinct, chance and necessity to his early studies in
moral strictures of his Quaker beliefs, Robert uncover the truths that link us. His vessels relate painting and his sub
Turner is committed to the universalism of art,” varied conceptions, unexpected confluences, dis sequent work in ce
states Marsha Miro in this well-illustrated monoparate psyches and juggled contexts. The pots ramics. At the age of
graph. “Many cultures and forces, chosen be
are abstract yet specific, based in the scientific 33, Turner started as
a graduate student at
Alfred University. In
1950, he was hired at
Black Mountain Col
lege in North Carolina to begin its pottery
program. Just a year later, he moved back to New
York to open his own production pottery.
Miro goes on to discuss Turner’s teaching
career at Alfred University, his association with
Peter Voulkos, and the evolution of his func
tional pottery to vessels and vessel sculptures.
Finally, Tony Hepburn, head of ceramics at
Cranbrook Academy of Art, offers his own
perspective of Turner’s work. “Among the many
reasons why little is known about Turner is the
fact that his work defies easy clarification, even
when viewed or discussed in detail—and therein
lives its power,” Hepburn observes. 160 pages,
including introduction by Janet Koplos, senior
editor, Art in America., chronology by Helen
Drutt, and index. 66 color and 57 black-andwhite photographs. $45. ISBN 4-7700-2946-2.
Kodansha America, 575 Lexington Ave., New
York, NY10022. Distributed in the United King
dom and Europe by Kodansha Europe, 95Aldurych,
London WC2B 4JF England.
Stayin' Alive
Survival Tactics for the Visual Artist
by Robin Hopper
with Contributions from Business Experts and
Working Artists
“Developing and living the lifestyle of a selfemployed creative artist is the most satisfying
that I can imagine,” states Hopper. “Some
times it is tough and challenging, often impe
cunious, incredibly variable, sometimes very
busy, sometimes hopelessly romantic, occa
sionally high-powered, free of much that grates
in today’s society, self-enabling and very, very
much envied.”
Intended to help artists discover “options
and strategies for a life in the visual arts, indepen
dent of the world of education,” this practical
34
new books
rights, lesbian and gay issues; popular culture,
objectification, consumerism, voyeurism; my
thologies, stereotypes, storytelling and the un
guide begins with such topics as defining your conscious imagination; hygiene, sickness and
goals and needs, becoming an employer, and death, bodily functions, body images and gen
pricing and marketing. Subsequent chapters der roles; organic formalism, nature, contain
cover promotion and development of a per
ment, transformation, etc. Works by specific
sonal image, legal and contemporary artists are examined in each of
financial considerations, these thematic sections.
achieving visibility in the
For example, in the section titled “Touching
art world, and photo
Bodies,” Mathieu writes that “Esther Shimazu’s
graphing your artwork. naked female, and more rarely male, bodies of
Included are bio
bare fired clay capture a more direct sensuality,
graphical essays by 19 but...with innocence and playfulness, which
self-employed potters diffuse the mild sexual content. Doug Jeck’s
and sculptors, which beautifully and believably modeled male nudes
provide a wide array of perspectives on working are more political than sexual in intent. Their
as a full-time studio artist. 128 pages, including fragmented bodies, reassembled as broken parts,
bibliography and resources. 1 black-and-white combine the heroicism of the pose, the mascu
and 110 color photographs. Softcover, $21.99. linity of the figure and the virility of their
ISBN 0-87349-571-3. Krause Publications, exposure with an added element of fragility,
PR03, PO Box 5009, lola, WI54945-5009; see vulnerability and contained, if not hidden, power
website www. krausebooks. com; or telephone (800) (in a political sense).” 224 pages, including
258-0929.
bibliography and index. 326 color and 11 blackand-white photographs. $45. ISBN 0-81353293-0. Rutgers University Press, 100Joyce Kilmer
Sex Pots
Ave.,
Piscataway, NJ 08854-8099; see website
Eroticism in Ceramics
http://rutgerspress. rutgers. edu; or (732)445-7762.
by Paul Mathieu
“Ceramics is related to sexuality in numerous
ways,” states the author of this well-illustrated Fine and Curious
survey. “The material itself, clay, is overflowing Japanese Export Porcelain in Dutch
with characteristics shared with sexuality and Collections
sexual practices. The by Christiaan J. J. Jorg
transformation of
“Twentieth-century Western collectors have
the material and the long regarded Japanese porcelain as inferior to
processes used therein Chinese. This is in stark contrast to the attention
all imply countless given to Japanese pieces in the Netherlands in
sexual analogies and the late 17th and 18th century,” states the
connotations. Equally author of this nicely illustrated collector’s guide.
important, ceramic “Household inventories and auction catalogues
vessels in their vari clearly indicate that Japanese blue-and-white,
ous forms, in their
Kakiemon and Imari
morphology, make countless references to the
were more highly val
human body, to particular body parts, and by
ued than Chinese.
extension to sexual organs and sexual acts. Yet,
“The popularity of
most tellingly, it is the actual experience we have
Japanese porcelain in
of these objects, not only through touch and
the West is also re
direct physical contact, but also through the
flected in the many
operative workings ofthe objects..., that reaffirms
copies made in Euro
ceramics’ exceptional relationship to sexuality.”
pean faience and por
The book begins with a historical overview ofcelain. Both Kakiemon and Imari wares were
the connections between clay and sexuality, theneither imitated almost exactly, or elements
Catherine Hess of the J. Paul Getty Museum from the designs were isolated and combined
contributes a chapter on erotic maiolica ceram with other Oriental motifs.”
ics of the Italian Renaissance. The next several
After an essay by Jorg on the Chinese and
chapters are divided into thematic issues: politi Japanese ceramics trade in the Netherlands, the
cal topics, feminism, marginalization, minority book looks at 365 pieces from private and public
36
37
new books
references. 529 color and 5 black-and-white ine of a particularly outlandish historical novel.”
photographs. €/US$l49.75; £97.50. ISBN 90- Nicely illustrated, this book discusses Zeisel’s
74822-16-9. Hotei Publishing, Mauritskade 63, life and career as a ceramics designer for over 75
PO
Box 95001, 1090 HA Amsterdam, Nether years. “Eva’s mission has always been ‘the playful
Dutch collections. Divided into 14 sections
lands;
see website www.hotei-publishing.com.
search for beauty.’ For her, design is an act of
arranged either chronologically or with a focus
generosity, not a didac
on specific shapes or decorations, subjects in
tic tool,” Young com
clude early blue-and-white ware for the Dutch, Eva Zeisel
ments. “She never
blue-and-white in the Japanese early export pe by Lucie Young
riod, celadon, the early enameled group and
“Eva Zeisel’s life is as extraordinary as her hoped to affect people’s
Kutani, polychrome Kakiemon and Kakiemon- work,” states Young in this compact-sized monolifestyles by her design.
related wares, Imari, later blue-and-white ware, graph. “She doesn’t consciously follow trends, She always had more
etc. Each image is accompanied by a description doesn’t bow to convention, and has always humble ambitions. ‘I
of the piece. 304 pages, including glossary and followed her own path, living life like the hero hoped my designs would give pleasure to the
user when he had time to notice them, and yet
recede when he was too busy or tired.’”
The remainder of the book consists of images
of Zeisel’s designs from throughout her career.
96 pages, including biographical timeline and
index. 43 color and 50 black-and-white photo
graphs. $12.95. ISBN 0-8118-3433-6. Chronicle
Books, 85 Second St., Sixth FI, San Francisco, CA
94105; see website www.chroniclebooks.com; or
telephone (415) 537-4200.
The Art of Crystalline Glazing
Basic Techniques
by Jon and LeRoy Price
“Crystalline glazes have been shrouded in
mystery and (in our opinion) misinformation
for far too long,” state the authors of this how-to
guide. “We strip away all that and show you how
easy it is to master these glazes.” The two authors
come to crystalline glazes from two different
perspectives: one has a scientific background,
the other is a potter.
“As a result of our
very different ap
proaches, we have
each discovered im
portant techniques
and facts about these
glazes that the other
probably would not
have. And by pooling
our information, we have been able not only to
produce stunning pots, but also to gain a deeper
understanding of the glazes.”
The first several chapters cover clay bodies
(with recipes), glazes and glaze recipes, as well as
glaze mixing and application. Next, firing sched
ules, prefiring procedures, firing and postfiring
procedures are discussed, as are coloring the
glaze, low-fire glazes, controlling the crystals and
troubleshooting. “Firing crystalline glazes is an
exacting process—many things can (and very
frequently do) go wrong. Most crystalline glazers say only around half of their pots turn out,
38
39
new books
The following chapters describe the types of
wares made—jugs and costrels; bread bins, pans
and dairy work; bowls, chamber pots and garden
and we experience about that same rate of failurewares; jars, vases and decorative wares. Finally,
even with our many years of experience.”
the end of the potteries is discussed. 192 pages,
Subsequent chapters look at advanced tech including bibliography, list of useful addresses
niques, necessary equipment, and health and
and index. 101 color and 66 black-and-white
safety. Recipes are included throughout the photographs. $50. ISBN 1-86126-514-X. The
book, as are 22 exercises, such as forming test
Crowood Press. Distributed by Trafalgar Square,
shapes, mixing a crystalline glaze, applying the PO Box257, N. Pomfret, VT05053; see website
glaze, making a catch basin, loading the kiln,
www. trafalgarsquarebooks. com.
increasingldecreasing the number and size of
crystals, etc. 160 pages, including appendixes on
Impressed and Incised
key to the photograph descriptors, body table, Ceramics
glaze-colorant table, millimeters-to-inches con by Coll Minogue
version table, firing-schedule table; list of suppli “The range of work illustrated and described
ers; references; and index. 204 color and 5
[in this book] is indicative of the versatility of
black-and-white photographs. Softcover, $29.99. impressing and incising, and the scope for per
ISBN 0-87349-603-5. Krause Publications, sonal expression which is possible using these
PR03, PO Box 5009, Iola, WI54945-5009; or fundamental techniques,” states the author of
see website www. krausebooks. com; telephone (S00)
this revised and updated
258-0929.
guide. “While some con
temporary ceramicists
use the techniques of im
Dorset Country Pottery
pressing
and incising in
The Kilns of the Verwood District
by Jo Draper with Penny Copland-Griffiths
combination with the
“Verwood in Dorset was one of many areas
most modern of ceramic
of Britain to produce simple earthenwares for
materials, others are us
local use, but it differs from most of them
ing techniques little
because it survived, still working in the same
changed from prehistraditional way, until 1952,” state the authors toric times. As ceramic technology advances
of this historical! further and develops ever new methods and
materials for coloring and decorating clay
collector’s guide.
“The Verwood pot surfaces,...it is likely that the immediacy and
ters went on making spontaneity of expression [that impressing and
the same sort of pots incising] offer will continue to attract those who
and using the same enjoy working directly in clay.”
methods as they had
The book is divided into three sections:
for centuries with impressed work, incised work, and personal
no mechanization.
expression. The first section covers impressions
They still fired their using natural and manmade objects, cord, stamps,
primitive kilns with wood, and still used local paddles, impressing large areas, handleslfeet,
clays.” The first several chapters look at the area using two or more techniques, etc. Section two
in which the potteries were located, the start of looks at incising, combing, carving and inlaying.
kilns during the medieval period, as well as their Throughout both sections, examples of histori
production practices and the types of pottery cal and contemporary ceramics are shown.
made during the 18th, 19th and 20th centuries.
The final section discusses the working
Making and selling the pottery are covered methods of two contemporary ceramists—Neil
next: “All the potteries probably sold a few pots Tetkowski and Frank Boyden. 112 pages, in
directly to customers from the kiln, but this was cluding bibliography and index. 51 color and 62
only a tiny part of the trade... .The main distribublack-and-white photographs. Softcover,
tors were the hawkers,” state the authors. “Some US$24.95!£11.69. ISBN (United States):
only sold pots in the winter, doing other work in0-9650786-2-0. ISBN (Great Britain): 0-7136the summer. Some of them dug clay for the 6118-6. Gentle Breeze Publishing, PO Box 1484,
potters....The hawkers took a wide range of Oviedo, Florida 32765. Published in Great Brit
household wares, but because they ran regular ain by A dr C Black, 37 Soho Sq., London W1D
routes, they also took orders for special pots.”
3QZ, England.
40
Video
Roberta Griffith
The Artist Within
This nicely filmed video documents the life
and career of ceramist Roberta Griffith. For the
most part, a narrator details highlights from
Griffith’s life and career, then goes on to discuss
several series of works that Griffith has created
over the years. Griffith also discusses her work, as
do several other artists.
Her interest in art took her to Mexico, then
to Spain—in 1962, she received a Fulbright
scholarship to study with Jose Artigas. “When I
was in Spain, I became fully committed to
making variations on a form using molds that I
bisque fired,” she notes. “I really laid the basis for
building all these variations on a form and made
that a way of working.”
Looking back on her career, Griffith says, “I
have gained real insight about...my life and my
work and my production....I really have a very
clear idea of where I’ve been now and it’s given
me some insight about where I want to go now
as an artist.” Approximately 25 minutes. Avail
able as VHS or DVD. VHS, $24.95; DVD,
$29.95; plus shippinglhandling. Artworks Pub
lications, PO Box 112, Otego, NY13825-0112;
e-mail [email protected]; or telephone
(607) 431-4821.
Reitzagama
An Inside View of a Wood Firing
This nicely produced video follows the build
ing, loading, firing and unloading of Don Reitz’s
anagama in Clarkdale, Arizona. Through it all,
Reitz talks about all the steps of the process, as
well as his own aesthetics and beginnings in
wood firing. Reitz’s kiln—flat-floored for easier
loading and unloading—is “very personalized,”
he says. “It’s what I want for my ware.”
Reitz explains his own conversion to wood
firing: “I started to see how the wood could
enhance my ware,” he notes. “I don’t like pretty,
pretty, shiny things, and the wood did not hide
the clay surface, it stained it and revealed it.
“I don’t like to glaze everything so that I hide
all the subtle nuances of the clay and all the
energy that I put into the clay,” he continues.
“The way I touch clay, I want that recorded. And
so many times glaze will destroy that.” 40 min
utes. Available as VHS or DVD. $39.95, plus
$4.50 shipping and handling. MWK, 1200
Mistletoe Ln., Kingwood, TX 77339; or e-mail
matwon @kingwoodcable. net.
42
43
Some are short and whimsical, others tall and elegant. But none
of Nolan Babin’s sculptural teapots could be considered ordinary
in any way. Many of these forms are over 2 feet in height. They
are brought to life by a river of fire rushing through a woodburning kiln—dusting the surfaces with ash, swirling around and
through negative spaces, drawing out the subtle colors from the
clay bodies.
The kilns are built on the side of a mountain in the foothills of
California’s Sierra Nevadas. Stoking equal amounts of cedar, fir or
oak, Babin raises the temperature to Cone 12 as quickly as pos
sible, then keeps it there for as long as possible. The smaller 30cubic-foot kiln is fired for a minimum of 48 hours; the larger
200-cubic-foot kiln is fired for at least four days.
It’s a process that can be refined and studied and adjusted, but
it’s a process that remains in many ways unpredictable. There are
many elements to consider, from the makeup of the clay body to
the pot’s location inside the kiln.
“Color follows form and it can make a difference if the piece is
standing up or lying down. The color at the top and bottom of
the same piece can be very different. If two pieces are close
together, flashing can result,” explained Babin.
Babin doesn’t use any glazes, preferring the effects of wood fire
and salt on his work. At times he may throw a handful of salt in
through a stokehole or dip a few of the sticks of wood to be stoked
in mixtures of manganese and copper carbonate to add colors to
the clay body.
Babin said he doesn’t use glazes because he wants to know
what the wood does to the clay. “It’s not that I don’t like glazes,”
he said, “I just don’t want to do anything to my raw, naked pieces.
If the wood fire works on them, great; if not, that’s okay too. The
excitement is in the elusiveness of the wood-fire process.”
Babin cites a common saying among wood firers: “If you don’t
like how a wood-fired object looks, change your mind. Even
though you didn’t get what you anticipated, there is always some
thing to be learned from wood firing.
“With all due respect to the great production potters in the
world, I could never be one, because I couldn’t make the same
thing twice in a row. When I’m making my sculptures, I keep
making pieces and putting them together until the piece feels like
it’s done. Throwing to me is a tool that is just another part of the
Teapot, 24 inches (61 centimeters) in height, wood-fired white stoneware.
process,” said Babin.
His love of wood firing is related to the strenuous process,
which is very different from firing a gas kiln. “With gas you can
set a timer, turn on the kiln and go get some sleep. Not so with
wood firing. If you take a nap, the kiln will get cold. You are the
burner in a wood fire, and you either have to stay with it all the
time or have others work with you.”
45
Babin constructs the walls for the center section of a teapot
Once leather hard, the middle section is
using slabs made from several textured clay panels.
embedded in soft clay forms on a bat.
All that hard work creates direction. “From carrying the
bricks, then chopping the wood and stoking the kiln for
hours, even days, a lot is developed during that process. You
really sweat to get the results, and the entire process gives the
pieces the attitude you want them to have.”
Babin considers diversity another important element in
any artist’s work. He works on several pieces at the same time.
His sculptural teapots are evolving into non-teapots. They
may no longer be vessels, becoming strictly sculptural forms.
And Babin never stops working. “I have to keep making
new stuff all the time,” he said. It’s a way of life that he
learned from Paul Soldner. When Babin met Soldner in 1989,
he was not just interested in a piece of paper that said he had
earned an M.F.A. in ceramics and sculpture. He was looking
for a graduate program that would provide an environment in
which students could work on their art and grow at the same
time. Soldner’s program at Claremont College in southern
California proved to be the perfect place for Babin and many
others like him.
“The way Soldner taught was unique. He created an envi
ronment that was so stimulating everyone wanted to work all
the time. You could go into the studios at any time of the day
or night, and there would be students working. Had I not
studied with him, things would be different now. Nearly all
the students who were in Soldner’s program are working
artists today.”
After completing his M.F.A., Babin wanted to carry on the
Soldner tradition of an open learning environment, but he
The bat is placed on the wheel and a top section is thrown to bring
the piece to its full height. A spout and handle can then be attached.
46
Sculpture teapot, 24 inches (61 centimeters) in height,
wood-fired stoneware, by Nolan Babin, Chico, California.
believed that most colleges and universities were
too structured to duplicate what he had found
working with Soldner. Instead of academic teach
ing, he began thinking about giving workshops.
“The workshop environment is stimulating and
offers the participants an educational experience.”
Babin and his wife began researching the dif
ferent types of ceramics workshops that are of
fered around the country, and decided to purchase
5 acres of land in the woods of Concow, Califor
nia. There they built a studio and house. Tom
Orr arrived with several students from Long Beach
State to assist in building a 200-cubic-foot kiln
on the mountainside.
Since that summer of 1990, Babin has offered
over 30 wood-fire workshops. In 2001, Carl
Perkins, a technician with Industrial Minerals
Company (IMCO) in Sacramento, California,
developed two clay bodies in honor of Babin’s
workshops. They are called Concow Clay and
Concow 30. Components of the Concow Clays
include Helmer kaolin from Idaho; Greenstripe,
a local fireclay that adds plasticity and strength;
200-mesh silica; potash feldspar for flashing; and
soda feldspar for glossiness. Concow 30 gets its
name from the 30-mesh sand that is added to the
clay body for the increased strength needed to
create large sculptural pieces.
Workshop participants come from all over
the United States and Canada. They are potters
and sculptors, teachers, business people, and re
tirees. All come for the experience. There is wood
to be chopped, stacked and stoked. Participants
take turns cooking meals for each other and sleep
in the bunkhouse. They may spend a few days or
two weeks. As they leave the workshop and drive
out of the deep woods, the rewards for their
efforts lie carefully wrapped in newspapers and
packed in boxes. They are taking away gifts blessed
by the kiln gods.
47
StandingTheir Ground
The Slab-Built Structures of Mary Fischer
by Jim LaVilla-Havelin
Untitled, 15 inches (38 centimeters) in height, extruded and slab-built stoneware, with white slip, and
copper carbonate/Gerstley borate wash (equal parts by volume). After bisque firing, more slip was added
and the piece was fired to Cone 5 in an electric kiln.
“I look at buildings in the wild and in books. They get jumbled in my
head and sorted out by my hands,” says Texas artist Mary Fischer.
Grounded and present, their rooflines sagging in a friendly
way, her architectonic sculptures are familiar shapes. Whether
skinny and towerlike or compacted and squat, they make them
selves known—in the way houses on a great expanse of Texas
highway appear at the edge of peripheral vision, solid in the
wind, pushed at, but standing its ground, always there against a
limitless sky.
“The buildings start as boxes,” Fischer explains. “Lids become
roofs. Legs and ears (chimneys) appear, and things go on from there.
“To build houses that have the ‘right’ proportions, I some
times make paper models. It’s easier and quicker to make a piece
out of paper, then use the model to cut the pieces out of clay.
With extruded pieces, it’s like playing with Lego blocks. The
more pieces you have to play with, the more you can move them
around until the right combination appears.”
Some surfaces are smooth like planking; others are pocked
with scars, studded or encrusted—tactile devices for remember
ing home, remembering place, gathering details. In effect, they
are projections of her ideas about house, home, place.
And what of the color? On some, there is the shimmer of
purple, a window of color radiating outward, inward. On others
there is gray, green or yellow—the look of mold, algae, time.
Along the edges are charcoal lines, the color of heartbreak, of
sadness, of time worn.
Fischer “started off using a rutile wash on the walls of houses.
Edges were much better when highlighted with underglaze pencil
48
or black stain. A continuous series of glaze tests
served as roofing material. Currently, I’m using slip
and copper washes between layers of slip. The cop
per bleeds through the slip and highlights the tex
ture of the application of slip.
“Stains are added to wet slip until the color loolcs
about right, then an extra pinch is added. Neither
slip nor stain is measured. Stain washes are replac
ing rutile in some cases where slips aren’t used.”
Some forms refer to the spirit houses (places for
the living to reflect on others who have gone be
fore) she saw in Thailand. There is, in their simplic
ity, in their solidity and in their color, a reverence
for and relevance to life.
Fischer’s structure with the brush atop recalls a
shrine, its brush combing the sky, while its large
base presses at the depth of belief. It is a depth from
which a temple bell could ring, resonating with
Untitled, 13 inches (33 centimeters) in height, slab constructed using a paper model,
with slip and copper carbonate/Gerstley borate wash (equal parts by volume), fired to Cone 5
in an electric kiln, with brush bristles added, by Mary Fischer, Dripping Springs, Texas.
50
grief and grace. In formality and balance, the struc
ture honors presence and absence.
Then there are the collections of small houses,
deconstructed shells of houses, just the bones of
houses, with light and life penetrating them, rais
ing in their spareness the question: how much makes
it a house? How much roof, wall, enclosure is needed
for it to read as a house? When does anonymity end
and specificity begin?
Arranged on plateaus or boats, they call to mind
Monopoly houses, Malvina Reynolds’ song “Little
Boxes” and Levittown. Perhaps they are insubstan
tial dreams, mass produced and lost in sameness.
Fischer’s work is by turns sensual, symbolic,
rooted, heartbreaking, expansive, ambiguous and
accessible. The forms not only speak an architec
tural language, but also reflect on it, question it,
break it down. This is the ambiguity. This is the
contradiction. Spirit houses contain everything even
when they contain nothing. Sometimes it is impor
tant to loosen the walls of structure and let in the
howling wind.
Mark Shapiro
by Scott Norris
To reach Mark Shapiro’s Stonepool Pottery, you must head far
into the hills of western Massachusetts. The road climbs through
Florence, Haydenville, Williamsburg and Chesterfield, the air
growing fresher as you drive. The final stage of the trip is across a
high plateau, where the sky is close overhead. It’s quiet. It feels
like the center of the universe.
A long lane leads from the road to Stonepool Pottery, a group
of buildings scattered across a grassy hillside. Although the setting
is serene, there is continual activity as visitors come and go. In his
studio, Shapiro and his apprentice, Michael McCarthy, work
steadily, with the pace intensifying as the date of a sale or show
draws near. Shapiro has fired his large wood-burning kiln every
few months for more than 15 years. He uses only a few glazes,
limiting his production primarily to wood-fired tableware. Never
theless, he produces a broad and rich body of work. On any given
day, you might find in his studio teapots, cups or bowls that are
variously sweetly fat and round, primly upright or hauntingly
dark. Some pieces nestle in your hands. Others, regardless of size,
dominate their surroundings.
I was one of a crew assembled for Shapiro’s first firing of the
year. The moment was auspicious, marking the initial firing of his
newly rebuilt two-chambered kiln, following months of work
during which most of his older kiln had been torn away and
replaced. While it was an exciting time, there was also cause for
worry. A major show was approaching, the largest of the year for
Shapiro. A spell of difficult winter weather had hampered out
Bowls, 4 inches (10 centimeters) in diameter, wood-fired and salt-glazed stoneware.
51
Teapot, 8 inches (20 centimeters)
in height, stoneware, with slip
and incised script, salt glazed
in a wood-fired kiln.
The working life of a potter—physical,
collaborative and spontaneous—is far re
moved from the lives most people lead. For
nearly two years, I’ve helped at Shapiro’s
firings, attracted by the vigor the work re
quires and excited to see the finished pots a
few days later. On the day of a firing, I
reach the studio early, in order to seize
control of the large firebox—called the
preburn. I guard my position jealously, re
luctant to stop for a meal, refusing offers of
had worked until nearly midnight the day before, loading pots
and bricking up the doors to seal the chambers. At dawn, the kiln
stood ready, fully loaded, smoke already rising from the chimney.
Shapiro and McCarthy busied themselves throughout much of
the morning, completing minor details that had been left
unfinished the night before.
Any tension Shapiro may have felt was apparent only in short
spells of preoccupied silence. Otherwise, he acted as if this day
was no different from any other. While monitoring the tempera
ture of the kiln, he organized tasks for each crew member. His two
young children came by before leaving for activities elsewhere,
help, fearing that I’ll be forced to the side
lines if I leave the preburn for more than a
minute or two.
The members of the firing crew are
usually potters with their own pots next to
Shapiro’s in the kiln. They seem amused
by my determination. Throwing large
quantities of oak, birch and pine into a
blazing firebox for 12 hours or more is
hard work, and the level of activity increases, rather than de
creases, as the hours pass and exhaustion mounts. The others,
with years of experience stoking kilns, seem content to assume
tasks that require skill and judgment rather than brute strength
and endurance.
While the most important decisions related to the firings are
made by Shapiro, many other details are left to McCarthy, the
third young potter to serve a multiyear apprenticeship at the
studio. The apprentices, all of whom have simultaneously held
part-time jobs elsewhere, are generally responsible for mundane,
day-to-day duties, from sweeping the floor and hauling wood to
glazing the interiors of Shapiro’s pots. Much of the work is rough
and he paused to play with them. When the children departed a
few minutes later, his son was carrying a marble in one hand and a
small green tile in the other. The tile, which had been found
hidden in a patch of grass near the studio, was a remnant of
hundreds of tiles Shapiro had made for the bathroom of the
house. Random tiles turn up in this way from time to time, as do
fragments of pots made by Shapiro and others who have worked
at the pottery through the years.
and unforgiving, while other tasks are simply tedious. But Shapiro
is unwavering in his belief that an apprentice should not be given
jobs that he himself doesn’t do regularly. Furthermore, he believes
that an apprentice should be allowed ample time each day to
develop his or her own abilities. For example, McCarthy began
his apprenticeship with an agreement to work for Shapiro for 12
hours each week, with the stipulation that his responsibilities
would increase in the final weeks leading to a sale or show. During
door activity, delaying the kiln’s completion. Shapiro and McCarthy
52
Bottles, to 14 inches (36 centimeters) in height, faceted wheel-thrown stoneware, with slip and incised script, salt glazed in a wood kiln.
53
After faceting, white slip is applied to a leather-hard cup and nonsensical script
To soften the raised texture left by the sgraffito decoration,
is carved through the slip to show the darker clay beneath.
a brush is quickly swiped across the surface.
the remaining hours, he would be free to use Stonepool facilities
and materials for his own work, to whatever extent he chose.
In this flexible and supportive environment, an apprenticeship
system has evolved that is deeply collaborative, with Shapiro and
McCarthy sharing tasks and responsibilities, each producing his
will settle and enliven the glazed surfaces with the irregular mark
ings characteristic of wood-fired pottery. As I added wood to the
preburn, I imagined the kiln’s sleek new shape allowing the tem
perature inside to rise in a manner that was naturally even and
well distributed. Perhaps sensing my complacency, Shapiro glanced
inside the preburn and said, “Do you see those patches of soot on
the back wall? It’s not heating evenly, because the wood is distrib
uted unevenly. You need to eliminate the cold spots, and there
should be no soot at this point.”
Born in 1955, Shapiro began making pots while attending
high school on New York’s Upper West Side. After studying
anthropology at Amherst College, 30 miles from where he now
lives, he returned to New York to pursue a career as a sculptor and
installation artist. Eight years later, he purchased the property
where Stonepool Pottery stands, including several acres of meadow
and forest, a house, a barn and several outbuildings, then focused
his energies on developing a line of functional pottery. Also on the
property was a perfectly circular pool, with deep walls built from
fieldstone, fortuitously suggesting the pottery’s name. Today,
drained of water, its original function forgotten, the pool is a
faintly melancholy presence 50 yards from the house.
Initially, Shapiro supported himself as a carpenter, and during
the years prior to his marriage, he shared living and studio space
with Michael Kline, and firings with Sam Taylor, both of whom
have since established wood-firing potteries elsewhere. By the
early 1990s, Shapiro stopped working as a carpenter and turned
to pottery full time. An interest in controlling every aspect of
pottery production, from the creation of a piece through its
own pots steadily, and each equally tired by day’s end.
Although the master-pupil relationship at Stonepool is under
stated, Shapiro takes his responsibilities as a teacher seriously.
One apprentice described a teaching style that included brief
assessments delivered as Shapiro passed through the doorway near
the apprentice’s work area. With his thoughtful, somewhat blunt
manner, it is easy to imagine Shapiro pausing at the door, speak
ing tersely but without severity, then leaving the apprentice to
consider the comment more fully. At other times, Shapiro would
study the apprentice’s unfinished pots closely, sometimes pulling
them apart and reassembling them in an unhurried way, demon
strating a technique or suggesting an improvement.
While Shapiro is largely self-taught, and speaks of having
acquired his skills by trial-and-error over many years, he does not
glorify the value of arduous learning, and he is generous in his
desire to help younger potters develop advanced skills as quickly
as possible.
The firing of the new kiln progressed smoothly during the
early morning hours. While the previous kiln had been con
structed with the preburn attached as an unsightly lump to the
first chamber, the new kiln was designed with the firebox en
closed, tucked underneath the kiln’s sloping wall. As a result, the
flames cut closer to the pots, ensuring that a larger amount of ash
54
eventual sale, led him to establish a gallery in a small building on
his property, while also setting forth on the nomadic existence of
an artist who sells his work directly to the public through large
craft shows. As a steady stream of new work flowed from his
studio, he became a regular participant in shows along the Eastern
Seaboard and west to Chicago.
Shapiro considers a high rate of production more than an
economic necessity, although he once remarked that he makes
about 100 pots a week in order to earn a living. More impor
tantly, he pursues a brisk production schedule in accordance with
his belief that producing pots steadily and in large numbers is a
way to create work that is honest and straightforward, and thus
more likely to fulfill the everyday needs of its users.
The commonplace, daily use of pots is a theme that returns
again and again in conversations with Shapiro. He says that the
role a pot will play in a person’s life is often suggested by the pot
itself, and its effectiveness in fulfilling that role is one of the best
ways to measure the pot’s ultimate worth. At the same time,
Shapiro is often quick to note the sheer loveliness of a particular
pot. In his opinion, a good pot is most likely to be a pot that
serves its user effectively and comfortably, and its creator was a
good potter on the day it was made, regardless of whether it
matched the potter’s original intentions.
I once overheard him talking with a young potter who was
unhappy with one of her pieces as it left the kiln:
“It’s a mess,” she said.
Shapiro turned to her, saying, “You can’t possibly know that
yet. Take some time before deciding.”
She replied, “But it doesn’t look like it was supposed to look.”
Shapiro advised, “Think about judging the value of that pot
based on what it is right now, not on what you intended it to be.”
Other standards by which success is measured—such as a
potter’s ability to create works of archetypal perfection or dazzling
imagination—strike Shapiro as arbitrary, egocentric and irrel-
Chalices, 7 Inches (18 centimeters) in height, wheel-thrown, faceted stoneware, with slip and sgraffito decoration, salt glazed in a wood-fired kiln.
55
Oval flask, 8 inches
(20 centimeters) in height,
thrown and altered stoneware,
salt glazed in a wood-fired kiln
Oval flasks, to 8 inches
(20 centimeters) in height, saltglazed, wood-fired stoneware.
evant to the historical role of pottery in people’s daily lives.
It is a belief that he expresses frequently, both explicitly
and implicitly, peppering his talk and sparking his keen
interest in utilitarian early American pottery. And it is also
implicit in his admiration for the work of his contempo
raries, makers of pots that are extremely useful, while also
being extraordinarily beautiful.
To a conscientious person, it is not easy to accept that
the value of your work may lie in qualities you did not
intend. With Shapiro, that acknowledgment is far from a
passive, resigned acceptance of the cards that have been
dealt. Instead, it reveals an ability to plumb the meaning
embedded in a form, and a willingness to accept what is
found there. It is not an easy task. “If there’s a hard way to
do something,” McCarthy once said, “that’s what Mark
will do.”
Shapiro’s approach is rooted in a determined trust of
his own instincts, as is his avoidance of academic or doctri
naire practices. Why should it be otherwise? After all, a
person who chooses to makes pots in an unpredictable
manner is not likely to value any endeavor in which the
outcome is easily determined in advance.
As the kiln’s heat increased over the course of the firing,
larger quantities of wood were needed to sustain the high
temperatures in both chambers. By late in the day, crew
members had begun working in teams, alternating the
Teapot, 9 inches (23 centimeters) in height, thrown
and faceted stoneware,
salt fired in a wood kiln, by Mark Shapiro, Worthington, Massachusetts.
57
The
double-chamber
wood
kiln
at Stonepool Pottery.
opening of the stoke doors, throwing wood in quickly, closing the
doors as the wood ignited instantly, pausing a moment and then
beginning again, over and over, without a break.
The firing of the new kiln lasted for more than 20 hours.
Finally, as the clock approached 3 A.M., Shapiro told the workers to
seal the doors with a slurry of clay and sawdust, trapping the heat
inside. The flames would weaken over the next few hours, eventu
ally subsiding completely, beginning a long process of slow cooling.
The kiln rested for nearly three days before Shapiro broke
through the slurry over the doors. Tables and shelves in the studio
were soon full of ware, ranging from enormous spherical jars,
including a few so large that Shapiro’s five-year-old daughter
could crawl inside, to small handleless cups. Some of the largest
pieces wore raised or textured horizontal bands that were often
spaced more closely near the bottom of the pot, as if compressed
under the object’s weight. Other pieces were decorated with a
variety of patterns drawn in black slip, including tangled scrawls
suggestive of calligraphy, sharply spiked lines that looked like
barbed wire, leaf forms and blocky, interlocking shapes that
floated over the background. The center of gravity of many pots
was quite high, lending a pleasingly precarious quality that was
countered by the strength of their bases, and the drama of these
pieces was increased by the shadows cast below their overhang
ing shoulders.
Towering above the other pots were the slender, peaked jars
that Shapiro calls lighthouses. Their elongated shapes seem to
stretch beyond any origins as functional pots, and he has spoken
of them as having limited practical use, yet one is in use in my
kitchen today, the perfect vessel for holding and pouring rice.
Shapiro seemed pleased with the results of the firing, although
he mentioned from time to time that the pots seemed “a little
clean.” In fact, most of the ash had attached to the kiln’s pristine
walls instead of settling on the pots, leaving many of them look
ing youthful and fresh-faced. But over time, in a well-seasoned
kiln, the ash will begin to bounce from the encrusted walls,
swirling, before dropping to create unpredictable and lovely marks
on the pots.
At the end of the day, a small cup sat near the edge of the table.
Shapiro had covered its surface with hexagonal facets the size of
nickels. The cup was softly white with faint amber highlights, and
in many places, the glaze had crazed.
Shapiro and McCarthy passed by. Their arms were full of tools
being returned to shelves in the back of the studio, but they
lingered briefly, considering the pots on the table. Then they left.
“It looks like a golf ball,” Shapiro said as he and McCarthy
disappeared around the corner.
The author Scott Norris is a weaver residing in Florence, Massachusetts.
58
Michal Zehavi
Bowls and platters by Jerusalem artist, Michal Zehavi,
were exhibited recently at Periscope Gallery in Tel Aviv,
Israel. Many of the forms were perforated, transforming
them “from functional items to artistic objects,” accord
ing to gallerist Sari Paran. “The intensive, almost obses
sive repetition of a single automatic and infinite act replaces
the object’s functionality as the central theme....A very
gentle, cellular-structured grid evokes the image of porous
skin or of natural structures...borrowed from organicbiological morphologies.
“Extending the boundaries between perforation and
disintegration,” Zehavi utilizes this texturing “to the ex
tent of undermining the piece’s structural stability and
testing the material’s shock-absorbing qualities during the
Plate, approximately 50 centimeters (20 inches) in diameter.
work process.”
These vessels, Paran added, “touch upon experiences
reminiscent of the ancient crafts of knitting, embroidery
and metal hammering—time-intensive crafts that have
been replaced by computerized technology—while testing
the maximum technical abilities in this field.”
Plate, approximately 50 centimeters (20 inches) in diameter.
Perforated bowl, approximately 50 centimeters (20 inches) in diameter, by Michal Zehavi, Jerusalem, Israel
59
FEATS of CLAY
The 16th “Feats of Clay,” a national juried
exhibition, was presented recently at Gladding
McBean Ceramics Factory in Lincoln, Califor
nia. From 1030 entries, juror Joe Mariscal, a
professor of art at San Joaquin Delta College
in Stockton, California, selected 70 works by
artists from 48 states. “The work submitted
was witty, somber, thought provoking, humor
ous, elegant and well crafted,” he noted. “It is
truly amazing what one can do with this
humble medium. It wasn’t easy, but I have
done my best to select pieces that best reflect
the incredible variety of the work submitted.”
Mariscal also chose four award winners.
Areata, California, artist Keith Schneider re
ceived first place for “Give ’Em an Inch,” a
figurative sculpture. “The ceramic figure, with
its rich and varied history, has been a great
source of inspiration for me,” Schneider com
mented. “By taking liberties with abstracting,
exaggerating, synthesizing and stylizing as I
see necessary for each of my pieces, I attempt
to create individual characters’ that, through
gesture, facial expression, color and texture,
possess their own unusual personalities and
evoke their own particular emotions.”
Julie Lindell, Seattle, Washington, was
awarded second place, and Natalie Blake,
Brattleboro, Vermont, received third place.
The Tile Heritage Prize was awarded to Waterbury, Vermont, artist Cristina Pellechio for
“Middle Ground.”
First place: “Give ’Em an Inch,” 20 inches (51 centimeters) in height,
$950, by Keith Schneider, Areata, California.
60
Second place: “Untitled,” 18 inches (47 centimeters)
Third place: “Divided States,” 16 inches (41 centimeters) in height,
in height, $650, by Julie Lindell, Seattle, Washington.
carved porcelain, $1500, by Natalie Blake, Brattleboro, Vermont.
Tile Heritage Prize:
“Middle Ground,” 14 inches
(36 centimeters) in height,
stoneware, $700, by Cristina
Pellechio, Waterbury, Vermont.
61
Tjok Dessauvage
by Nesrin During
“Chaos,”
60
centimeters
(24
inches)
square,
wheel-thrown
with photographic decals, saggar fired.
“Energetic Pattern,” 22 centimeters (9 inches) in height, thrown and
altered form, with burnished terra sigillata, saggar fired and sandblasted.
closed
forms,
Sophisticated simplicity—these two words best de
scribe the work of Belgian ceramist Tjok Dessauvage.
A quiet, contemplative man, he makes wheel-thrown,
double-walled forms with flat upper surfaces. He
actually works with only three rather austere shapes:
cones, cylinders and hemispheres.
Dessauvage resides in the small Flemish village
where he was born in 1948. In fact, he and his wife
Renny live in the house where she was born. He
throws on a homemade electric wheel (until re
cently, he used a kick wheel). The double-walled
pieces are thrown upside down and in one go from a
white, non-grogged, non-sandy, very plastic clay body
from Germany.
After spiral wedging the clay in the Japanese
fashion and centering, Dessauvage starts out by
throwing a thick pancake shape. In the middle of
the pancake, he pulls up a cylinder and collars it
closed to form a small dome; this will become the
concave part of the double-walled vessel. Then the
outer walls are pulled from the remaining pancake
to form a conical cylinder. Once the inside bottom,
next to the dome, has been thinned and flattened
properly, the outer cylinder is collared in and finally
closed as a second dome. The surface is smoothed
with a metal rib so that no fingerprints or throwing
marks remain, and the top of the dome flattened
somewhat so that when Dessauvage inverts the piece,
the form has a flat bottom to stand upon. Later, the
bottom will be pierced with a small hole for drying
and firing purposes.
When the form is sufficiently dry (and has
Dessauvage’s approval, or else it’s back to the clay
bin), it is inverted and the work on the flat top
begins. This surface is his canvas, the raison d’etre of
the piece. He makes these double-walled “pot struc
tures,” as he calls them, because they are neutral in
form and provide the “platter” to serve his message.
Subjects that interest him include technology,
electric energy patterns and architectural imagery,
among others. They are abstracted and translated in
a poetic way onto the flat surfaces. Thus the pot
structure becomes the carrier of his message, his
communication, his reality.
62
His ways and methods of working on these surfaces are nu
merous. Although Dessauvage has had some years of ceramics
education, he is very much self-taught through experimentation.
Geometry plays a major role in his designs. A line is not just a
line; it creates a plane, a barrier, a boundary.
Different processes are used for different effects. Sometimes,
the clay body will be altered with additions of sand, perlite or
even coffee grounds. Other times, the fired surfaces are sand
blasted. Rubber stamps, plaster molds, bark from a tree or a piece
of worm-eaten wood may be used to obtain relief elements or
inlays. Engobes, sulfates, sgrafitto and photographic decals are
also used, but sparingly.
Usually, when the pot structure is bone dry, he applies terra
sigillata made from a very fine, plastic clay with a low level of
calcium to produce the sigillata. However, whenever he finds
dried puddles of a curled-up, rubbery clay that looks promising,
he takes it along to give it a try. This is done by adding water to
the crushed clay, stirring and letting it stand. If the clay settles
immediately, it is no good.
To prepare sigillata, Dessauvage adds 2 kilograms dry clay
(200 mesh) to a solution of 8 liters water and 80 grams sodium
silicate. After stirring well, he lets the mixture stand for a week.
The upper third is the sigillata. The settling process can be re
peated for a finer sigillata.
To apply, he moistens the surface of the bone-dry form with a
brush and water (for a better fit), then brushes on a thin layer of
terra sigillata. Once the wet look has disappeared, he immediately
rubs the sigillata with a piece of shopping-bag plastic. Another
thin layer of sigillata is applied and burnished, and then once
more—three times in total. If the sigillata is too thick, it may
blister off the pot; however, the thicker the application, the more
it crackles.
When the burnished clay is once again bone dry, the piece
goes into an electric kiln for a bisque firing. Here, the final
“Magic Square,” 48 centimeters (19 inches) in diameter, wheel-thrown white stoneware, with terra sigillata, saggar fired and sandblasted.
“Configuration,” 23 centimeters (9 inches) in height, with red-orange terra sigillata, by Tjok Dessauvage, Sin-Eloois-Winkel, Belgium.
temperature is of utmost importance. If Dessauvage wants a black
surface, he bisques to 900-950°C (1652-1742°F). If he wants a
white sigillata to turn gray, or a red sigillata to yield a subdued
red, he bisques to 1050°C (1922°F). And if he wants a white,
finely crackled surface, or a light red to orange surface, he bisques
to 1100°C (2012°F).
When the pieces come out of the bisque kiln, the crackles are
(1112°F). If fired higher, to 700-720°C (1292-1328°F),
reoxidation begins.
Tjok Dessauvage is content with his work and life. He is well
known in Europe for his double-walled forms (which have won
prizes at the competitions in Faenza, Italy and Nyon, France), and
for his crocheted red cap. No, the cap does not have “deep
significance.” Once in his youth, he explains, he was hurt by a
not visible. Then comes the saggar firing in a gas kiln. He puts
only one piece on a small pedestal inside a metal trash can, along
with a handful of fine wood shavings. The trash-can saggar is
placed in the gas kiln and fired about two hours, up to 600°C
football hitting him on the head; after that, he had head colds
every time he took his cap off. So he decided to just keep it on.
That ability to take life as it comes helps explain his willingness to
trust his precisely executed work to the vagaries of saggar firing.
“Heritage,” 11½ inches (29 centimeters) in height, wheel-thrown
“Whispers,” 22 inches (56 centimeters) in height, coil-built brown
brown stoneware, with white slip, carved and fired to Gone 6.
stoneware, with brown slip, carved, glazed and fired to Cone 6.
Jeannie Oh
by John A. McElree
A blending of the ancient techniques of the East with the modern
materials and influences of the West best describes the ceramics of
Jeannie Oh, as well as her personal journey as an artist. Although
she was born and raised in South Korea, and her native land has
strong ceramics traditions, her introduction to the medium came
while pursuing a B.EA. in painting at the University of Hawai‘i at
Manoa. She took an elective course in ceramics, and quickly fell
in love with this new and versatile medium, relishing the oppor
tunity to produce three-dimensional art.
Her early clayworks reflected the visual influences of Hawaii.
In particular, she became fascinated by petroglyphs carved into
natural lava flows. As primal art forms, the petroglyphs repre
ods, through such venues as the annual “Icheon International
Ceramics Festival,” where master craftsmen demonstrated tradi
tional Korean techniques and methods. Much of her current work
is based on the traditional Punchong technique.
Although Korea is famous for its celadon-glazed pottery, for
200 years (from the middle of the 14th century through the 16th
century), celadon glaze gave way to Punchong decoration.
Punchong pottery, in which designs were inlaid, stamped or painted
with iron pigment, was made for use by the common people.
There are seven techniques used for Punchong ware, and all
require the use of slip. Sanggam involves inlaying white or red clay
in incised patterns. Inhwa, which is similar to sanggam, is a
sented to Oh the fundamental content and meaning of art, the
very roots of image making.
Despite the fact that she was living and working in Hawai‘i,
her fellow artists routinely commented that her work was remark
ably similar to Korean ceramics. This inspired her to explore her
ceramics heritage. When the opportunity to pursue an M.EA. in
painting at Hong-Ik University in Seoul, Korea, presented itself,
Oh resolved to fully explore Korean ceramic techniques and meth
stamping technique; various designs are stamped into the surface,
then slip is applied and the excess wiped away, leaving the slip in
the recessed design.
In the paekgi technique, slip is applied to the moist greenware,
then a design is carved. The eumgak technique (also called the
harmony technique) is similar to paekgi; slip is applied to the
surface of dry clay objects and decorated with patterns, often
abstract, by engraving or scratching.
66
In the cholhwa technique, light-colored slip is applied to all or
part of the pot, then designs are painted on using iron oxide.
The guial technique involves the application of slip using
brushes of varying coarseness, with the clearly visible brushmarks
providing texture with the impression of movement; the brushapplied slip can also be scratched or engraved to create designs.
For the tamgumpunjang tech
nique, the pot is immersed in slip.
The immersion can be complete or
partial, and multiple layers may be
created. A drip effect is often cre
ated by partially immersing the pot
tery and allowing excess slip to run
down the outside of the vessel. The
pottery may also be gently shaken
before the slip is dry to create a
different look, texture and varying
depths of slip.
With her artistic roots in paint
ing, Oh has found that the
Punchong techniques provide her
with great flexibility and unlimited
options. Although she has experi
mented with all, she most often uses
the paekgi and eumgak techniques.
She particularly enjoys the paekgi
technique because the carving is
similar to painting, allowing her to
create complex designs with differ
ent textures and stark relief.
Even though Oh employs Ko
rean techniques in her work, the
results cannot be categorized as tra
ditional Korean art. She has been
influenced by both her environ
ment, particularly by her early for
mative period in Hawai‘i, and by
her Korean heritage. She still incor
porates Hawaiian petroglyphs, as
well as traditional Korean elements
and modern motifs, in her work.
“My soul is firmly rooted in Korea
and I have great pride in my Ko
rean heritage,” she explains. “How
ever, my Korean perspective has
been diluted by my many varied
experiences. Like all things in life,
my experiences have been both posi
tive and negative; I have had the
opportunity to explore and experience many different facets of
the world, and this has modified my outlook on life, creating and
giving me a more global perspective and an appreciation for the
values of different cultures. My daywork reflects my journey in
life, and the influences that have shaped and molded me are
reflected in the clay that I, in turn, shape and mold.”
67
“Man and Nature,” 24 Inches (61 centimeters)
in height, thrown and coil-built mixed stoneware
with slip, carved, glazed and fired to Cone 6,
by Jeannie Oh, Washington, D.C.
PAUL HEROUX: A Natural Variety
by Scott Ruescher
Heroux’s studio in the Maine woods.
Paul Heroux in his studio.
From a close look at the surfaces of his ware, it would appear that
studio potter Paul Heroux, lifelong New Englander and longtime
resident of the southeastern Maine town of New Gloucester, has
stepped into some vacationland picture. Disappearing among the
myriad natural details not readily visible to the distanced ob
server, he has forsaken the tourist’s sweeping vistas for the inti
mate encounters available on the wooded acres outside his door.
“I built my house in the woods,” he admits, “to get into it more
than to get away from it all.”
Only on occasion, though, does a finished product from
Heroux’s wheel display the recognizable pattern of a natural ob
ject. Sometimes there’s the image of a poplar leaf or a sea urchin
(or, less “naturally,” a row of Roman columns), traced onto the
vessel with the unerring help of a light projector. The patterns he
juxtaposes on these immaculately smooth surfaces, abstractions of
Beauty of a natural variety is of utmost importance in all facets
of his life. Heroux cooked professionally at a high-end French
restaurant near Boston after attending the Museum School in the
late 1960s, and later ran a catering service in Maine. In the 1980s,
after taking a course at the environmentally progressive Shelter
Institute in Bath, Maine, he built his own elegantly rustic house
and studio in a clearing in the woods. “It’s what you call the
saltbox or shed style,” he says of the south-facing post-and-beam
buildings on his property.
Trim and reticent, he speaks with artful, good-natured irony.
Indeed, he could be speaking of the persona he presents to the
world when he says of the outward appearance of his teapots,
platters, jars and vases, “I’m in the habit of layering and overlap
ping the glazes.”
Perhaps not all of Heroux’s surfaces would bring to mind the
organic forms as well as representations of the diversity of their
wonders of nature seen up close to the experienced potter or
complexions, offer the privilege of seeing the world from the
perspective of other creatures—a robin with its beak in the meadow,
maybe, or a herring gull with its beak in the surf. In this regard,
Heroux’s a little like the Jackson Pollock who allegedly said he
didn’t paint nature—he was nature.
ceramics dealer. They may think they seem “natural” enough in
their own right—without having to allude to the spectacular
details of color and composition that can be seen through binocu
lars in a seemingly ordinary square foot of biosphere. Yet the
occasional clue, the poplar leaf or the sea urchin, triggers certain
68
associations. Suddenly, some of the “patterns”
(to use the term loosely, repetitions being of
minimal use to Heroux’s designs) are reminis
cent of details in rocky outcroppings, such as
those on a mountainside or a seaside cliff in
Maine. Other details bring to mind the bot
tom of a puddle in a woodland path or a tidal
pool among the rocks on the coast.
An allusively representational image will
waver ambiguously—to some resembling a tuft
of human body hair; to others, the black rockweed that grows like dreadlocks on the bar
nacled rocks of the Maine coast. “I play with
ambiguous patterns, and I like that people see
one thing or another,” Heroux stresses. “What
might look like enormous fingerprints to some
will resemble tree-growth rings to others.”
Similarly, the deliberately rendered image
of a white pine tree’s branch structure will
blend, as it goes around the bend of a large jar,
with a deliberately rendered architectural ele
ment, so that branches morph into arches and
vice versa as the observer takes a lap around
the jar.
Three or more areas of coloration—char
coal, rust and pearl-gray, say, with a gold out
line to one area—may inhabit the surface of a
small, shallow, asymmetrical, five-sided tray
(from a handbuilt line of Heroux’s work that is
influenced by traditional Japanese Oribe ware),
neither area of color corresponding predict
ably to the shape of the tray. A wavering band
of gray, serving as the background gesso for
the glaze painting, enwraps the cylindrical form
of a small vase at a diagonal angle, flanked by a
band of sky-worthy turquoise (one of Heroux’s
“brighter colors, along with mustard yellow,
gold and orange”) and a dusky pink that’s been
etched with black dash marks, like those on
the tender inner bark of a birch tree.
A ribbon of black glaze disappears over the
edge of a platter, like an uprooted length of
kelp carried by a current—perhaps to be met
Vase,
25
inches
(64
centimeters)
in
height,
and wax-resist decoration in oxides and glaze.
69
stoneware,
with
sgraffito
Vase, 25 inches (64 centimeters) in height, stoneware, with sgraffito and wax-resist decoration in oxides and glaze.
70
Cups, to 51/2 inches (14 centimeters) in height, stoneware,
with sgraffito and wax-resist decoration in oxides and glaze.
Teapot, 6½ inches (17 centimeters) in height, stoneware,
with wax-resist and sgraffito decoration in oxides and glaze.
underneath by the image of a periwinkle or a razor clam from a salty tide pool. “I like
to get people to turn the plate over or walk around the jar to see what else is there,” he
says of the layered paintings. A burnished gold disk, placed off the center of a platter’s
round surface, tugs at the attention that has wandered to a curious, not-quiteidentifiable, organic form that bears a slight resemblance to a scallop shell. But it turns
out to be “an image,” he admits, “of muscle tissue that I got from Grays Anatomy.
“What I’m doing is actually very traditional in process,” explains Heroux. “I’m
taking a painter’s approach, juxtaposing soft color with hard line with dense shape—
playing around with those compositional elements to make the painted surface
complicated. It’s a formalist attitude—not just a pattern repeated over and over, but
color, line and shape set off against each other. I conceive the paintings from a formal
approach, modifying the particular imagery and the juxtapositions of color, line and
shape along the way.”
Reluctant to commit his decorations to literal interpretations but happy to ac
knowledge the influence of natural beauty, Heroux strives to grant the shapes a
measure of variety as well. “I’m trying to vary the shapes, and not just the decorations,
of my pots all the time,” he confirms.
This is subtly apparent in surveying the large, stately jars that he admits “are my
favorite pieces to work on right now.” Under the influence of a clearly figurative
poplar leaf, sea urchin, fingerprint or arch, one line of Heroux’s jars looks like a row of
huge elongated eggs that have been opened at one end and had their rims rubbed
smooth—another, because of subtle differences in the form, like seedpods snapped at
the tapered end from twigs.
71
On the single, smooth, continuous “side” of a jar, he plays the
active, collaged pattern off the tight, elegant form of the vessel,
diverting attention from its practical purpose. He likes “the chal
lenge of making each ‘side’ of the jar interesting enough to pull
you around the entire piece.”
In this and in all cases, the form and surface together embody
the unusual combination of sturdy New England reserve (which
deflects attention away from the body) and urbane style (which
draws attention to the body) that is perceptible in his own person
ality and appearance.
These natural variations of shape and color come into being at
the potter’s wheel in Heroux’s studio, sometimes while a pair of
deer or a flock of wild turkeys outside the window emerges from
the white pines to cross the garden on the way to the sanctuary in
the nearby marshes. The time-consuming jars take shape gradu
ally, beginning with a 10-inch bowl for the base, and continuing
upward, coil by coil, toward the rim of the piece. He runs wads of
firm clay through a plunger-type extruder “only to get a workable
wad of clay, not to produce a standard shape,” then attaches the
coil to the rim (kept moist with a ribbon of plastic).
Heroux adds approximately 4½ inches of height per thrown
coil. “I dry each coil with a heat lamp that’s connected to the
electric wheel,” he explains. “It takes about 20 minutes to make
and attach each coil, and each jar has five to eight coils.”
He is grateful for the hard-earned luxury of forming and
glazing all his pottery on his own idyllic piece of property. And
someday he may be equally grateful to do all his firing on the
property as well. He recently installed a new soda kiln in a galvanized-steel shed to one side of the studio. “I have two old electric
kilns in my studio already,” he notes, “and that’s where I do all of
my preparatory bisque firing. But once I learn how to use the soda
Vase,
18
inches
(46
centimeters)
with wax-resisted glaze and oxide wash.
in
height,
thrown
and
altered
stoneware,
kiln correctly, I may be able to do all of the glaze firing at home,
too. In the meantime, I have access to the gas-fired kilns at work.”
Use of the kilns is one of the perks of Heroux’s job as a
ceramics instructor at Bates College, where he teaches five classes
per year. “People think of Colby, Bowdoin and Bates as a triad of
private Maine colleges. Since 1984, Bates has been the only one
with a ceramics program, and I’m the only ceramics instructor at
Bates. It’s where a student might come if he or she developed an
interest in pottery while in high school, say.”
He teaches three days a week during the fall, winter and spring
semesters. “Though I enjoy teaching and like the students—
they’re incredibly courteous and responsible—I don’t have that
much time for creating my own work during the school year,” he
admits. “And once I do have the time, in the summer and on
school vacations, I spend as much time on the glazing as I do on
the forming—sometimes even more.”
After bisque firing a load, he applies a Shino-like glaze, an “offwhite color that under certain conditions can fire to the peach,
72
Vases, to 10 inches (25 centimeters) in height, with wax-resisted glaze and oxide washes, by Paul Heroux, New Gloucester, Maine.
orange and charcoal you see in some of the surfaces,” he says. “I
like to keep it light, though, in order to get a base glaze on which
a lot of stuff can happen to the added detail painting during the
firing.” Heroux stresses that the added detail painting is done
“very traditionally, with water-based oxides. That’s what I use to
get those rust-colored veins in the leaf patterns. It’s an ancient
Asian brush design.”
On a tray, for example, he may make his characteristic parallel
etches—some of which, to the nature lover anyway, will look as
much like porcupine quills or moose hair in snow as curious
markings on birch bark.
For areas of solid color, Heroux immerses the vessel directly
into the pail of glaze. “To protect the parts I’ve already painted
and let dry, I apply a liquid wax resist..., knowing that the wax
A small sampling of his platters and vases has been carried for
years by Joan Sonnabend, a private art dealer in Boston, with
whom Heroux worked in the late 1960s, when he was a student at
the Museum School in Boston and she was running the nearby
Parker 470 gallery. His new work has been shown in solo exhibi
tions every two years since 1996 at the Howard Yezerski Gallery,
located on gallery-gifted Newbury Street, where few of the many
dealers represent studio potters or stage their solo exhibitions.
“Even at $1100 per platter and $3600 per jar,” says Heroux,
“pottery still doesn’t command the kind of prices that paintings
do on Newbury Street.”
Paul Heroux might have opted to adorn his cylindrical vases
will burn off in the kiln.
“Sometimes, to give some visual texture, I’ll scratch rough
lines into a colored area of the piece,” he says, “and fill them with
black glaze.”
forms. He’s happy with his garden-view sunroom with a handpainted tile floor as an entrance to a homelstudio that, complete
with energy-efficient kerosene heater and low-impact appliances,
could pass for a temple of serene, conscientious, natural beauty.
with the horizontal bands of color that a form-focused potter
might choose, rather than with elaborate and allusive organic
73
By Wuanda Walls
In discussing her work, New York artist Sana Musasama often men
tions her travels to Africa, Asia, Central and South America. “My
development as a ceramics artist has been animated by an impulse to
explore the world,” she explains. “In the course of my inquiry into
numerous clay cultures, I have mastered various techniques, firing
atmospheres and surfaces. Enriched by this exploration, my work
emerges from and exists in a domain of imaginative freedom that is
hospitable to diverse influences, concepts and techniques.”
Her work also focuses on women’s issues—female circumcision,
foot binding, dowry burning, rape and prostitution. Musasama began
traveling to countries in West Africa in the 1970s, and lived and
worked in Mendeland, Sierra Leone, for several seasons. It was there
“Maple Tree Series,” to approximately 5 feet (1.5 meters) in height,
various clays, with glazes, fired to Cone 04, at List Gallery,
Swarthmore College, Swarthmore, Pennsylvania.
that she witnessed the transformation of young girls
after they had been circumcised.
“While living there, I met young girls between
the ages of ten and fifteen, who would visit my hut
every day. We began rituals of them combing my
hair, trying on my clothing, putting on my lip gloss.
They taught me the formal greetings, how to sit like
“Outer
Beauty/Inner
Anguish
#39,”
7
inches
(18
centimeters)
in height, stoneware, with mixed media.
a Mende woman, eat with my tongue, never allowing
the food to touch my lips. They showed me how to
cook on three rocks and wash my clothes in the river,
beating them on washing stones. They taught me the
birth chants, and I learned too soon to recognize the
death song.
“Suddenly, one morning, there were no young
girls in the village. They returned thirteen weeks
later, changed. Our ritual of sisterhood was no more.
They no longer had the sparkle of wonderment in
their eyes. They weren’t silly young girls any longer.
They didn’t want to have anything to do with me. I
could not understand. I didn’t know why. I know
now that they had been circumcised.”
For more than 20 years, Musasama’s memories of
the girls’ rejection and silence, have been percolating in
her mind, and have led to further research on ancient
rites of passage and ceremonies to preserve female
chastity. “Outer Beautyllnner Anguish,” a series of punctured and
bound flowerlike forms, tells the story of the girls’ silent suffering.
When shown at Swarthmore College’s List Gallery, director
pret this history,” Musasama commented. “I began this body of
work in 1991, and still feel imbued with passion to create and
retell our collective story.”
Andrea Packard noted that Musasama’s works “powerfully convey
the complex emotions evoked by the specter of female circumci
sion. Each refers to a distinct form of labial penetration and
suture. Viewing the works together, one is both moved by the
compassion and tenderness of her craft, and appalled by the
suffering she depicts. In less able and conscientious hands, the
work would seem maudlin.”
The series evolved slowly, encompassing years of research and
travel. When Musasama was ready to commit her ideas to clay,
she chose a stoneware body “because of its pure vitrification.” The
Placed on a bed of multicolored stones and shards, the handbuilt, heavily textured totems range in height from 3½ to over 5
feet. Their twisting, bending biomorphic forms incorporate im
agery representing the primary participants in the movement
(Dutch colonists, Native Americans and free African Americans).
Working with a variety of clay bodies (from Egyptian paste to
porcelain), Musasama has built approximately 30 trees to date,
but exhibits only 5 or 6 at a time. Several were made during
residencies in other states and other countries; each of these is
named after the place where it was created (for example, the
European Ceramic Work Center
in the Netherlands, Wadastick Art
Center in Mexico and Lasuente
Studio Space in Costa Rica).
No doubt, Musasama’s educa
tion (B.F.A. from City College,
New York, and M.F.A. from the
New York State College of Ce
ramics, Alfred University) and en
suing residencies have informed
her technical vocabulary and ar
tistic expression; however, she rec
ognizes Dennis Parks of the
Tuscarora Pottery School in Ne
vada as her most influential
teacher. “He introduced me to
crankcase-oil firing, single firing,
brick making, sage brushing, ice
fishing, hunting, kilnbuilding,
farming and animal husbandry. He
got me thinking about commu
nity, as I had lived it in Mendeland.
He exposed me to a lifestyle and
ideology intertwined and commit
ted to creativity, respect for envi
ronment, and people.”
Two pieces from the “Inner Beauty/Outer Anguish” series, to 8 inches (20 centimeters) in height,
After her experience with Parks,
clay with mixed media, by Sana Musasama, St. Albans, New York.
Musasama picked countries to visit
when “the clay season started. I
would walk in and observe. If asked
firing process of controlled, sustained heat, hot enough to trans
to participate, I would do so—not only clay making, but weaving,
form clay, paralleled what she imagined happened to the girls.
farming, basket making, helping women give birth, helping with
“There was nowhere to retreat. They were transformed.”
burials. I participated in the daily rituals. I wouldn’t say I had one
Also shown in the List Gallery was the “Maple Tree Series,” an
person informing me, but instead a community.”
installation of five totemic tree forms inspired by an abolitionist
Social and political issues have always been prominent in
movement that advocated maple syrup tapping as an alternative
Musasama’s work. Her ideas are generated through an ongoing
to using African slaves in the West Indies to harvest sugarcane. “I
process of observation and synthesis of emotion. The resulting
was deeply affected by the story of the Maple Tree movement of
the 1790s, and decided to devote my creative energy to reinter
sculptures are vibrant and confident, resonating with respect and
humility for humanity.
76
Ewer, 12 inches (30 centimeters) in height, thrown porcelain,
Vase, 14 inches (36 centimeters)
slip-cast handle and spout, with Olive Green to Black Glaze.
in
height, porcelain,
with Iron Red Glaze.
Subtle Elegance
The Vessels of Pete Scherzer
by Anderson Turner
The relationship between artist and patron or artist and
comment on its design or ease of use, but only on rare
viewer has long been scrutinized. Walk through any art
museum and you will hear docents trying to gauge the
emotional response of their audience to the work being
discussed. “How does this make you feel?” and “Do you
relate to what the artist is trying to convey?” are frequent
questions. Too often, these questions are left behind
when the subject is pottery. When a pot is “good,” we
occasions do we entertain the guttural emotional re
sponse that a painting, sculpture or quality film may
evoke. The work of Cleveland potter Pete Scherzer sug
gests something more than the utilitarian. While his
pots are meant to be used, they are also “meant to
embellish their setting and bring attention to the func
tion they perform,” Scherzer comments.
77
To handle one of his pots is to experience
fluidity of line, but with changes and surprises at
every angle. There is a rightness that is not unlike
hitting the sweet spot on a baseball bat or golf
club. As William Brouillard, Scherzer’s colleague
at the Cleveland Institute of Art (CIA), said, “I
don’t know many people who are that exact.”
Some shapes allude to historical precedents.
While he denies conscious connections, Scherzer
does admit to the influence of Victorian homes
on his work after doing a residency in Montana.
It is also easy to imagine references to the Medici
coat of arms or terra-cotta architectural orna
ments. That ability to view Scherzer’s work from
a historical perspective adds to its timelessness.
He is able to have one foot in the past while at
the same time stepping out to something dis
tinctly new.
Every shape begins on the wheel. Despite the
emphasis on slip-cast additions, “the pieces are
made primarily on the wheel (about 90% of the
work is throwing). Some of the taller pieces are
thrown in more than one section. And all of my
molds are made from pulled or thrown parts,
sometimes cut, altered and assembled. I have had
very little trouble combining the slip-cast parts
with thrown parts. I keep the join as small as
possible to prevent any stress, but the most im
portant issue is timing.
“Never join a dry handle to a wet pot or vice
versa. Ideally, a piece should be taken out of the
mold, cleaned up and attached to the pot imme
diately after trimming (leather hard).”
Although some of his recent forms border on
the nonfunctional, Scherzer maintains their abil
ity to be used, emphasizing he has no desire to
hang his platters on the wall just to look at them.
He furthers this desire by choosing glazes that are
based in utility. “I found this Chinese book of
glazes while at Alfred for graduate school, and I
attempted to reformulate them for my own use.”
Slips and glazes are used to create surface
texture, particularly in the tall vases and ewers. It
Vase, 14 inches (36 centimeters) in height, porcelain,
with teadust glaze, soda fired.
Plate,
14
inches
(36
centimeters)
in
diameter,
Off-White Glaze
Porcelain Body
(Cone 10)
Custer Feldspar.......................................
6 Tile Clay..................................................
EPK (Edgar Plastic Kaolin)...................
Tennessee Ball Clay (#10)...................
Pyrax............................................................
Silica (Flint)................................................
Plate, 9 inches (23 centimeters) in diameter, thrown and
slip-cast assembled porcelain, with Iron Red Glaze.
thrown and slip-cast assembled porcelain.
24.76%
17.82
17.82
17.82
1.98
19.80
100.00%
For a casting slip, mix the dry clay body with a
solution of 39.60% water, 0.25% Darvan
and 0.08% soda ash.
Iron Red Glaze
(Cone 10)
Bone Ash.................................................... 2.91%
Pearl Ash (Potassium Carbonate)... 10.68
Whiting ...................................................... 25.24
Custer Feldspar....................................... 6.80
Grolleg Kaolin.......................................... 35.92
Silica (Flint)................................................ 18.45
100.00%
Add: Red Iron Oxide (Spanish).......... 9.71%
Olive Green to Black Glaze
(Cone 10)
Magnesium Carbonate............................... 13 %
Whiting.............................................................. 23
Custer Feldspar.............................................. 16
Grolleg Kaolin................................................. 32
Silica (Flint)....................................................... 16
100%
Add: Rutile........................................................
1%
Scherzer Base Glaze
(Cone 10)
Barium Carbonate......................................... 1 %
Magnesium Carbonate............................... 1
Petalite............................................................... 1
Whiting.............................................................. 27
Custer Feldspar.............................................. 20
Grolleg Kaolin................................................. 25
Silica (Flint)....................................................... 25
100%
For a dark green, add 10% copper carbonate
and 2% titanium dioxide.
79
(Cone 10)
Gerstley Borate ...................................... 10.00 %
Pearl Ash .................................................. 6.30
Whiting....................................................... 16.20
Custer Feldspar....................................... 4.50
Nepheline Syenite................................. 34.20
Grolleg Kaolin.......................................... 20.70
Silica (Flint)................................................ 8.10
Add: Chrome Oxide...............................
Cobalt Carbonate........................
Red Iron Oxide.............................
100.00%
0.13%
0.13%
5.00 %
is a subtle design element, but one that brings a bit more
of Scherzer into each of the pieces he has created. It is this
evidence of the artist in the work that often interests or
challenges the viewer. Looking at the rim of one of
Scherzer’s plates, it is impossible not to wonder how it
was done and what exactly the success rate is during the
making process.
Scherzer himself appears to be unsure of the finished
products, and is constantly seeking out more in each
piece. Perhaps it is that uncertainty that adds to the
quality of the work. He does not assume viewers know all
there is to know about ceramics, and he wants to share his
insights on a medium he loves. The insights, in this case,
are ones of beauty and elegance, subtly delivered by the
hands of a potter.
Plate, 9 inches (23 centimeters) in diameter,
thrown and slip-cast assembled porcelain.
Plate, 10 inches (25 centimeters) square, thrown and slip-cast assembled porcelain, by Pete Scherzer, Cleveland, Ohio.
80
Alison Britton
“Scrawl,”
34
centimeters
(13
inches)
in
height,
handbuilt
earthenware,
with
Ceramic vessels by British artist Alison Britton were
exhibited through May 10 at Barrett Marsden Gallery
in London. “As I stare at the shapes and empty spaces of
[Britton’s] latest pots in the studio, I become aware of
their relationship to ordinary objects nearby: the heavy
gas cylinder, buckets and sinks, an old ceramic jelly
mold,” states Amanda Fielding, Curator of the Collec
tion at the Crafts Council in London. “I also notice the
pinned-up images of mossy tree trunks, carved drapery
(soft fabric transformed into hard stone), and a 17thcentury Spanish glass vase with strange pincered handles;
all of which connect to her work in one way or another.
There is both a sense of continuity and impetus from
new sources and ideas.
“The pots fall roughly into two groups: squarish,
open forms on the one hand; secretive, columnlike
structures on the other, with pleating and fluting com
mon to both. Speaking of the interplay between them,
[Britton] delves into a small sketchbook to show me a
pertinent list of paired words: soft/hard, skirtslbunkers,
rippleslsheer block, female/male, columnltrough, tree
spritelelephant,” Fielding notes. “Hard meets soft, male
meets female, open meets closed: Britton’s new pots are
full of such contradictions.”
slip,
underglaze and clear matt glaze, £3000 (US$4825).
“Close
Blue,”
47
centimeters
(19
inches)
“Accommodation,”
earthenware,
centimeters
in
£3300 (US$5300).
and clear glaze, £3300 (US$5300).
81
height,
47
in height, handbuilt earthenware,
with
slip,
(19
inches)
underglaze
Clay: A Life Story
by Pat Kenny
I have a story to tell. It’s a clay
story. My life spans the history of
modern ceramics. I have seen as
tronomical changes take place in
equipment, firing, supplies, meth
imagine that happening now? He
finally found Dorothy Canfield at
Oswego State Normal School. I
was 11 years old, and to keep me
out of trouble, they gave me some
clay. I made a few monsters but
wasn’t that interested. I planned to
be a paleontologist.
By the following summer, Dad
had found Alfred University. That
summer, I was in Girl Scout camp,
ods and sources of information. Ce
ramics Monthly is part of this, too.
My father, John B. Kenny, who
wrote The Complete Book of Pottery
Making, was the son of a noble
German lady and a brilliant-butwild Irish inventor who made and
but the next, the summer of 1937,
lost several fortunes, and had a
weakness for Ziegfield girls. Dad
served in World War I and was
mustered out in France. He went
to Paris and enrolled in the
Academie des Beaux Arts. Coming
home, he married a pretty farm
girl (who became a sophisticated
city lady), and on April 17, 1924,
they had me.
Dad became a high-school art
teacher in New York City. Some of
his friends thought that wasn’t a
very good job, but he loved to
Pat Kenny in her Santa Barbara studio.
travel, and the paid summer vaca
tions and sabbatical leaves sounded
good. When the crash of 1929 came, he
had a job while many others didn’t.
We were one of the few families who
had a car, and we traveled every sum
mer. In 1934, we were driving in the
backwoods of Alabama when we came
upon a genuine folk potter throwing at
a primitive wheel, making utilitarian
pots from clay he had dug on his own
I got to tag along to Alfred. Charles
Harder allowed me full use of the
materials and equipment. I learned
to throw when I was 13.
The faculty and students were
just beginning to experiment with
reduction, and the last kiln of the
summer was to be the first reduc
tion firing at Alfred. I took two
bowls I had thrown, borrowed
some glaze and dabbed some iron
filings on the rim of one.
When the kiln was opened, it
was very disappointing—one di
saster after another. But way in
the back were two bowls that came out
well. Professor Harder asked, “Whose
are these?” When he turned them over,
we saw that they were mine. Honest!
That was 66 years ago, and I can still
feel the surprise and thrill of that mo
ment. One of those bowls, not the one
with the iron filings, is on page 62 of
Dad’s book, under my married name of
Pat Lopez. What I didn’t realize then
was that clay was going to be my life.
land, as his father and grandfather had
Bowls, approximately 10 inches (25
centimeters)
before him.
When I was 15, Dad introduced me
in diameter, stoneware, fired to
Cone 9 in oxidation.
We stared in wonderment. We had
to Vally Wieselthier, the legendary
never seen anything like that before. He showed off a little for the
Viennese art deco artist. She offered me a summer job that turned
city slickers, and we bought a pitcher and some mugs. Dad was
into an apprenticeship and a very deep friendship.
hooked for life!
The year was 1939, and New York was full of refugees fleeing
The next summer, Dad was determined to learn how to make
the Nazis. The artists and intellectuals seemed to make Vally’s
pottery, but had a difficult time finding a place to study. Can you
apartment studio their first stop. She would hold court while
82
Sources for supplies and equipment were few and far between.
working on a large figure, hardly looking at it, wearing multicol
Finely
ground materials were rarely available. The ball mills were
ored high-heeled sandals, low-cut blouses, big felt hats (“Dahling,
constantly running. Glaze calculation was with pencil and paper;
you have to have these made; you can’t buy them.”) and scarlet
also, with the exception of Cullen Parmelee’s Ceramic Glazes,
lipstick. She would tell raucous jokes with a laugh that could have
which was extremely technical and used by the engineers, there
shattered glass. For a shy teenager, it was quite an experience.
were no books and no Ceramics Monthly.
She called me kindl (child) and I adored her. Glazes were
I had to leave Alfred before I graduated, but I have always had
mixed, literally, with a fistful of this and a fistful of that. (“Dahling,
the warmest feelings for my time there, and the school considers
throw in some more borax.”) We touched up minor flaws with
me an alumna. Not too long ago, I went to summer school
nail polish. No furniture in a bisque kiln, we just piled them up
(again) and had a wonderful time. I felt I had come full circle.
any old way.
At the end of the war, I went back to New York City and
These were not her large sculptures, but smallish pieces to be
found a nice little apartment. Greenwich House was doing some
sold in upscale department stores. We used press molds she had
firings, and there was an occasional studio job, but not a whole lot
undercut, so that when we pulled the forms out they tore slightly
was happening.
and when repaired had a more handmade look.
One day my father said, “Why don’t you hitchhike to Califor
Before World War II, the only use for uranium was in glazes. It
nia?
There are lots of ceramics jobs there.” I did and there weren’t.
made a very intense red or orange. Vally used it a lot. So did Susi
Singer. During the war it became un
available. We didn’t know why, until
Hiroshima. Both women died of can
cer; Vally was barely 50.
In 1942, the year the U.S. entered
the war, I entered Alfred University as
a freshman. Professor Harder was in
his prime. Viktor Schreckengost, who
we all called “Schreckie,” was also a
popular teacher, and since most of the
instructors had known Charles Binns,
some of him was still there as well.
Our school song ended with a rousing
“Alfred! The mother of men!” (I hear
that has been changed.)
The equipment and working con
ditions then: one electric wheel, the
rest were kickwheels; not much atten
tion paid to toxicity (we handled white
and red lead with our bare hands).
There were no slab rollers, no extrud
ers, no programmable kilns, and the
electric ones weren’t very good. We
had a damp room, but to keep our
clay wet, we had to resort to wet bur
lap that rotted and stank or galvanized
garbage cans that rotted through. We
suspended our glazes with gum tragacanth, which also rotted and stank.
Construct series, 8½ inches (22 centimeters) in height, fired to Cone 9 in oxidation.
83
“Art Director’s Nightmare,” 18 inches (46 centimeters) in height
“Salute to Los Angeles on its 200th Birthday,” 6 inches (15 centimeters) in
handbuilt stoneware, fired to Cone 6 in oxidation.
height, thrown and carved porcelain, fired to Cone 9 in oxidation.
The trip was fairly uneventful, though one night I ended up
sleeping on the only couch in the living room of a house in Salt
Lake City, with an entire jazz band sleeping on the floor.
On arrival in San Francisco, I had no luck finding a job in
ceramics, but I did find a husband—on a cable car. Bob Lopez
(and fellow Marine Richard Diebencorn) had recently been re
leased from the Corps. They had been part of a special unit made
up of artists and writers (most from Hollywood). The Navy had
made a very successful movie, “Fighting Lady,” about the new
aircraft carriers, and I guess the Marines wanted to do something
similar. The war ended before they could do it. The men in this
unit were definitely not your typical Devil Dogs.
Bob and I were married in 1947, and immediately had three
children. We moved to Los Angeles to be near Bob’s family. His
stepfather, J. J. Cohn, was vice president in charge of production
techniques, shows, everything that was happening in our world.
In some of my old notes, I found: “Every issue of Ceramics
Monthly is like a new class.”
at MGM Studios. When he died at the age of 100, he was the last
living founder of the Motion Picture Academy. My mother-inlaw, Bessie, was often too ill to go to the many banquets the
“industry” gave, so she would make sure I had a beautiful gown
and send me off in her place. It was fun, and I got to meet some
fabulous people.
Somewhere about this time, Bernard Leach’s book, A Potter's
Book, hit our shores. It had a tremendous effect on American
potters. It also inspired a lot of brown pots. The G.I. Bill had an
effect too. A surprising number of vets opted to study art.
Of major importance was Ceramics Monthly s arrival. It be
came a valuable source of information for equipment, supplies,
By the early 1950s, Bob and I had found a nice little house in
West Los Angeles. I set up my first studio in the garage, and Bob,
who had given up writing to become a photographer, set up his
darkroom in the house. That way we were both available to take
care of the kids.
So I was making pots, and Bob was photographing for people
like Max and Rita Lawrence at Architectural Pottery, where David
Cressy was making those wonderful large pieces, and FreemanLederman where LaGardo Tackett was designing very modern
pieces. I did some designs for Freeman-Lederman also.
Edith Wylie founded the Craft and Folk Art Museum, and I
sold through its shop. Woodward Radcliffe, a marvelous writer for
the Los Angeles Times Magazine, liked my work and was very generous
with write-ups. My work was also shown in several consumer
magazines, including House and Garden, Cosmopolitan and even,
of all things, Esquire. Of course, I always had good photographs.
Though we remained the closest of friends, Bob and I di
vorced in 1963. I remarried and was signing my work Pat Casad,
then when that marriage broke up, I went back to my maiden
name—all very confusing and not very sensible.
As Pat Casad, I designed for Era. I had a large studio in West
Los Angeles with a great downdraft Denver kiln, a wonderful
drop-head wheel (how I wish I had kept that), a large number of
drop-in bats and a rotating ware rack, which I could load up
84
without rising from the wheel. I was doing production throwing,
up to a hundred largish pots a day. The metal walls of the studio
would actually drip moisture on hot days.
These pieces were going to upscale department stores, like
Bloomingdales, but after everyone took a cut, I was getting only
one-quarter retail. I had turned myself into a machine, and my
hands began to go. I had to stop. This was a very black period in
my life.
I took three years off. We went to Oregon and builta house in
the woods by hand, an interesting experience,
butthemarriage
was shot.
Returning to L.A., I set up a small but efficient studio, and
made a series of cut bowls that I was happy with and that sold
well. I was Pat Kenny again, and this was a totally different body
of work, but my hands were too damaged and I can still remem
ber the pain. That was it. I sold most of
my equipment, and said I would never
pot again.
I had to have surgery on my left hand
(I’m left handed). The doctor removed
the bone at the base of my thumb. It was
literally in pieces.
Twelve years went by. I earned a
certificate in horticulture from UCLA. I
designed gardens (organic). I also did some
couturier sewing, and designed and made
the costumes for a music video that won a
prize. But something was missing.
One day, it finally hit me. There is
more than one way to work with clay. I
had this strange urge to make an overcoat
from clay. So I made a free-standing coat
with a shawl collar and raglan sleeves.
Even though I was “never going to work
in clay again,” I had kept a small electric
kiln, my trusty glaze scale and some tools.
So I spent another summer at Alfred. I
didn’t make anything special, but learned
a lot about new equipment, caught up on
new techniques and had a wonderful time.
I then moved to beautiful Santa Bar
bara, making sure to get a house with a
two-car garage. They say that only in
superwealthy Montecito is there a car, an
expensive one, in the garage. In Hope
Ranch, it’s a horse. The rest of us have either illegal aliens, UCSB
students or an art studio out there.
I bought a slab roller, which I raised up to waist height, a
programmable kiln, a spray booth and an electric wheel. Why the
wheel? I can throw a little bit now if I’m careful, and I use some
simple throwing molds. Also, I brush on some glazes using the
spinning wheel.
I have figured out new ways to work with my hands. Some
times, my limitations have actually freed me to explore new kinds
of work. I try to keep an open mind. Some of my sewing tech
niques come in handy. I have even used patterns cut from the very
old X-rays my surgeon gives me. The slab roller is the backbone of
the studio.
Now, at the age of 79, I feel I am doing my best work ever.
What more could I ask?
“Construct Series,” 8Y2 inches (22 centimeters) in height, stoneware, fired to Cone 6 in oxidation,
by Pat Kenny, Santa Barbara, California; www.patkenny-ceramics.com.
85
“Open Tubes II,” 22 inches (56 centimeters) square, stoneware
with white maiolica glaze, fired to Cone 5, mounted on wood.
“Reduction IV,” 22 inches (56 centimeters) square, stoneware
Restless Focus
by Jack N. Mohr
In a recent review, an art critic described me as a “restless soul.”
He was referring to the way I work: focused, but in different
disciplines at the same time—painting, collage, sculpture and
ceramics. I think he observed well.
My education in visual communication at the State University
for Creative Arts in Berlin, Germany, where I received a master’s
degree in 1972, embraced the whole spectrum—from drawing
and painting to graphic design, photography, typography and
printing. At that time, I preferred painting (usually acrylics—oils
take too long for a “restless soul”) and collage. But it has proven
impossible to confine myself to only one medium or two.
Every day offers visual stimulation and inspiration to rearrange,
to form, to design, to create. I would miss the exciting challenges,
experiences and new insights just working with the medium I feel
safe with. I love to switch between mediums, to transfer my ideas
from one discipline to another, to explore new areas of artistic
expression, and to search for their limits. Today, I paint, make
collages and occasionally do prints, plus ceramic sculptures.
I moved from Berlin to Santa Barbara, California, in 1997. A
year later, I had my first encounter with ceramics. It happened at
the studio of Pat Kenny. While others in my group enjoyed the
opportunity to form pots and cups, I sensed the potential of the
medium, the chance to pursue new directions with my art.
I took thin slabs of the smooth gray-white material and began
modeling strips into waves, cutting and twisting other shapes, and
finally attached all to a flat 12-inch square. I cut holes in the
square for wall hanging and left it at the studio to be glazed and
fired. I wanted it to be completely white.
A few weeks later, when our group returned to Kenny’s studio,
I could have sold my first ceramic piece, which I classified as a
“relief-style image,” but I rejected the offer. It had come too fast. I
had to reflect on my new medium first.
86
I was fascinated by the versatility of clay. I saw a chance to
pursue several ideas I had developed decades earlier when I made
an all-white relief from cardboard, wood and glue. With card
board, I reached the limit quickly, but today I think of this piece
as the father of my “Topography of White” series.
Two weeks later, I called Kenny and asked if she would teach
me how to work with clay. She agreed, and I began studying a day
or two per week with her. And I learned fast, driven by a constant
flow of ideas. The toughest part for my “restless soul” was dealing
with the amount of time needed to finish a piece.
After a year and a half, I had completed well over 100 ceramic
reliefs and small sculptures. Two sculptures were accepted into a
juried show at the gallery of the Santa Barbara City College, and a
few weeks later, at a studio show with Kenny, I sold my first
ceramic pieces. Then the owner of Delphine Gallery in Santa
Barbara became interested in my work and offered me a solo
show, my first in the U.S.
I
have a lot of respect for the entire history of ceramics. The
effects of different kinds of firing amaze me. But for my work, I
want predictable results. I see my pieces only in white. Color
would distract from the meaning and originality of the design,
destroying the liveliness of the ever-changing variations of white,
which depend so much on the source and angle of light.
My working process always involves a conceptual component:
When I come up with a new notion for something, I normally
envision a whole series and imagine how the pieces would look in
various environments.
When creating new pieces, my inner eye draws them, corrects
them until the design is acceptable. Then I need to make a
thumbnail sketch, very loose, just to remember later what I had
planned. Normally, once I draw on paper, more ideas evolve.
Then, when time allows, I go into the studio, roll out the clay and
start building. I rarely follow the original drawing exactly; the
material flows differently, the work process, too, but in general, I
stay with my initial thought.
I
use a commercial gray-white body tempered with fine sand, a
50:50 mix of stoneware and porcelain, or pure porcelain. My
glazes are all hand-mixed maiolica types, containing tin for opaque
ness; most are sprayed on, though some are brushed on. Firing is
done in an electric kiln to Cone 5 or 6, with slow heating-up and
cooling-down times.
My ceramic shapes and forms are becoming looser, bolder.
The inclusion of other elements (rods, nails, black cords, etc.),
which I began in the “Topography of White” series, has become
“Eclectic
III,”
22
inches
(56
centimeters)
square,
“Rhythm I,” 22 inches (56 centimeters) square, stoneware
with white maiolica glaze, fired to Cone 5, mounted on wood,
by Jack N. Mohr, Santa Barbara, California.
an essential aspect. In life, everything has its facets—serene beauty
on one side, often strangely disturbed and disrupted on the other.
My art reflects and deals with such contradictions and uncom
mon combinations: smooth surfaces with rough, torn edges, nailed
to its base, its framework of life.
87
stoneware
B. R. and Abhay Pandit
by Brinda Gill
Abhay Pandit
B. R. Pandit (Panditji)
“When the wheel moves, my hands move, my mind moves
and I am fully focused,” says 24-year-old potter Abhay
Pandit. For he finds that just as he tries to master the ball of
clay, it also tries to master him.
With his father, B. R. Pandit (affectionately called
Panditji), as his mentor, Abhay grew up to the rhythm of
the wheel and the cool touch of clay. Born in a small village
in Bihar, India, in 1949, Panditji trained at the Village
Pottery Institute in Khanapur, Belgaum, then made Mumbai
his home in 1971. Training in pottery in Mumbai and
Delhi, attending a workshop in Japan in 1989, and further
travel to Japan rounded out his ceramics education. Over
the years, his work has been featured in solo and group
exhibitions in Mumbai and Delhi, and he has taught at the
Bottles,
to
48
centimeters
(19
inches)
in
glazed and fired to 1260°C (2300°F), by Abhay Pandit.
height,
wheel-thrown
stoneware,
Sophia Polytechnic and Kamla Mehta School for the Blind.
In Panditji’s studio, young Abhay quite naturally learned
the nuances of making pottery. Though he took a course in
commercial art at Mumbai’s J. J. School of Art, he realized
clay was calling, and packed his bags to head south to
Pondicherry, where he acquired further training under the
gentle guidance of Ray Meeker and Deborah Smith (see
“Golden Bridge Pottery” in the JunelJulylAugust 2002
88
Vase, 43 centimeters (17 inches) in height, wheel thrown, with chatter marks added at leather-hard stage, oxide wash,
incised longitudinal lines and cobalt-blue glaze on neck, fired to 1260°C (2300°F), by B. R. Pandit.
89
Water-drop jars, to 18 centimeters
(7 inches) in height, with copper red
glaze, fired to 1260°C (2300°F)
in reduction, by B. R. Pandit.
Ceramics Monthly), before returning to Mumbai to
work with his father.
The Pandit studio is located in Bhayandar in
north Mumbai. There, father and son favor work
ing with a high-fired stoneware they prepare with
kaolin, ball clay, feldspar and silica. At the wheel,
they are masters at coaxing the clay into innovative
as well as traditional shapes.
The dry pots are bisque fired, then completed
with various glazing and firing techniques. Panditji
is known for two processes in particular—copper
red reduction and soda firing. He loves reds, and
his glaze repertoire includes a range of shades from
a muted dark red matt to a sparkling scarlet gloss.
For the soda-firing technique, when the tempera
ture touches 1260°C (2300°F), he sprays a solution
of sodium bicarbonate into the kiln through a small
opening. The spray vaporizes instantly, settling on
and interacting with the surfaces of the pots.
With these two glazinglfiring techniques,
Panditji creates myriad surface effects. For example,
he may return a leather-hard pot to the wheel and
hold a long stick with a “tooth” at the end against
Vases, to 24 centimeters (9 inches) in height, stoneware, with copper red glaze,
fired to 1260°C (2300°F) in reduction, by B. R. Pandit.
its side as it spins. Chattering marks are made as
the tooth repeatedly strikes the surface, “sounding
like a woodpecker.” To add further interest, Panditji
often incises longitudinal lines into the chattermarked surface.
Once the pot has been bisqued, he may apply a
barium, copper and feldspar wash over the chatter
ing, cover this wash with wax to resist glaze, then
apply a cobalt-blue glaze to the neck. When the pot
90
emerges from the high firing, the chattering on the
body is a soft blue-green, while the neck is spar
kling blue.
Abhay’s expression is more unconventional when
juxtaposed with Panditji’s, offering an interesting
contrast between generations. Unusual shapes with
wire-cut patterns are typical of his work. For the
wire-cutting technique, he rolls out a thick slab,
then slices it horizontally with a wire, turning it
regularly “like a steering wheel” to create lines and
waves in different directions. The wire-cut slabs are
joined and placed on a mold to set up; additional
sections are wheel thrown. He then joins them all
seamlessly, making it something of a challenge for
the viewer to figure out how the pot was made. “I
want the viewer to think about it,” he offers, “for
pots should be alive, not dull.”
Sharing similar thoughts, space and clay, father
and son create a range of functional and decorative
pottery. Imbued with beauty and strength, their
work brings them much joy. As they continue to
expand their repertoire by experimenting with
shapes and techniques, they celebrate their passion
for pottery.
Vase, 46 centimeters (18 inches)
in height, constructed from wire-cut
stoneware slabs, with brushed iron
slip, soda fired to 1300°C (2375°F),
by Abhay Pandit.
Bottles, to 18 centimeters (7 inches)
in
height,
stoneware
constructed
slabs
and
from
wire-cut
thrown
parts,
with copper glaze, fired in reduction
to 1260°C (2300°F), by Abhay Pandit,
Bombay, India.
91
call for entries
Application Deadlines for Exhibitions, Fairs,
Festivals and Sales
International Exhibitions
September 20 entry deadline
Ft. Wayne, Indiana "Cup: The Intimate Object II"
(November 22-January 9,2004). Juried from slides.
Juror: Julia Galloway. Fee: $15 for up to 3 entries.
Awards: $800. For prospectus, contact Charlie
Cummings Clay Studio:
see website
www.daylink.com; or telephone (260) 458-9160.
October 15 entry deadline
Warrensburg, Missouri "Greater Midwest Interna
tional XIX" (January 26-February 27, 2004), open
to works in all media, except video and perfor
mance, by artists 21 years and older. Juried from up
to 2 slides per entry. Juror: Douglass Freed, director,
the Daum Museum of Contemporary Art. Fee: $25
for up to 3 entries. Awards: 4 totaling $1600, plus
additional exhibition opportunities. For prospectus,
send business-size SASE to Gallery Director, Central
Missouri State University, Art Center Gallery,
Warrensburg 64093; or telephone (660) 543-4498.
December 3 entry deadline
Missoula, Montana "International Cup" (February
6-29, 2004), open to clay objects that incorporate
the cup as its theme. Juried from slides. Juror: Beth
Lo. Fee: $15 for up to 2 entries. Cash awards. For
prospectus, contact the Clay Studio, 910 Dickens,
Missoula
59801;
e-mail
[email protected];
or telephone (406) 543-0509.
Chicago, Illinois "Spertus Judaica Prize 2004" (Fall
2004), open to works in all media creating a ner
tamid, an "eternal light" suspended in front of the
Torah Ark in synagogues; open to artists of all
nationalities and religions. Juried from slides, artist's
statement and biography. Award: $ 10,000 to win
ning piece. For prospectus, contact Spertus Prize
Competition, Spertus Museum, 618 S. Michigan,
Chicago 60605; e-mail [email protected]; see
website www.spertus.edu; or fax (312) 922-3934.
United States Exhibitions
St. Petersburg, Florida "St. Petersburg Clay National
2003" (November 14-December 20). Juried from
slides. Juror: Don Reitz. Awards: over $10,000.
Contact
St. Petersburg Clay:
see
website
www.stpeteclay.com; or telephone (727) 896-CLAY.
Worcester, Massachusetts "HandleIt" (opensJanu
ary 29, 2004), open to functional mugs and pitch
ers with handles in all mediums. Juried from up to
3 slides. Entry fee: $15. Commission: 40%; all
work must be for sale. Cash award for first place.
For prospectuslfurther information, send SASE to
Worcester Center for Crafts, 25 Sagamore Rd.,
Worcester 01605; telephone Melissa or Candace,
(508) 753-8183, ext. 3006.
Baltimore, Maryland" 100 Teapots 2" (January 10February 14,2004), open to ceramic teapots. Juror:
Gay Smith. Juried from slides of work available for
exhibition. Fee: $15 for up to 5 entries. For entry
form, send SASE to Leigh Taylor Mickelson, Balti
more Clayworks, 5707 Smith Ave., Baltimore 21209;
e-mail [email protected]; see
websitewww.baltimoreclayworks.org;
ortelephone
(410) 578-1919, ext. 18.
Philadelphia, Pennsylvania "The William Penn
Charter School 2003 Juried Art Show" (November
1-8). Juried from slides of no more than 3 works.
Contact 2003 Penn Charter Juried Art Committee:
see website www.penncharter.com/artl; or tele
phone (215) 844-3460.
Louisiana, Missouri "Holiday Magic" (November
27-December 14), open to work related to De
92
cember holidays. Juried from 3-6 slides. Fee: $10.
Contact the Old School, Dixon Gallery, 515
Jackson
St.,
Louisiana
63353-1458;
e-mail
[email protected]; ortelephone (573) 754-5540.
Eugene, Oregon "Potter to Potter: The Club Mud
Juried Exhibit" (February 20-March 26, 2004),
open to functional and decorative ceramics. Juried
from slides (with SASE), resume and artist's state
ment. Entry fee: $10. Commission: 30%. For fur
ther information, contact Potter to Potter, Maude
Kerns Art Center, 1910 E. 15th Ave., Eugene
94703;
e-mail
[email protected];
see
website
www.mkartcenter.org; telephone (541) 345-1571;
or fax (541) 345-6248.
Wayne, Pennsylvania "Craft Forms2003" (De
cember 5, 2003-January 23, 2004). Juror: Paul J.
Smith, director emeritus, American Craft Museum.
Juried from slides. Entry fee: $25. Awards: over
$3000 in cash prizes, plus solo or group exhibi
tions. For prospectus, send SASE to the Wayne Art
Center, 413 Maplewood Ave., Wayne 19087;
see website www.wayneart.org.
Denton, Texas "Materials: Hard and Soft"
(January 31-March 21, 2004), open to crafts in all
media. Juried from slides. Juror: Davira S. Taragin,
director of exhibitions and programs, Racine Art
Museum, Wisconsin. Awards: $5000. For applica
tion, send legal-size SASE to Greater Denton Arts
Council, 207 S. Bell, Denton 76201; for further
information,
see
website
www.dentonarts.com;
or telephone (940) 382-2787.
Coburg, Oregon "La Petite XI" (November), smallformat competition open to 2- and 3-dimensional
artists. Juried from slides. Fee: $10 per entry; $25
for 3 entries. Awards: $2200. For prospectus, send
SASE to Alder Gallery, Box 8517, Coburg 97408; or
telephone (541)342-6411.
Burbank, California "AMERICANA" (November 721), open to wall and pedestal works in all media.
Juried from up to 3 slides. Fee: $30. For prospec
tus, send SASE to AMERICANA, Decorative Arts
Guild, 2331 Holgate Sq., Los Angeles, CA 90031;
or e-mail [email protected].
Saratoga Springs, New York "Bottles and Bowls"
(December 1-January 15, 2004), open to func
tional and nonfunctional bottles and bowls. Juried
from slides. Juror: D. Leslie Ferst. Fee: $20 for
up to 3 slides. Commission: 40%. For entry form,
send SASE to the Saratoga Clay Company, PO
Box
2295,
Wilton,
NY
12831;
e-mail
[email protected]; telephone (518) 587-8265.
Baton Rouge, Louisiana "8 Fluid Ounces" (Febru
ary 17-March 10, 2004), open to ceramic cups.
Juried from upto 5 slides. Juror: Michaelene Walsh.
Fee: $10. For further information, send SASE to
LSU School of Art Gallery, 123 Art Bldg., Baton
Rouge 70803; or e-mail [email protected]; tele
phone (225) 578-5402; or fax (225) 578-9221.
El Cajon, California "Viewpoint: Ceramics 2004"
(January 26-February 20,2004). Juried from slides.
Juror: Leslie Ferrin, owner, Ferrin Gallery. Fee: $25
for up to 3 entries. Awards: $1000, $750 and
$500. For application, contact Grossmont College
Hyde Art Gallery, 8800 Grossmont College Dr., El
Cajon 92020-1799; telephone (619) 644-7299; or
e-mail [email protected].
November 1 entry deadline
La Crosse, Wisconsin "Juried, One Person Show and
Demonstration: Viterbo University" (January 14February 11, 2004), open to ceramics artists. Juried
from 10-20 slides. Fee: $15. Responsibilities
include installation of show, attendance at open
ing, removal of show, and 1- to 2-day workshop.
Awards: $1000 honorarium. For further informa
tion,
contact
Gerard
Justin
Ferrari:
e-mail
Englewood, Colorado "Englewood Cultural Arts
93
call for entries
Center Association and Museum of Outdoor Arts
National Juried Art Exhibition" (February 23March 31, 2004), open to 2- and 3-dimensional
works. Juried from slides. Fee: $25. Commission:
30%. For prospectus, send SASE to Juried Art
Show, Museum of Outdoor Arts, 1000 Englewood
Pkwy., Ste. 2-230, Englewood 80110; or down
load from websites www.englewoodarts.org or
www.moaonline.org.
Beaumont, Texas "42nd Annual Tri-State National
Juried Exhibition" (February 1-29, 2004), open
to all media. Juried from slides. Fee: $15 per
entry, limit 3. Cash awards. For prospectus, send
SASE to Beaumont Art League, Tri-State 2004,
2675
Gulf
St.,
Beaumont
77703;
e-mail
[email protected];
telephone
(409) 833-4179; or fax (409) 832-1563.
Nelsonville, Ohio "Starbrick Clay National 2004"
(February 27-March 31, 2004), open to func
tional, decorative and sculptural ceramics. Juried
from slides. Juror: Brad Schwieger. Fee: $20 for
up to 3 entries. Awards. For prospectus, send
SASE to Starbrick Clay, 21 W. Columbus St.,
Nelsonville 45764; e-mail [email protected];
see website www.starbrick.com; or telephone
(740) 753-1011.
January 23, 2004, entry deadline
Cambridge, Massachusetts "National Prize Show"
(May 3-June 24, 2004). Juried from slides. Juror:
Bob Fitzpatrick, director, Museum of Contempo
rary Art-Chicago. Award: $2000 for Best of
Show. For prospectus, send SASE to Cambridge
Art Association, 25 Lowell St., Cambridge 02138;
e-mail
[email protected];
see
website
www.cambridgeart.org;
or
telephone
(617) 876-0246.
Regional Exhibitions
Kettering, Ohio "Earth in Balance, A Regional
Clay Competition" (November 3-December 12),
open to ceramists residing in Indiana, Kentucky,
Michigan and Ohio. Juried from slides. Juror:
Marty Shuter, ceramicsartistlinstructor. Fee: $15
for up to 3 entries. Commission: 30%. Awards:
$1100. For prospectus, contact Christine Klinger,
Rosewood Gallery, 2655 Olson Dr., Kettering
45420; e-mail [email protected]; see
website
at
www.ketteringoh.orglgallery;
ortelephone (937) 296-0294.
Lexington, Massachusetts "The State of Clay"
(May 2-30, 2004), open to current and former
residents of Massachusetts. Juried from slides.
Juror: Peter Beasecker. Cash awards. For prospec
tus, send #10 SASE to CG1LACS, 130 Waltham St.,
Lexington 02421; or download from website
www.lexingtonma.orglLACS.
Fairs, Festivals and Sales
Washington, D.C. "Smithsonian Craft Show"
(April 22-25, 2004). Juried from 5 slides. Entry
fee: $55. Booth fee: $1000-$ 1700. Online en
try deadline: October 10; online entry fee: $45.
Contact Smithsonian Craft Show, PO Box 37012,
SI, Rm. 436, MRC 037, Washington, D.C. 200137012;
e-mail
[email protected];
see
website
www.smithsoniancraftshow.org;
tele
phone (202) 357-4000 or (888) 832-9554.
Marlborough,
Massachusetts "Paradise City
Arts Festival, Marlborough" (March 19-21,2004).
Juried from 5 slides. For application, e-mail
[email protected];
telephone
(800)
94
51
1-9725;
or
download
from
website
www.paradisecityarts.com.
Northampton, Massachusetts "Paradise City
Arts Festival, Northampton" (May 29-31, 2004).
[email protected];
telephone
(800)
51
1-9725;
or
download
from
website
Valley Forge, Pennsylvania "Paradise City
Arts Festival, Valley Forge" (April 2-4, 2004).
[email protected];
telephone
(800)
51
1-9725;
or
download
from
website
Scottsdale, Arizona "13th Annual Scottsdale Fine
Art and Chocolate Festival" (February 13-15,2004),
open to fine crafts in all media. Juried from slides
or slide show on CD. Fee: $15. For prospectus,
send SASE to Thunderbird Artists, Inc., 15648 N.
Eagles Nest Dr., Fountain Hills, AZ 85268; e-mail
[email protected];
or
see
website
www.thunderbirdartists.com.
Inverness, Florida "32nd Festival of the Arts"
(November 15-16). Juried from slides. Jury
fee: $5. Entry fee: $70. Awards: $20,000.
Contact Marilyn Serianni, Festival of the Arts,
PO Box 1249, Homosassa, FL 34447; e-mail
[email protected];
or
telephone
(352)
527-8795.
San Antonio, Texas "2004 Fiesta Arts Fair" (April
17-18, 2004). Juried from slides. Fee: $20. For
application, contact the Southwest School of Art
and Craft, 300 Augusta, San Antonio 78205;
e-mail
[email protected];
see
website
www.swschool.org; or telephone (210) 224-1848.
Carefree, Arizona "Carefree Fine Art and Wine
Festival" (March 5-7, 2004), open to fine crafts
in all media. Juried from slides or slide show
on CD. Fee: $15. For prospectus, send SASE to
Thunderbird Artists, Inc., 15648 N. Eagles Nest
Dr.,
Fountain
Hills,
AZ
85268;
e-mail
[email protected];
or
see
website
www.thunderbirdartists.com.
Morristown, New Jersey "Spring Crafts at
Morristown"
(March
19-21,
2004).
"Holiday
Crafts at Morristown" (December 17-19, 2004).
Juried from 5 slides of work plus 1 of booth.
One-time annual fee: $25. Contact Artrider, PO
Box 28, Woodstock, NY 12498; see website
www.artrider.com; or telephone (845) 331-7900.
New York, New York "Spring Crafts Park
Avenue" (April 2-4, 2004). "Fall Crafts Park Ave
nue" (October 1-3, 2004). "Holiday Crafts Park
Avenue" (December 3-5, 2004). "Holiday Crafts
New York I" (December 10-12, 2004). "Holiday
Crafts New York II" (December 17-19, 2004).
Juried from 5 slides. One-time annual fee: $25.
Contact Artrider, PO Box 28, Woodstock, NY
12498; see website www.artrider.com; or tele
phone (845) 331-7900.
Tarrytown, New York "Spring Crafts at
Lyndhurst" (May 14-16, 2004). "Fall Crafts at
Lyndhurst"
(September
17-19,
2004).
Juried
from 5 slides. One-time annual fee: $25. Con
tact Artrider, PO Box 28, Woodstock, NY 12498;
see
website
www.artrider.com;
or
telephone
(845) 331-7900.
For a free listing, please submit information on juried
exhibitions, fairs, festivals and sales at least four
months before the event’s entry deadline (add one
month for listings in July and two months for those in
August). Regional exhibitions must be open to more
than one state. Mail to Call for Entries, Ceramics
Monthly, 735 Ceramic PL, Westerville, OH 43081;
e-mail to [email protected]; or fax to
(614) 891-8960.
95
suggestions
the mold to make sprigs to add to the surface of my airbrush perfectly, so they can be used for
your work.—Monika Stockton, Wichita, KS
spraying glazes. This makes it affordable to have
From Readers
eight or ten interchangeable glaze containers.
Stainless Steel Source
—ShirleeAho Daulton, Mesa, AZ
For those prone to making their own tools,
an excellent source for flat stainless-steel strips Decisions, Decisions
Sprigs
are discarded windshield-wiper blades. The metal Have your students write on their work with
To make a sprig mold, construct an object,
backing of the blades can be removed and bent graphite pencil after they decide what glazes they
design or pattern on a flat surface using plastiline.
into loops for trimming, or sharpened into small want to use. That way, they won’t forget their
Because plastiline becomes softer when worked,
carving knives.—Andrew Francis, Hadley, MA
plan while mixing or sieving, or if they have to
let it sit for a while to let it stiffen again. Then
come back the next day to finish glazing.—Sally
press clay over the model to form a mold of it.
Quick-Change Glazes
Uehr, Lafayette, CO
Allow the clay mold to thoroughly dry and The 3-ounce plastic containers that children’s
bisque fire it. Then you can press wet clay into bubble-blowing solution comes in fit the lid for
Mini-Wheel Bat
Because throwing smaller pieces is restricted
on a large potter’s wheel, constructing a raised
mini wheel out of dowels and Masonite can
provide a properly proportioned surface on which
to work. It allows the potter 270° of fashioning
capability.—Tim Riley, Duluth, MN
Trimming
When trimming the bottom of ware, the
accumulation of the trimmings under the trim
ming tool can be a nuisance. To eliminate this
problem, insert a push pin in the center of the
ware you are trimming. Trimmings will coil
around the push pin as you trim instead of
bunching up under your trimming tool.—Akio
Aochi, Fremont, CA
Share your ideas with others. Previously un
published suggestions are welcome individu
ally or in quantity. Ceramics Monthly will pay
$10 for each one published. Include a drawing
or photograph to illustrate your idea and we
will add $10 to the payment. Mail to Ceramics
Monthly, 735 Ceramic PI., Westerville, OH 43081,
e-mail to [email protected] or fax
to (614) 891-8960.
96
97
calendar
Events to Attend—Conferences,
Exhibitions, Workshops, Fairs
Conferences
Indiana, Indianapolis March 17-20, 2004 "Inves
tigations, Inspirations: The Alchemy of Art and Sci
ence, " NCECA's 38th annual conference. See website
www.nceca.net; ortelephone (866) 266-2322 or (303)
828-2811.
New Mexico, Santa Fe October 10-12 "Market
ing BootCamp for Artists and Craftspeople" will in
clude presentations on understanding the industry,
pricing, packaging, creating publicity, selling on the
Internet, etc. Fee: $450. Contact the Message Com
pany, 4 Camino Azul, Santa Fe 87508; see website
www.bizspirit.com; telephone (505) 474-0998 or 4747604; or fax (505) 471-2584.
Virginia, Front Royal October 2-5 "The MidAtlantic Clay Conference," sponsored by the Clay
Connection, will include slide presentations, demon
strations and workshops in raku, brushmaking, Yixingstyle teapots and tile decorations. Presenters include
Judith Duff, Julia Galloway and Mark Shapiro. For
application/further
information,
contact
Mike
Swauger: e-mail [email protected]; see website
www.geocities.com/theclayconnection;
or
telephone
(540) 636-6016.
Korea, Icheon September 2-3 "Creativity: The
Second International Ceramic Symposium." Contact
Icheon World Ceramic Center, Gwang-dong, San
69-1 Icheon, Gyeonggi-do 467-020 South Korea; see
98
website www.worldceramic.or.kr;
631 6512; or fax 82 31 631 1614.
telephone
82
31
Solo Exhibitions
Alabama, Fairhope October 3-27 Steven Hill,
"Sensuous Slip/Single Firing"; at Eastern Shore Art
Center, 401 Oak St.
Arizona, Tempe October 3-February 7, 2004 Luo
Xiaoping, "Time Square Series"; at Nelson Fine Arts
Center, Arizona State University Art Museum.
California, Santa Monica September 6-October
4 Betty Woodman; at Frank Lloyd Gallery, 2525 Michi
gan Ave., B5b.
D.C., Washington through September 7 "Isamu
Noguchi and Modern Japanese Ceramics"; at the
Arthur M. Sackler Gallery of the Smithsonian, 1050
Independence Ave., SW.
Florida, Miami September20-November9 Rebecca
Hutchinson, "Connected"; at the Lowe Art Museum,
University of Miami, 1301 Stanford Dr.
Illinois, Chicago through September 14 "Big Idea:
The Maquettes of Robert Arneson"; at the Smart
Museum of Art, the University of Chicago, 5550 S.
Greenwood Ave.
September 3-27 Karen Ami, "Heart Conditions";
at ARC Gallery, 734 N. Milwaukee Ave.
October 17-November 75 Jeff Mongrain; at Perim
eter Gallery, 210 W. Superior St.
Illinois, Geneva September 1-30 Jacque Blatner,
"Focus on Function"; at Down to Earth Pottery, 217H
S. Third St.
Iowa, Iowa City September 5-25 Malcolm Davis;
at AKAR, 4 S. Linn St.
Kentucky, Louisville through October25 "Master
Makers: Byron Temple"; at the Kentucky Museum of
Arts + Design, 715 W. Main St.
Louisiana, Covington September 13-October 8
Patricia Watkins, "Connected Layers"; at Fort Isabel
Gallery, 401 N. Columbia St.
M a ry I a n d, Ba Iti m o re through September 20 Lor m i na
Salter Fellowship recipient Ryan Kelly, "Cerama-LamaDing-Dong"; at Baltimore Clayworks, 5707 Smith Ave.
Massachusetts, Boston September 6-October 14
Brother Thomas, "Creator of Luminaries"; at Pucker
Gallery, 171 Newbury St.
Massachusetts, Lenox through September 14
Susan Thayer. Matthew Metz. September20-0ctober
26 Jason Walker; at Ferrin Gallery, 56 Housatonic St.
Michigan, Detroit September 19-October 22 Jun
Kaneko. September 19-November 1 Marty Shuter; at
Pewabic Pottery, 10125 E. Jefferson.
Michigan, Ferndale October 25-November 29
Robert Turner; at Revolution Gallery, 23257 Wood
ward Ave.
Minnesota, Minneapolis September 19-November2 Wendy Olson; at the Northern Clay Center, 2424
Franklin Ave., E.
Mississippi, Biloxi September 12-October 31
Toshiko Takaezu; at the Ohr-O'Keefe Museum, 136
G. E. Ohr St.
Montana, Helena through September 7 Bobby
Silverman; attheHolter Museum of Art, 12 E. Lawrence.
New Jersey, Surf City through September 8 Doug
Herren, stoneware fountains and outdoor sculpture.
through October6 Matt Burton, "Facade and Fortifica
tion: A Framework," stoneware sculpture. October
11-December 1 Marv Levitt retrospective; at m. t.
burton gallery, 1819 Long Beach Blvd.
New Mexico, Santa Fe September 5-October 15
Hiroyuki Wakimoto, "Myth and Legacy"; at Touching
Stone, 539 Old Santa Fe Trail.
New Mexico, Silver City through October 1 Lesley
Lent, "Out of Africa"; at the Blue Dome Gallery, 307
N. Texas St.
New York, Alfred through December 19 Irvin
Tepper, "When Cups Speak/Life With the Cup: A 25Year Survey"; at the Schein-Joseph International Mu
seum of Ceramic Art, New York State College of
Ceramics at Alfred University.
Continued
99
calendar
New York, Garrison September 6-October5 Edith
A. Ehrlich, "Lives: order, disorder"; at Garrison Art
Center, 23 Garrison's Landing.
New York, Long Island City through October 11
Michael Geertsen, "Immortal Clay"; at Garth Clark
Gallery Long Island City, 45-46 21st St.
New York, New York September 25-November 8
Shinman Yamada; at Capeluto Arts, 147 Reade St.
New York, Port Chester September 6-27 Ray
Chen, "Mother and Child." October 3-26 Tracy Shell,
"Inquiring Beauty"; at the Clay Art Center, 40 Beech St.
North Carolina, Charlotte September 2-October
11 Karen Karnes; at W.D.O., Hearst Plaza, Ste. 1,214
N. Tryon St.
Pennsylvania, Philadelphia September2-December 31 Yoon Kwang-cho, "Mountain Dreams: Con
temporary Ceramics"; at the Philadelphia Museum of
Art, Benjamin Franklin Pkwy. at 26th St.
September 5-October 5 Sam Chung, recent work.
Julie York, "objectsymbolanguage"; at the Clay Stu
dio, 139 N. Second St.
September 10-October 5 Marilyn Simon, "Inside •
Outside • Upside Down—Works in Majolica • Figures
and Tiles"; at the Artforms Gallery Manayunk, 106
Levering St.
Pennsylvania, Pittsburgh through October 8
Betty Hedman; at the Clay Place, 5416 Walnut St.
Texas, Dallas October 24-November 29 Marla
Ziegler, new works; at Craighead-Green Gallery, 2404
Cedar Springs, Ste. 700.
Texas, Houston September 15-30 Janis Ross,
"Going for Baroque"; at Houston Potters' Guild Shop
and Gallery, 2433 Rice Blvd.
Wisconsin, Racine September 14-November 2
Marek Cecula, "The Last Supper"; Racine Art Mu
seum, 441 Main St.
Group Ceramics Exhibitions
Arizona, Phoenix through September 14 "A Revo
lution in the Making: The Pottery of Maria and Julian
Martinez," includes works by otherfamily members; at
the Heard Museum, 2301 N. Central Ave.
Arizona, Scottsdale October 1 -November30 "Ex
hibition of Ceramics"; at Udinotti Gallery, 4215 N.
Marshall Way.
Arizona, Tempe through September 14 "Ceramics
Faculty Selects: Clay from the Permanent Collection."
October3-February 1, 2004 "Beyond Boundaries: The
Yixing Influence on Contemporary American Ceram
ics"; at the Ceramics Research Center, Arizona State
University Art Museum, corner of Mill Ave. and 10th St.
Arkansas, Little Rock October 3-November 23
"Shaped with a Passion: The Carl A. Weyerhaeuser
Collection of Japanese Ceramics from the 1970s"; at
the Arkansas Arts Center, Ninth and Commerce.
California, Long Beach through September 14
"The Artful Teapot: 20th-Century Expressions from
the Kamm Collection"; at the Long Beach Museum of
Art, 2300 E. Ocean Blvd.
California, Los Angeles through December 28
"Ceramic Trees of Life: Popular Art from Mexico"; at
the UCLA Fowler Museum of Cultural History.
throughJanuary25,2004 "California Pottery: From
Missions to Modernism"; at the Autry Museum, 4700
Western Heritage Way.
through February 1, 2004 "Transmitting Culture:
Korean Ceramics from Korean-American Collections
in Southern California"; at Los Angeles County Mu
seum of Art, 5905 Wilshire Blvd.
California, Sacramento through October 19"From
the Kilns of Denmark: Contemporary Danish Ceram
ics"; at the Crocker Art Museum, 216 O St.
California, San Diego through December31 " Pot
tery of Mata Ortiz"; at Wells Fargo Bank, 401 B St.
through January 25, 2004 "Mingei of Japan—The
100
calendar
Legacy of Its Founders: Soetsu Yanagi, Shoji Hamada
and Kanjiro Kawai"; at the Mingei International Mu
seum, Balboa Park, Plaza de Panama.
California, San Francisco through September 5
"One of a Kind," ceramics by members of the Associa
tion of Clay and Glass Artists of California; at 600
Townsend, 600 Townsend St.
California, Santa Ana October 9-November 8
"Community College Clay"; at SAC Arts Gallery,
Santora Bldg., Artists Village, 207 N. Broadway.
California, Santa Barbara October3-31 "Clearly
Black and White"; at Tierra Solida: a clay art gallery,
1221 State St., # 8.
Colorado, Lakewood September 12-October 12
"From Inside the Clay Studio"; at the Lakewood Cul
tural Center, 470 S. Allison Pkwy.
Florida, Miami September 20-November 9 "A
Ceramic Continuum: Fifty Years of the Archie Bray
Influence"; at the Lowe Art Museum, University of
Miami, 1301 Stanford Dr.
Georgia, Atlanta September 12-30 "Asheville in
Atlanta," six potters from Asheville; at MudFire Pottery
Center, 1441 Dresden Dr., Ste. 250.
Georgia, Canton through September 30 "4th
Annual Centering on Clay Exhibition"; at the Arts
Center, 94 North St.
Georgia, Watkinsville through September 14 "Per
spectives: Georgia Potters and Collectors"; atthe Oconee
Cultural Arts Foundation Art Center, 34 School St.
Hawaii, Honolulu September 1-30 "Tsuchi Aji—
Flavor of Clay," ceramics by Cory Lum and Joel Park; at
Soul Lenz Gallery, 186 N. King St., Second FI., #202.
102
Illinois, Chicago September 15-October 5 Exhibi
tion of ceramics. October 11-November 9 New work
by David Crane and Jason Walker. Exhibition featuring
the work of 17 former and current Anderson Ranch
artists-in-residence; at Lillstreet Art Center, 4401 N.
Ravenswood Ave.
October 18-January 4, 2004 "The Artful Teapot:
20th-Century Expressions from the Kamm Collection";
at the Chicago Cultural Center, 78 E. Washington.
Illinois, Galena September 6-October 27 "HandBuilt"; at Spring Street Gallery, 601 S. Prospect St.
Illinois, Westmont September20-0ctober31 "The
Mud Show"; at TLD Design Center & Gallery, 26 E.
Quincy St.
Indiana, Goshen September 20-November 4 "A
Ceramic Legacy"; at Goshen College, Hershberger Art
Gallery, Music Bldg.
Iowa, Iowa City October4-23 Jeff Shapiro and Tim
Rowan, wood-fired ceramics; at AKAR, 4 S. Linn St.
Massachusetts, Cambridge through September
30 "Painted by a Distant Hand," Mimbres pottery; at
the Peabody Museum of Archaeology and Ethnology,
Harvard University, 11 Divinity Ave.
Massachusetts, Newburyport through Septem
ber 3 "Sticks, Stones and Fire," works by Dottie
Bragdon, Birdie Britton and Irina Okula; at the
Newburyport Art Association, 65 Water St.
Michigan, East Lansing October 5-November 30
"Tiles from Two Cities," works by Parran Collery and
Deb Fleck-Stabley; at Mackerel Sky, 217 Ann St.
Michigan, Grand Rapids through January 4,2004
"Quiet Beauty: Fifty Centuries of Japanese Folk Ce
ramics from the Montgomery Collection"; at the
Frederik Meijer Gardens, 1000 E. Beltline Ave., NE.
Minnesota, Minneapolis through September 7
"Seven McKnight Artists," Vineet Kacker, Maren
Kloppmann,
KeisukeMizuno,
PatrickTaddy,TomTowater,
Sandra Westley and Janet Williams. September 19November2 "In Other Words...," works byTakakoAraki,
Barbara Hashimoto, Nancy Selvin and Forrest Snyder; at
the Northern Clay Center, 2424 Franklin Ave., E.
Mississippi, Biloxi through January 30, 2004
"Born of Biloxi: George Ohr, Joseph Meyer, Manuel
Jalanivich"; at the Ohr-O'Keefe Museum of Art, 136
G. E. Ohr St.
Missouri, Kansas City September 5-October 1
"Sensuous"; at Red Star Studios Ceramic Center, 821
W. 17th St.
Missouri, St. Louis September 1-30 "China Ce
ramics Today: Between Tradition and Contemporary
Expression"; at Washington University, One Brookings
Dr., Hudson St.
September 12-October 19 "North Carolina Folk Art
Pottery and Burgess Dulaney"; at Craft Alliance Gal
lery, 6640 Delmar.
Montana, Bozeman October 6-23 "Envision this
Place," with works by over 55 ceramists; at MSU
School of Art, Helen E. Copeland Gallery, Haynes Hall.
New Jersey, Demarest through September 19
"Annual OCCC Ceramics Faculty Exhibition"; at Old
Church Cultural Center, 561 Piermont Rd.
New Mexico, Roswell through October 12 "CLAY:
Making Connections," juried exhibition; atthe Roswell
Museum and Art Center, 100 W. 11 th St.
New Mexico, Santa Fe through September 7
"Cer^mica y Cultura: The Story of Spanish and Mexi
can Mayolica"; at the Museum of International Folk
Art, 706 Camino Lejo at Milner Plaza.
through September 20 "Three Person Exhibition—
Margaret Bohls, Julia Galloway, Holly Walker." Sep
tember 26-October 24 "Archie Bray Foundation 2003
Summer Residents." October31-November22 "Three
Person Exhibition—Gina Bobrowski, Ted Saupe, Bonnie
Seeman"; at Santa Fe Clay, 1615 Paseo de Peralta.
New York, New York through September 6 Exhi
bition by Miwa Koizumi, Chizu Omori and Rachel
Sydlowski; at Kiva Cafe, 229 Hudson St.
October 7-25 "Oribe Exhibition"; at Dai Ichi Gal
lery, 249 E. 48th St.
Continued
calendar
North Carolina, Asheville through October 3
"Women in Clay: Pots for Daily Use." October 20December 12 "Salt and Pepper"; at Odyssey Gallery,
242 Clingman Ave.
through October31 "Sculptural Ceramic Invitational,"
works by Kenneth Baskin, John Glumpler, Bill Griffith,
Peter Lenzo, Donald Penny, Rob Pulleyn, John Ransmeier
and Gary Schlappal; at Blue Spiral 1, 38 Biltmore Ave.
North Carolina, Charlotte through October 19
"Burlon Craig and His Legacy," works by Craig, plus
Steven Abee, Don Craig, Kim Ellington and Charlie
Lisk; at the Mint Museum of Art, 2730 Randolph Rd.
Ohio, Columbus October 11-December 7 "21st
Century Ceramics in the United States and Canada";
at the Columbus College of Art & Design, Canzani
Center Gallery, corner of Cleveland Ave. and Gay St.
Oklahoma, Shawnee through November 16" PreColumbian and Contemporary Whistling Pots"; at the
Mabee-Gerrer Museum of Art, St. Gregory's Univer
sity, 1900 W. MacArthur St.
Oregon, Portland through September 14 "The
Montana Connection," 45 ceramic works from the
permanent collection; at Contemporary Crafts Mu
seum & Gallery, 3934 S.W. Corbett Ave.
Pennsylvania, Philadelphia September 5-October 5 "Tea For Two/Table For Two," works by over 50
functional potters; at the Clay Studio, 139 N. Second St.
Rhode Island, Kingston September4-27 "Perspec
tives in Clay—Studio Ceramics of Southeastern New
England University Art Faculty"; at Helme House Gallery,
South County Art Association, 2587 Kingstown Rd.
Texas, Austin September 6-28 Greater Austin
Clay Artists member show; at ClayWays Studio &
Gallery, 5442 Burnet Rd.
Texas, Denton October 26-November 22 "Ce
ramics USA 2003"; at University of North Texas Art
Gallery, Art Bldg., Mulberry at Welch.
Texas, Houston October 4-31 "All Things Clay";
at Foelber Gallery, 706 Richmond Ave.
Virginia, Vienna October 3-24 "Origins and In
fluences," works by Michael Kline, Mark Shapiro,
Michael Simon and Sam Taylor; at Earth and Fire, 144
Church St., NW.
Washington, Bellevue September 27-January 4,
2004 "Clay Body," works by Claudia Fitch, Patti
Warashina and Akio Takamori; at the Bellevue Art
Museum, 510 Bellevue Way, NE.
Wisconsin, Racine September 14-January4, 2004
"The Donna Moog Teapot Collection"; at the Racine
Art Museum, 441 Main St.
Ceramics in Multimedia
Exhibitions
Arizona, Mesa through October 11 "Steeped in
Tradition: The Contemporary Art of Tea II"; at Mesa
Contemporary Arts, 155 N. Center St.
Arizona, Tempe through September 13 "The
Museum Store Collects." September 13-January 4,
2004 "Mexican Folk Art in Context"; at Arizona State
University Art Museum, Nelson Fine Arts Center.
Arizona, Tucson through September 13 "IconoClash." September 20-November 1 Fall exhibition, in
cluding ceramic vessels by Randy O'Brien; at Obsidian
Gallery, St. Phillip's Plaza, 4320 N. Campbell, Ste. 130.
California, Burbank September 5-26 "Clay and
Glass"; at Burbank Municipal GallerylCreative Arts
Center Gallery, 1100 W. Clark St.
California, Long Beach through September 14
"Coffee, Tea or Chocolate?"; at the Long Beach
Museum of Art, 2300 E. Ocean Blvd.
California, Los Angeles October5-January4,2004
"The Circle of Bliss: Buddhist Meditational Art"; at the
Los Angeles County Museum of Art, 5905 Wilshire Blvd.
California, Sacramento September 8-30 and Oc-
104
105
calendar
tober4-31 "Global ArtLook"; at MatrixArts, 1518 Del
Paso Blvd.
California, San Diego through October 19 "Heir
looms of the Future: Art of Contemporary American
Designer Craftsmen." through December 31 "PreColumbian Art—Marine Animal Forms"; at the Mingei
International Museum, Balboa Park, Plaza de Panama.
Colorado, Denver through September 28 "Se
crets from a Chinese Garden." through October 5
"Art, Identity and Community." through December 7
"Chinese Art of the Tang Dynasty from the Sze Hong
Collection." October 16-January23, 2005Tiwanaku:
Riches and Rituals of the Ancient Andes"; at the
Denver Art Museum, 100 W. 14th Ave. Pkwy.
Colorado, Grand Junction through September30
Exhibition of works by JABOA members; at the Grand
Junction City Hall, 250 N. Fifth St.
Connecticut, New Haven September 12-October
17 "CAW Faculty Show"; at Creative Arts Workshop,
80 Audubon St.
D.C., Washington through January 4, 2004 "Tea
Utensils Under Wraps," tea-ceremony wares and their
decorative storage containers. "Tales and Legends in
Japanese Art"; at the Freer Gallery of Art, Smithsonian
Institution, 12th St. and Independence Ave., SW.
Florida, Tallahassee through September 28
"Combined Talents: The Florida International Com
petition"; at the FSU Museum of Fine Arts, 250 Fine
Arts Bldg.
Florida, Tampa through October 19 "Voces y
Visiones: Highlights from El Museo del Barrio's Perma
nent Collection," ceramics, paintings, wood carvings,
106
prints, metals, textiles, etc.; at the Tampa Museum of
Art, 600 N. Ashley Dr.
Florida, Tarpon Springs September 7-November2
"Florida Craftsmen's 50th Anniversary Exhibition"; at
the Leepa-Rattner Museum of Art, 600 Klosterman Rd.
Georgia, Athens September 13-November 2
"Masters of Their Craft: Highlights from the
Smithsonian American Art Museum"; at Georgia Mu
seum of Art, the University of Georgia, 90 Carlton St.
Hawai'i, Honolulu September5-28 "Multiple Per
sonalities: The Human Landscape," exhibition of sculp
tural works that explore the terrain of life's journey.
September 18-November 9 "Crossings 2003: Korea/
Hawai'i"; at the Honolulu Academy of Arts, 900 S.
Beretania St.
Illinois, Chicago September 1-November 15
"A Tribute to Craft"; at Sawbridge Studios, 153 W.
Ohio St.
Illinois, Galena through September 29 "Teapots
to Still-Lifes," paintings, ceramics and sculpture; at
Spring Street Gallery, 601 S. Prospect St.
Kansas, Wichita September5-October26 "Wichita
National 2003 Art Exhibit"; at Wichita Center for the
Arts, 9112 East Central.
Louisiana, New Orleans through January 11,
2004 "Treasures for NOMA: Recent Acquisitions
in the Decorative Arts"; at the New Orleans Museum
of Art, 1 Collins Diboll Cir.
Maryland, Baltimore September 19-January 4,
2004 "Eternal Egypt: Masterworksof Ancient Art from
the British Museum"; at the Walters Art Gallery, 5 W.
Mt. Vernon PI.
Massachusetts, Boston through October 26
"Words • Text • Stories," crafts with text; at the
Society of Arts and Crafts, 175 Newbury St.
Massachusetts, Brockton September20-January
4, 2004 "CraftTransformed," Boston University's Pro
gram in Artisanry 1975-1985; at the Fuller Museum of
Art, 455 Oak St.
Massachusetts, Duxbury through September 7
"Doubletake," trompe I'oeil works, including ceramic
sculpture by Marilyn Levine and Victor Spinski; at the
Art Complex Museum, 189 Alden St.
Massachusetts, Worcester through November
22 "Visiting Artists 2003-2004: No Limits to Discov
ery"; at the Worcester Center for Crafts, Krikorian
Gallery, 25 Sagamore Rd.
Minnesota, Bloomington through September20
"The Space Between Things," two-person exhibition
including ceramics by Truly Ball; at Bloomington Art
Center, Greenberg Gallery, 1800 W. Old Shakopee Rd.
Missouri, Louisiana September 19-October 12
"Home and Garden Show." October23-November 9
"Tri-State Creations"; at the Old School, Dixon Gal
lery, 515 Jackson.
Montana, Helena through October26 "ANA 32,
National Juried Exhibition"; at the Holter Museum of
Art, 12 E. Lawrence.
New Hampshire, Hanover through December 14
"Coming of Age in Ancient Greece: Images of Child
hood from the Classical Past"; at the Hood Museum of
Art, Dartmouth College, Wheelock St.
New Jersey, Princeton October 11-January 18,
2004 "The Centaur's Smile: The Human Animal in
Early Greek Art"; at Princeton University Art Museum,
McCormick Hall.
New York, East Hampton through September 13
"Two Titans: A Memorial Exhibition of Recent Works
by Ed Rossbach and Peter Voulkos"; at LongHouse
Reserve, 133 Hands Creek Rd.
New York, New York through September8" Small
Works," members of Artist-C raftsmen of New York; at
Donnell Library Center, 20 W. 53rd St.
October 18-July 6,2004 " Petra: Lost C ity of Stone";
at the American Museum of Natural History, Central
Park, W, at 79th St.
October 28-November 15 Exhibition of work by
members of Artist-C raftsmen of New York; at New
Century Artists Gallery, 530 W. 25th St., Ste. 406.
New York, Westfield through September 26
"Scandinavian Small Works National"; at Portage Hill
Gallery, 6439 S. Portage Hill Rd.
North Carolina, Chapel Hill through September
27 Two-person exhibition including ceramics by Sally
Bowen Prange; at Tyndall Galleries, 201 S. Estes Dr.
Ohio, Delaware through September26 "Consum
ing Passion: Edible by Design," including ceramics by
Linda Lighton, Susan O'Brien, Liz Quackenbush, Beth
Robinson, Gail Russell and Tom Turner; at the Ohio
Weslyan University, Ross Art Museum, Humphreys Hall.
Ohio, Portsmouth through September 29 "The
Best of 2003," juried exhibition of works by Ohio
Designer Craftsmen members; at the Southern Ohio
Museum, 825 Gallia.
Oregon, Portland through September 30 Threeperson exhibition including raku by Dave and Boni
Deal; at the Real Mother Goose, 901 S.W. Yamhill.
Pennsylvania, Lancaster through September 14
"Crafts National"; at the Lancaster Museum of Art,
135 N. Lime St.
Pennsylvania, Pittsburgh through November 1
"Homelland: Artists, Immigration and Identity"; atthe
Society for Contemporary Craft, 2100 Smallman St.
South Carolina, Charleston through December
12 "JAWS: Just Art With Sharks"; at the South Caro
lina Aquarium, 100 Aquarium Wharf.
Texas, Houston through October 12 "CraftHouston 2003: National Juried Exhibition"; at Houston
Center for Contemporary Craft, 4848 Main St.
Wisconsin, Sheboygan through October 19 "Dog
Show," including ceramics byTr£ Arenz and Jack Earl; at
the John Michael Kohler Arts Center, 608 New York Ave.
76405 Gallatin Rd. (Highway 191). Telephone (406)
994-4501.
New Jersey, Augusta September 27-28 "Peters
Valley 33rd Annual Craft Fair"; at Sussex County
Fairgrounds, 37 Plains Rd.
New York, New York September 6-7 "Washing
ton Square Outdoor Art Exhibit"; on University Place
from 12th St. to Third St. and on Washington Place
from Washington Square East to Mercer St.
September 13-14 and 20-21 "18th Annual Au
tumn Crafts Festival"; at Lincoln Center for the Per
forming Arts, 165 W. 65th St.
New York, Roslyn Harbor September 5-7 "7th
Annual Craft as Art Festival"; at Nassau County Mu
seum of Art, One Museum Dr.
New York, White Plains October 17-19 "The
Westchester Craft Show"; at Westchester County
Center, 198 Central Ave. (Route 119 at Central Ave.)
Fairs, Festivals and Sales
Arizona, Carefree October31-November2 "Care
free Fine Art and Wine Festival"; downtown, Easy and
Ho Hum sts.
California, Santa Monica October31-November 2
"Contemporary Crafts Market"; at the Santa Monica
Civic Auditorium, 1855 Main St. (corner of Pico Blvd.).
Georgia, Jasper October4-5 "23rd Annual Geor
gia Marble Festival Fine Arts Exhibit and Competition";
on the Festival grounds.
Georgia, Watkinsville September 6-7 and 13-14
Sale of contemporary and folk pottery by 45 Georgia
artists; at the Oconee Cultural Arts Foundation Art
Center, 34 School St.
Illinois, LaGrange September 6-7 "West End Art
Festival"; along Burlington Ave.
Illinois, Woodstock September 13-14 "The 28th
Annual Woodstock Fine Art Fair"; at Woodstock Sq.
Kentucky, Ashland October 16-19 "Cardinal Val
ley 32nd Annual Juried Competition Expo and Show";
at Ashland Area Art Gallery, 1516 Winchester Ave. and
Cedar Knoll Galleria Mall, Rte. 60.
Kentucky, Corbin September 14 " Kentucky Clay,"
juried sale of works by potters in Kentucky and sur
rounding states; at Cumberland Falls State Park.
Louisiana, Lafayette September 20-21 "Festival
AcadienslLouisiana Crafts Fair"; at Girard Park.
Maine, Blue Hill Peninsula and Deer Isle Octo
ber 10-13 "Peninsula Potters Studio/Gallery Tour."
Telephone the Blue Heron Gallery (207) 348-6051 or
the Greene-Ziner Gallery (207) 348-2601.
Michigan, Novi October 24-26 "Sugarloaf Art
Fair"; at the Novi Expo Center, 43700 Expo Center Dr.
Mississippi, Biloxi October4-5" 11 th Annual George
E. Ohr Fall Festival of the Arts"; on the Town Green.
Missouri, Hannibal October 18-19 "26th Annual
Autumn Historic Folklife Festival"; along Main St.,
Historic District.
Missouri, St. Louis October 4-5 "11th Annual
Historic Shaw Art Fair"; along the 4100 and 4200
blocks of Flora PI. in the Shaw neighborhood.
Montana, Gallatin October 25 "Montana State
University School of Art's 2nd Annual Mountain West
Contemporary Art Auction"; at Gallatin Gateway Inn,
107
North Carolina, Asheville October 16-19 "The
Craft Fair of the Southern Highlands"; atthe Asheville
Civic Center, 87 Haywood St.
North Carolina, Wake Forest October4-5 "2003
Wake Forest Area Artists' Tour"; Wake Forest area and
surrounding communities. Telephone (919) 556-1519.
Ohio, Toledo October 24-26 "Artworks Toledo
2003"; at the Seagate Convention Center, 401
Jefferson Ave., downtown.
Oregon, Portland October 11-12 and 18-19
"Portland Open Studios 2003," nearly 100 studios in
metropolitan Portland. Tickets: $12. See website
www.portlandstudios.com.
Pennsylvania, Ft. Washington October 17-19
"Sugarloaf Crafts Festival"; at the Ft. Washington
Expo Center, 1100 Virginia Dr.
Pennsylvania, Richboro October 17-19" Fall State
Craft Festival"; at Tyler State Park.
Continued
calendar
Pennsylvania, RosemontSeptember 13-14 "State
Craft Festival on the Main Line"; at Rosemont College,
1400 Montgomery Ave.
Texas, Gruene (New Braunfels) October 25-26
"11th Annual Texas Clay Festival"; on the grounds of
Buck Pottery, Gruene Historical District.
Wisconsin, Baraboo, Mineral Point and Spring
Green October 17-19 "Tenth Annual Fall Art Tour,"
demonstrations and tours of artists' studios. See website
www.fallarttour.com; or telephone Cornerstone Gal
lery (608) 356-7805, Story Gallery (608) 987-2903, or
Jura Silverman Studio and Gallery (608) 588-7049.
Workshops
Arizona, Tempe November 15-16 "Ceramic Art:
Developing a Personal Aesthetic" with Richard Notkin.
Fee: $100; students, $90. November 16 Lecture with
Richard Notkin. Free. For further information, see
website
http:llasuartmuseum.asu.edu;
or
telephone
(480) 965-2787.
Arkansas, Mountain View October 17-20
"Wood-Fired Groundhog Kiln Workshop at the Ozark
Folk Center" with Judi Munn and John Perry. Fee:
$ 100, includes two 2x1 -foot shelves in kiln for work 9
inches or shorter; participants should bring Cone 10
bisqueware and Cone 10 glaze. Contact Judi Munn
and John Perry, 9400 Green Mountain Rd., Mountain
View 72560; e-mail [email protected]; tele
phone (870) 585-2308.
California, Pt. Reyes September 5-12 "Magic
Fire" with Molly Prier, handbuilding, burnishing, beach
pit firings. Fee: $435. Contact Molly Prier: e-mail
[email protected]; or telephone (415) 663-9230.
California, Menifee October 25 Demonstration
and slide lecture with Kevin A. Myers, throwing, alter
ing, manipulating and handbuilding. Fee: $45; mem
ber of Mt. San Jacinto College, $40. Contact the Fine
Art Gallery, (909) 487-6752, ext. 1531
Colorado, Snowmass Village September 8-12
Workshop with Juan Quezada and Michael Wisner.
Fee: $655, includes studio fee and registration. Con
tact Anderson Ranch Arts Center, 5263 Owl Creek Rd.,
Box 5598, Snowmass Village 81615; see website
www.andersonranch.org;
telephone
(970)
923-3181;
or fax (970) 923-3871.
Colorado, Steamboat Springs September 1-7
"Advanced Kosai Ware" with Biz Littell. All skill levels.
Fee: $2600, includes lab fee, materials, firing, lodging
and meals. Contact Judith Carol Day, Laloba Ranch
Clay Center, PO Box 773628, Steamboat Springs 80477;
e-mail
[email protected];
see
website
www.lalobaranch.com; telephone (970) 870-6423; or
fax (970) 870-6452.
Connecticut, Brookfield September 4-5 "Get a
Taste of Clay" with Chris Alexiades. September 6-7
"Tile Making" with Chris Bonner. September 12-14
"Raku Firing" with Penelope Fleming. September2021 "Working With Slabs" with Robin Johnson. Sep
tember 27-28 "Throw a Better Bowl" with Kristin
Muller. October 11-13 "Throwing on the Wheel" with
Chris Alexiades. October 17-19 "Myths and Legends
in Clay" with Anna Siok; or "PMC Certification" with
Cece Wire. November 15 "Japanese Tableware" with
Takao Okazaki. Contact Brookfield Craft Center, 286
Whisconier Rd., PO Box 122, Brookfield 06804-0122;
see website www.brookfieldcraftcenter.org; telephone
(203) 775-4526, ext. 102; or fax (203) 740-7815.
Connecticut, Canton September 13-14 "Unique
Forms and Surface Textures" with Barbara Knutson. Fee:
$220. September 26-28, unload October 4 "Design,
Pattern and Surface Treatment" with Michael Kline. Fee:
$385. October 18-19 "Handbuilt Vessels and Inlaid
Glazes" with Bruce Winn. Fee: $220. October 25-26,
unload October 27 "Fire and Smoke" with Tim Scull. Fee:
108
$275. Telephone Canton Clay Works lie: (860) 6931000; see website www.cantondayworks.com.
Connecticut, Guilford September 12-14 "Under
standing Form and Surface" with Sharif Bey.
Fee: $240; members, $200. Contact the Guilford
Handcraft Center, PO Box 589, Guilford 06437;
e-mail
[email protected];
see
website
www.handcraftcenter.org; telephone (203) 453-5947.
Connecticut, Stamford September 21 Raku
with Roger Baumann and Morty Bacher; participants
must bring up to 7 bisqued pieces. Fee: $140. Limit of
12 participants. October 17-19 "Functional StonewarelSingle Firing" with Steven Hill. Fee: $285. Limit
of 15 participants. Contact Morty Bachar, Lakeside
Pottery, 543 Newfield Ave., Stamford 06905; e-mail
[email protected];
or
see
website
www.lakesidepottery.com; telephone (203) 323-2222.
Florida, Sanford October 18 "Firing Your Electric
Kiln." Fee: $35. Forfurther information, contact Florida
Clay Art Company, 1645 Hangar Rd., Sanford 32773;
seewebsitewww.flclay.com;
e-mail
[email protected];
or telephone (407) 330-1116.
Florida, Sarasota September 75-77 "Tile Explora
tion" with Frank Colson, emphasis on maiolica glazes.
Contact
the
Tile
Heritage
Foundation:
e-mail
[email protected]; or fax (707) 431-8455.
Georgia, Rabun Gap September 13-14 "When
Clay Is Canvas" with Gwen Fryar. Contact the Hambidge
Center for Creative Arts and Sciences: see website
www.hambidge.org; or telephone (706) 746-5718.
Georgia, Watkinsville September 13 "Personal
Pots" with Ron Meyers (begins 10 A.M.); andlor "Slab
Happy" with Don Penny (begins 2 P.M.). Feelsession:
$15. Limited enrollment. E-mail [email protected];
or telephone the OCAF Art Center at (706) 769-4565.
Illinois, Crystal Lake October 10-11 Demonstra
tion and slide lecture with Kathy Triplett, sculptural
tiles, wall sconces, slumped glass, etc. Fee: $80;
Claywork Guild of Illinois members, $70; 1 day, $55;
guild members, $45; includes lunch. Contact Molly
Walsh, McHenry County College, (815) 455-8697.
Illinois, Galena September 22 "Raku" with Ken
Bichell. Fee: $95. For further information, contact the
Galena Art Center, 601 S. Prospect St., Galena 61036;
e-mail
[email protected];
telephone
(815)
777-9040; or fax (815) 777-9049.
Illinois, Lake Forest Sep tember 13 "Raku Fire" with
Chris Plummer. Fee: $40; nonresidents, $48. Septem
ber 28 and October 5 "Tile Making and Decorating"
with Lis Harris. Fee: $115; nonresidents, $125. October
11 "Pit Fire" with Chris Plummer. Fee: $55; nonresi
dents, $65. November 8 Lecture and demonstration
with Xiaosheng Bi. Fee: $65; nonresidents, $75. Con
tact Chris Plummer, Ceramic Studio Coordinator: e-mail
[email protected]; or telephone (847) 615-7840.
Illinois, Oak Park September27-28 "Attention to
Detail" with Tom Turner. January 10-11 Workshop
with Linda Christianson. Fee: $125. Contact Terra
Incognito Studios, 246 Chicago Ave., Oak Park 60302;
website www.terraincognitostudios.com; or telephone
(708) 383-6228.
Illinois, Sugar Grove October 15-16 Demonstra
tion and slide lecture with Charity Davis-Woodard.
Contact Doug Jeppesen, Waubonsee Community Col
lege;
see
website
www.waubonsee.edu;
e-mail
[email protected]; telephone(630)466-2505.
Indiana, Indianapolis October24-25 "Miniature
Teapot Workshop" with Fong Choo. Fee: $75. Con
tact Brickyard Ceramics and Crafts, 4721 W. 16th St.,
Indianapolis 46222; telephone (800) 677-3289 or (317)
244-5230.
Kansas,
Lawrence
October
25-26
"Tiles:
Making,
Decorating
and
Marketing"
with
Paul
Lewing. Fee: $125. Contact Bracker's Good Earth
Clays, 1831 E. 1450 Rd., Lawrence 66044;
e-mail
[email protected];
see
website
www.brackers.comlworkshops.cfm; or telephone (888)
822-1982.
Kansas, Leavenworth October4-5 workshop with
109
calendar
ConnorBurnsatSt. MaryCollege. ContactSusan Nelson:
Kentucky, Corbin September 13 "Kentucky Clay
Weekend," demonstration and slide presentation with
Sam Taylor on throwing, slab construction and brushwork. Fee: $40. For prospectus, contact Kentucky Clay
Weekend, 325 Chestnut St., Berea, KY 40403; or
telephone (859) 986-1096.
Maine, Portland September 20 "Creating the
Image" with Paul Spaulding. October4 "Creating with
Cone 6 Porcelain" with Klara Borbas. October 11
"Sculptural Concerns" with Tacha Vosburgh. October
18 "Designing Extruder Dies" with Jennifer Everett.
November 1 "Soft Slabs and Molds" with Cally Dow.
November 9 "Glaze Chemistry and Experimentation"
with Maureen Mills. November 15 "Constructing Large
Stoneware Vessels" with Genevieve Grosbeck. Fee:
$45. Contact Portland Pottery, 118 Washington Ave.,
Portland
04101; e-mail [email protected];
or telephone (800) 539-4301 or (207) 772-4334.
Maryland, Baltimore September 13-14 "Form and
Surface with Majolica" with Linda Arbuckle. Fee: $190;
members, $170. Participants should bring bisqueware.
October 13-17 "St. Michael's Workshop Retreat" with
Julia Galloway. Fee: $1000, includes lodging. October
18-19 "Clay in Combination" with Lynn Duryea, largescale slab construction. Fee: $160; members, $140.
November 1-2 "Sensual Materials," hands-on porce
lain workshop with Geoffrey Wheeler. Fee: $180; mem
bers, $160. Contact Leigh Taylor Mickelson, Baltimore
Clayworks, 5707 Smith Ave., Baltimore 21209; e-mail
[email protected];
see
website
www.baltimoreclayworks.org;
telephone
(410)
5781919, ext. 18; or fax (410) 578-0058.
Massachusetts, Somerville September 20, Octo
ber 4 and November 8 "Fountain Workshop" with
Anne Hodgsdon. October 2 Visiting artist workshop
with Michael Kline. October 17 Slide presentation with
Monica Ripley. November 1-2 Visiting artist workshop
with Malcolm Wright. For further information, contact
Mudflat, 149 Broadway, Somerville 02145; e-mail
[email protected]; see website www.mudflat.org; or
telephone (617) 628-0589; or fax (617) 628-2082.
Massachusetts, Stockbridge September 8-11
"Slip-Decorated Redware" with Lauren Mundy. Fee:
$385, includes materials. October 11-12 "Working
with Extruders in the Search for Form" with Malcolm
Wright. Fee: $190, includes materials. November 8
"Identifying and Correcting Clay and Glaze Defects"
with Jeff Zamek. Fee: $100. Contact IS 183, Art School
of the Berkshires, PO Box 1400, Stockbridge 01262;
e-mail [email protected]; see website www.IS183.org;
telephone (413) 298-5252; or fax (413) 298-5257.
Massachusetts, Williamsburg September 7-13
"Life Modeling: Ceramic Sculpture of the Human
Form" with Harriet Diamond. October 11-13 "Ceram
ics Glazing: Techniques and Chemistry" with Sharon
Pollock Deluzio. October 13-19 "CeramicTile Making:
From Trivets to Floors" with Amy Schusser. October
19-25 "Painting with Fire: Primitive and Saggar-Fired
Pottery" with Bob Green. Contact Snow Farm, 5 Clary
Rd.,
Williamsburg
01096;
e-mail
[email protected]; see website www.snowfarm.org; telephone
(413) 268-3101; or fax (413) 268-3163.
Massachusetts, Worcester September 20-21
"Pots for the Table" with Silvie Granatelli. Fee: $220;
members, $195; includes materials. November 8-9
"Polychrome Cast Tile" with Frank Bosco. Fee: $225;
members, $200; includes materials. Contact the
Worcester C enter for C rafts, 2 5 Sagamore Rd., Worces
ter
01605;
seewebsitewww.worcestercraftcenter.org;
telephone (508) 753-8183; or (508) 797-5626.
Michigan, Detroit September 13 "China Painting
Workshop: Fruit" with Barbara Jensen. Fee: $50; mem
bers, $40; includes materials. Contact Pewabic PotCeramics Monthly September 2003
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tery, 10125 E. Jefferson Ave., Detroit 48214; see
website
www.pewabic.com;
telephone
(313)
8220954; or fax (313) 822-6266.
Mississippi, Biloxi September 13-14 "A Weekend
with Toshiko Takaezu." Fee: $ 100; museum members
and full-time students, $75. Contact the Ohr-O'Keefe
Museum of Art, 136 G. E. Ohr St., Biloxi 39530; see
website www.georgeohr.org; telephone (228) 3745547; or fax (228) 436-3641.
Mississippi, Natchez September 27-28 Demon
stration with Steven Hill. Fee: $125. Teacher CEUs
available. Contact Connor Burns Pottery, 209 Franklin
St., Natchez 39120; telephone (601) 446-6334.
Missouri, St. Louis September 13 "Contemporary
North Carolina Pottery," lecture with Andrew Glasgow.
"Folk Art Face Jugs," with Michele Katz-Reichlin. Fee:
$60; members, $45. For further information, contact
Craft Alliance, telephone (314) 725-1177, ext. 25.
New Jersey, Demarest October 24 Slide lecture
with Mark Shapiro. Fee: $15; members, $10. October
25-26 "Cups and Teapots: Taking it to the Next Level"
with Mark Shapiro. Fee: $200. Contact Old Church
Cultural Center, 561 Piermont Rd., Demarest 07627;
see website www.occartschool.org; or telephone (201)
767-7160.
New Jersey, Layton September 5-7 "Throwing
off the Mound and Trimming with Power and Ease"
with Malcolm Wright. Fee: $310, includes materials
and firing (clay not included). September 12-16" Acoma
Pottery" with Dolores Lewis-Garcia and Emma LewisMitchell. Fee: $490, includes materials and firing (clay
not included). September 13 Slide presentation with
Susan Peterson on Native American women potters.
Fee: $30. Contact Jennifer Brooks, Peters Valley Crafts
Education Center, 19 Kuhn Rd., Layton 07851; e-mail
[email protected]; see websitewww.pvcrafts.org; tele
phone (973) 948-5200; or fax (973) 948-0011.
New Jersey, Loveladies September 8-12 "The
Raku Process: Surface and Firing" with Steven
Branfman. Fee: $235; members, $220. September 1519" Raku Workshop" with Warren Andrade and Ramon
Camarillo. September 22-26 A session with Matt
Hyleck. Fee: $235; members, $220. Contact Pia
Cooperman, Long Beach Island Foundation of the Arts
and Sciences, 120 Long Beach Blvd., Loveladies 08008;
e-mail
[email protected];
see
website
www.lbifoundation.org;
telephone
(609)
494-1241;
or fax (609) 494-0662.
New Mexico, Santa Fe September 8-10 "Raku
Kilnbuilding Workshop" with MarioQuilles, construct
ing and testing your own 24x26-inch fiber raku kiln.
Instruction in English, Italian and Spanish. Fee: $425,
includes materials; burner is extra. For further informa
tion, contact A.I.R. Studioworks, 3825 Hwy. 14, Santa
Fe 87508; e-mail [email protected];
or telephone (505) 438-7224.
New York, New York October 4-5 "Form and
Texture" with Sandi Pierantozzi, handbuilding tech
niques for earthenware. Fee: $125. Contact Artworks,
West Side YMCA, W. 63rd St., New York 10023; e-mail
October 4-5 "Handbuilding: Tricks of the Trade"
with Vince Pitelka. Contact the Mudpit: see website
www.mudpitnyc.com; or telephone (718) 218-9424.
September 13-14 "Dichroic Glass and Precious
Metal Clay." September 19-21, October 17-19 and
November 14-16 "PMC Connection Artisan Certifi
cate." Fee: $450, includes materials, tools and firing.
September 20-21, October 18-19 and November 1516 "Techniques in Precious Metal Clay." Beginning
and intermediate skill levels. November 1-2 "Dichroic
Glass and Precious Metal Clay." Fee (unless noted
above): $250, includes materials and firing. Contact
Vera Lightstone, 347 W. 39th St., New York 10018;
e-mail
[email protected];
see
website
www.silverday.com; ortelephone (212) 947-6879.
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New York, Port Chester September 20-21 "Cri
tique Seminars: Reaching the Next Level" with Mark
Shapiro. October 18-19 "History, Context and Con
temporary Practice" with Walter Ostrom. November
8-9 "What's Love Got To Do With It?" with Takeshi
Yasuda. December 10 "Dry Throwing" with Ayumi
Horie. Fee: $75. December 11 "Zoomorphic Forms:
Porcelain and Beyond" with Bernadette Curran. Fee:
$75. Fee (unless noted above): $ 150. Contact the Clay
Art Center, 40 Beech St., Port Chester 10573; or
telephone (914) 937-2047.
New York, E. Setauket September 18-21 "Mas
ters Throwing," hands-on workshop with Joyce
Michaud. September 19-20 "Raku Workshop" with
Peggy Stasi. Fee: $85. October 18-19 "Pouring Ves
sels," hands-on workshop with Susan Beecher. See
website
www.handsonclay.com;
telephone
(631)7510011; or fax (631) 751-9133.
New York, Woodstock October 25-26 and No
vember 1 Loading, firing and unloading a 24-hour
anagama with Jolyon Hofsted. Fee: $200, includes
firing and lunch. Contact Jan Hofsted, Maverick Art
Center, 163 Maverick Rd., Woodstock 12498; or tele
phone (845) 679-9601.
North Carolina, Asheville September 13-14 Dem
onstrations and slide lectures with Suze Lindsay and Linda
McFarling. Fee: $150, includes lunch. Contact Odyssey
Centerfor the Ceramic Arts, 236 Clingman Ave., Asheville
28806; see website www.highwaterclays.com; or tele
phone (828) 285-0210.
North Carolina, Bailey November 1-2 "Clay: An
Artists' Canvas" with Rudy Autio and Ron Meyers. Fee:
$175, includes meals. Contact Dan Finch: e-mail
[email protected];
seewebsitewww.danfinch.com;
or telephone (252) 235-4664.
North Carolina, Raleigh September 8-12 "Pots/
Possibilities" with Nick Joerling. Fee: $247. For further
information, contact Randy Hinson, Sertoma Arts Cen
ter: randy. [email protected]. us; ortelephone (919)
420-2329.
North Carolina, Seagrove September 13 Demon
stration and slide lecture with John Britt. Fee: $65;
members, $50; includes lunch. E-mail Elizabeth Oswalt,
North Carolina Pottery Center, at [email protected];
or telephone (336) 873-8430.
Oklahoma, Norman September 20-21 Workshop
and slide lecture with Philip Cornelius. Fee: $101,
includes registration. Limit of 20 participants. Contact
Firehouse Art Center, 444 S. Flood, Norman 73609;
(405) 329-4523.
Oklahoma, Oklahoma City October 18-19 Por
celain workshop and slide lecture with Tom Coleman.
Contact Classen Street Potters, 809 N. Classen Blvd.,
Oklahoma City 73106; e-mail [email protected]; see
website
www.classenstreetpotters.com;
or
telephone
(405) 235-3322.
Oklahoma, Shawnee September26-27 "Making
Whistling Pots" with Richard Payne, Laurie Spencer
and Daniel Statnekov. Location: Mabee-Gerrer Mu
seum of Art, St. Gregory's University. Contact Chris
Owens:
e-mail
[email protected];
or
telephone
(405) 878-5300. Or e-mail Ronald Duncan at
Pennsylvania, Richboro October4 "Cone 6 Elec
tric Glazes" with John Hesselberth. Fee: $60. Contact
the Pennsylvania Guild of Craftsmen, 10 Stable Mill
Trail, Richboro 18954; e-mail [email protected]; see
websitewww.pacrafts.com; telephone (215) 579-5997.
Rhode Island, Kingston October 25 Workshop
with Aysha Peltz. Fee: $50. For further information,
contact South County Art Association, 2587 Kingstown
Rd., Kingston 02881; e-mail [email protected]; or
telephone (401) 783-2195.
Rhode Island, Providence October 10-12 "Raku
Rhody-o: A Fire Arts Festival" with Warren Andrade,
Ramon Camarillo, Thomas Ladd, Allison Newsome
and Patricia Uchill Simons. Demonstrations will include
handbuilding, throwing, glazing, kilnbuilding and vari
ous raku techniques; plus experimental Cone 10 firings.
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calendar
Fee: $150. See website www.rakurhodyo.org; or con
tact Kate Champa: e-mail [email protected]; tele
phone (401) 351 -1683. Or contact Kris Pedersen: e-mail
Tennessee, Gatlin burg September 28-October 4
"Fire and Smoke: The Art of Raku," hands-on with
Steven Forbes-deSoule. Intermediate to advanced.
October5-11 "Colorful Pots: Form and Surface" with
Wynne Wilbur, handbuilding with red earthenware.
All skill levels. October 12-18 "Pottery Sets and Series"
with Mark Peters. All skill levels. October24-26 "Mo
saic and Tile: A Crash Course" with Debby Hagar. All
skill levels. Fee: $ 175. Fee (unless noted above): $340.
See
website
www.arrowmont.org;
or
telephone
(865) 436-5860.
Texas, Mesquite October 3-4 "Paragon In-Plant
Kiln Maintenance Seminar." Fee: $90, includes a
3-ring service manual. For further information, tele
phone (800) 876-4328 or (972) 288-7557; e-mail
[email protected].
Texas, San Antonio November 8 "Low-Fire Ce
ramics" slide lecture with Liz Quackenbush. Free.
Contact the Southwest School of Art and Craft, 300
Augusta,
San
Antonio
78205;
see
website
www.swschool.org; telephone (210)224-1848; or fax
(210) 224-9337.
Utah, Bluff October 11-18 Workshops plus firing
with Alice Cling. Contact Horizons to Go, PO Box 634,
Leverett,
MA
01054;
e-mail
[email protected]; see website www.horizons-art.com; telephone
(413) 367-9200; or fax (413) 367-9522.
Vermont, Middlebury September 19-21 Slide
presentation and hands-on workshop with Randy
Johnston, altering thrown forms with slabs, extrusions
and patterns. Intermediate through professional. Fee:
$297, includes materials and firing. Contact Eric Neil,
Frog Hollow Vermont State Craft Center, 1 Mill St.,
Middlebury 05753; e-mail [email protected]; see
website www.froghollow.org; telephone (802) 3883177; or fax (802) 388-5020.
Virginia, Appomattox October 25-26 Workshop
with Brad Schwieger. Fee: $125; includes lunch. For
information and brochure, [email protected];
or call (434) 248-5074.
Virginia, Arlington September 13-14and21 "Re
lief in Red," large-scale relief in terra cotta with Alfredo
Ratinoff. Fee: $145. October 16-18 "Pots with Person
ality" with Suze Lindsay. Fee: $165. October 25-26
Workshop with Stephen Fabrico. Fee: $145. Contact
Darlene Tsukamoto, Lee Arts Center, 5722 Lee Hwy.,
Arlington
22207;
e-mail
[email protected];
see website www.erols.comlleearts; or telephone (703)
228-0558 or 228-0560.
Washington, Bellevue September 18-21 "The
Human Form in Clay," lecture and hands-on workshop
with Patti Warashina. Fee: $250; members, $225.
September 27 "Raku Fire" with Regnor Reinholdsten
and Ken Turner. Fee: $15; members, $13; $5 per pot
fired. November24-26 "Sculpting: The Clay Figurine"
with Timea Tihanyi. Fee: $150; members, $135. Con
tact Bellevue Art Museum, 510 Bellevue Way, NE,
Bellevue 98004; e-mail [email protected]; see
website www.bellevueart.org; or telephone (425) 5190745; or fax (425) 637-1799.
Washington, Seattle September 72-74Throwing
and altering demonstration with Sarah Jaeger and
Jeff Oestreich. Fee: $150. October 17-19 Throwing
demonstration with Chris Staley. Fee: $125. All skill
levels. Contact Peter Olsen, Seward Park Art Studio,
5900 Lake Washington Blvd., S, Seattle 98118;
e-mail
[email protected];
see
website
www.sewardparkart.org;
telephone
(206)
722-6342;
or fax (206) 723-2185.
September 13-14 Workshop with Wally Bivins,
Josh DeWeese and Al Tenant. For information and
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calendar
registration, co n ta ct Pott e ry N o rt h we st, 2 2 6 F i rst A ve.,
N, Seattle 98109; telephone (206) 749-9471.
Washington, SuquamishSeptember 13-14 "Pot
pourri—30 Years of Techniques" with Mel Jacobson.
Fee: $130. October 18-19 "Thrown and Altered Ves
sels" with Ellen Shankin. Fee: $ 150. Contact ClaySpace
on Puget Sound, Brenda Beeley, PO Box 1339,
Suquamish 98392-1339; e-mail [email protected];
see
website
www.clayspaceonpugetsound.com;
or
telephone (360) 598-3688.
Wisconsin, Fish Creek September 22-26 "Tile
Making" with Jeanne Aurelius. Fee: $180. October
30-November 1 "Story Platters and Bowls" with Renee
Schwaller. Fee: $120, includes supplies. Contact Pen
insula Art School, PO Box 304, 3906 County Hwy. F,
Fish Creek 54212; e-mail [email protected];
see website www.peninsulaartschool.com; telephone
(920) 868-3455; or fax (920) 868-9965.
International Events
Anguilla, British West Indies December 8-13
"Possibilities in Tile," workshop with Susan Reynolds.
Fee: $700, includes lodging, breakfast, lunch. Contact
Art Workshops, PO Box 593, The Valley, Anguilla,
BWI; e-mail [email protected]; or see website
www.Anguillaguide.com!workshops.
Belgium, Bellegem-Kortrijk October 12-December2 Herman Muys and Monique Muylaert; at Gallery
Harmagedon, Sasboslaan 7.
Belgium, Brasschaat (near Antwerp)September
12-14 "Flaxclay, Paperclayand Kilnbuilding" with Ian
Gregory; Fee: US$170; or "Sculptural Ceramics" with
MoJupp; Fee: US$165. September27-28 "Silk-Screen
on Ceramics" with Jan Winkels; Fee: US$125; or
"Naked Raku" with Anima Roos; Fee: US$100. No
vember 75-76 "Ceramic Decoration Techniques" with
Nettie Janssens. Fee: US$110. Materials included in
all fees. Contact Patty Wouters, Atelier Cirkel,
Miksebaan 272, B-2930 Brasschaat (near Antwerp);
e-mail
[email protected];
see
website
http:l/users.pandora.belatelier.cirkel;
telephonelfax
(32) 36 33 05 89.
Belgium, Koksijde through September 14 "AR-TGILLAE," ceramics by Aline Favre, Delores Fortuna,
Haguiko, Vania Jovanovic, Patrick Piccarelle, Jindra
Vikova and Jean-Pierre Viot; at CasinoKoksijde, Mez
zanine, Casinoplein 11.
Canada, Alberta, Hythe October9-23 "Firing the
Bishogama" with Les Manning. Fee: Can$1350 (ap
proximately US$905), includes slips and glazes, 6 cubic
feet of firing space, lodging and meals. Participants
should bring bisqueware. Contact Bibi Clement, Direc
tor, BICWA Society: e-mail [email protected];
telephone (780) 356-2424; or fax (780) 356-2225.
Canada, British Columbia, Burnaby October2425 "Handmade Tableware," workshop with Katrina
Chaytor. For further information, contact Shadbolt
Centre for the Arts, 6450 Deer Lake Ave., Burnaby
V5G 2J3; telephone (604) 291-6864.
Canada, British Columbia, Hornby Island Sep
tember 10-14 Coil building, burnishing and smoke
firing workshop with Masoud Zadeh. Fee: Can$250
(approximately US$170), includes materials and fir
ings. Limit of 5 participants. Contact Masoud Zadeh:
e-mail [email protected].
Canada, British Columbia, Vancouver Septem
ber 4-29 Gillian McMillan, "Ornithikos"; at Gallery of
BC Ceramics, Granville Island.
Canada, Ontario, Burlington through September
28 "Sarah Link: Oh!" through October26 "Fireworks
2001," the biennial exhibition of FUSION: The Ontario
Clay & Glass Association, through December 21 "Re
cent Acquisitions," a selection of new work highlightCeramics Monthly September 2003
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calendar
ing the donations to the permanent collection in 2002.
October2-November2 "Burlington Potters Guild An
nual Juried Exhibition"; at the Burlington Art Centre,
1333 Lakeshore Rd.
Canada, Ontario, Elora-Fergus October4-5" 17th
Annual Elora-Fergus Studio Tour," 37 studios in the
Elora-Fergus area. Contact the Centre Wellington
Chamber of Commerce at (877) 242-6353; or see
website www.artscouncil.elora.on.ca.
Canada, Ontario, Peterborough through October
5" Exploring Surface," works by John Chalke, Angelo di
Petta, Harlan House, John Ikeda, Ann Mortimer, Mathias
Ostermann, Laurie Rolland and Bill Rowland; at the Art
Gallery of Peterborough, 2 Crescent St.
Canada, Ontario, Toronto through September
21 "The Romance of Raku and Other Smoke-Fired
Pottery," work by 16 artists; at the Guild Shop, 118
Cumberland St.
through January 18, 2004 "Passion and Porcelain:
Pre-Revolutionary
French
Ceramics
from
the
Wadsworth Atheneum Museum of Art"; at the Gardiner
Museum of Ceramic Art, 111 Queen's Park.
September 20-January 4, 2004 "Art Deco 1910—
1939"; at the Royal Ontario Museum, 100 Queen's Park.
October 15-18 "The 7th Annual Pottery and Glass
Sale"; at the Barbara Frum Atrium, CBC Broadcasting
Centre, 250 Front St., W.
Canada, Quebec, Montreal September 26-October 25 Audrey Killoran; at the Canadian Guild of
Crafts, 1460 rue Sherbrooke Quest.
China, Shanghai September 20 One-day work
shop with Steve Heinemann or Takeshi Yasuda. Fee:
100 RMB (approximately US$13). Contact the
Pottery Workshop Gallery, the Shanghai Branch, 220
Taikang Rd., 2nd FI., Shanghai 200025; e-mail
[email protected]; telephone (86) 21 6445
0902; or fax (86) 21 6445 0937.
Czech Republic, Cesky' Krumlov through Octo
ber 31 "Tenth Annual International Exhibition of Con
temporary Ceramic Art"; at the Agency of Czech
Ceramic Design, Prfkr^ 246.
England, Alresford (near Winchester) October 625 "Drinking Vessels"; at Candover Gallery, 22 West St.
England, Bath through September 6 Exhibition
including ceramics. September 15-October 11 Emily
Myers, new high-fired terra cotta. October20-November 15 Takeshi Yasuda, porcelain and creamware; at
Beaux Arts-Bath, 12113 York St.
England, Bovey Tracey September27-November
5 "Size Matters." October 30 Lecture with Blandine
Anderson. November 15-December31 "Surface Ten
sion." November22 "Tile Decorating Workshop" with
Penny Simpson. December 6 and 13 "Christmas Fair";
at the Devon Guild of Craftsmen, Riverside Mill.
England, Edwinstowe September27-October 18
Phil Rogers; at the Oakwood Gallery, 4 Church St.
England, Exeter September 20-0ctober 12 "Con
temporary Ceramics Exhibition"; at Woodbury Studiol
Gallery, Greenway, Woodbury.
England, Ipswich September 12-14 Intensive
throwing workshop, including trimming, and throw
ing lids, spouts, handles, etc., with Deborah Baynes.
Fee: £255 (approximately US$400); includes materials,
firing, lodging, meals. Contact Deborah Baynes Pot
tery Studio, Nether Hall, Shotley, Ipswich, Suffolk
1P9 1PW; e-mail [email protected]; see
websitewww.potterycourses.net; telephone (44) 1473
788 300; or fax (44) 1473 787 055.
England, Liverpool October 1-30 Hortense
Suleyman, window display. October 18-November 8
New work by Duncan Ross; at Bluecoat Display Centre,
Bluecoat Chambers, School Ln.
England, London through September28 "The Art
of Chess," 19 chess sets dating from the beginning of
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calendar
the 20th century to the present day; at Gilbert Collec
tion, Somerset House, Strand.
September 19-November 1 Edmund de Waal. Elspeth
Owen. November 7-December 24 "Home for Christ
mas." Anthony Theakston; at Contemporary Applied
Arts, 2 Percy St.
October 16-25 Susan Disley. November 5-15 Sandy
Brown; at Contemporary Ceramics, 7 Marshall St.
England, Sherborne September 13-October 11 Earth
enware by Paul Jackson; at Alpha House Gallery, South St.
England, S. Ambersham near Midhurst through
September 7 Exhibition including ceramics by Emily
Myers. September 8-October 31 Exhibition including
ceramics; at Peter's Barn Gallery, Beck House.
England, Stoke-on-Trent through October 19
"Small but Perfectly Formed," selections from the
Spode Museum Archive of Chelsea and Derby porce
lain figure parts, models, molds, etc.; at the Spode
Museum, Church St.
England, Yanwath near Penrith through October
25" Naked," torsos, life forms and raku figures. Septem
ber 13-January 10, 2004 "Cats," functional and sculp
tural cats, lions and tigers; at Laburnum Ceramics Gallery.
Finland, Helsinki through September21 Kaj Franck,
"TANAAN -1 DAG - TODAY"; at Design Forum Finland,
Sanoma House, Mannerheiminaukio 3.
France, Nanqay through September 14 Two-person exhibition including ceramics by Jean-Frangois
Fouilhoux. through September 79 Three-person exhi
bition including ceramics by Frangoise Carrasco. Octo
ber 2-December 79 Three-person exhibition including
ceramics by Gordon Baldwin. October 4-17 Threeperson exhibition including ceramic sculpture by Axel
Cassel; at Galerie Capazza, Grenier de Villcitre.
France, Saint Quentin la Poterie September 14November 16 "Figures," including ceramics by Teresa
Girones; at Terra Viva Galerie, rue de la Fontaine.
Germany, Heidelberg through September 28
"Group '83, with Special Guests"; at DeutschAmerikanisches Institut dai, SofienstraBe 12.
Hong Kong September 16-17 Workshop with
Steve Heinemann. September 29-30 Workshop with
Takeshi Yasuda. Slide presentation in the morning;
hands-on in the afternoon. Fee: HK 600 (approxi
mately US$77); members, HK 500 (approximately
US$64). Slide presentation/demonstration only, HK
200 (approximately US$26). Contact Pottery Work
shop Gallery, The Fringe, 2 Lower Albert Rd., Hong
Kong; see website www.ceramics.com.hk; telephone
(852) 2525 7949; or fax (852) 2525 7091.
Hungary, Kecskemet September 10-29 "Anni
versary Exhibition of J^nos Probstner." October 2-13
Edit N3csa and Szabolcs Zeke; at the Museum of the
International Ceramics Studio, K3polna str. 13.
India, Jaipur and New Delhi February 6-19, 2004
"Arts and Culture in North India," hands-on workshop
with traditional potters. Fee: $3950. For further
information, contact Jim Danisch or Oma Judith
Chase: e-mail [email protected]; see website
www.jandjtrips.com; or telephone (707) 629-3335.
Italy, Albisola September 27-November 9" Attese:
Biennale of Ceramics in Contemporary Art (2nd Edi
tion)"; at Ceramics Museum Manlio Trucco.
Italy, Certaldo through September 6 "Terra
Sigillata" workshop with Giovanni Cimatti. September
7-13 "Soda Firing" workshop with Terry Davies. Con
tact La Meridiana, Loc. Bagnano 135, 50052 Certaldo,
Florence;
e-mail
[email protected];
see
website
www.pietro.net; telephone (39) 571 660084; or fax
(39) 571 660821.
October 13-24 "Majolica Workshop" with Ron
Meyers. E-mail [email protected]; or see website
www. potte rya b roa d. co m.
Italy, Faenza through October 26 "The Golden
Age of Maiolica: Italian Ceramics from the XV to the
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XVI Century from the Collections of the Hermitage
Museum." through December31 "53rd International
Competition of Contemporary Ceramics"; at Interna
tional Museum of Ceramics, Viale Baccarini.
Italy, Savona September27-November9 "Attese:
Biennale of Ceramics in Contemporary Art (2nd Edi
tion)"; at Palazzo Gavotti and Circolo degli artisti.
Italy, Tuscany May 14-31,2004 One-week handson workshop with Denys James; one-week hands-on
terra-sigillata workshop with Giovanni Cimatti. Website
www.denysjames.comlexcursionslitaly.
Italy, Vado Ligure September 27-November 9
"Attese: Biennale of Ceramics in Contemporary Art
(2nd Edition)"; at Villa Groppallo.
Korea, Cheongju City October 2-19 "3rd
Cheongju International Craft Bienniale 2003"; at
Cheongju Arts Center.
Korea, Icheon September 1-October30 "The 2nd
World Ceramic Biennale 2003 Korea." September23 "The 2nd International Ceramic Symposium"; at
Icheon World Ceramic Center.
Mexico, Oaxaca February 22-29, 2004 "Oaxacan
Clay Workshop" with Eric Mindling. Fee: $ 1050—$ 1300.
Contact Oaxacan Clay: e-mail [email protected]; or
see website www.manos-de-oaxaca.com.
Netherlands, Amsterdam September 13-October 15 Yasuhisa Kohyama; at Galerie De Witte Voet,
Kerkstraat 135.
Netherlands, Delft through October 5 Ceramics
by Canonne and Trevalinet. October 5 "Ceramics in
Delft 2003," one-day demonstration. September 6October25 Daphne Corregan. October 11-November
22 Peter Lane; at Terra Keramiek, Nieuwstraat 7.
Netherlands, Deventer through September 7
Agathe Larpent, "La Poesie en Porcelaine." Septem
ber 7-October 4 Andrew Walford. October 12-November 8 Nicholas Homoky, Gustavo Perez and Johan
van Loon; at Loes and Reinier, Korte Assenstraat 15.
Netherlands, Leeuwarden October 25-December28 "White Porcelain"; at St. Joseph Gallery, Frederik
Ruyschstraat 10.
Netherlands, Utrecht through October 15 "10
years Galerie Utrecht," including ceramics by Herman
Muys; at Galerie Utrecht, Oudegracht 340.
Norway, Oslo October 3-18 Two-person exhibi
tion including ceramics by Birgitte Wyller Berntsen; at
det Norske Teatret, Kristian IV gt. 8.
Scotland, Edinburgh October 6-29 "The New
Wave," 12 makers from Scotland and Wales; at the
Scottish Gallery, 16 Dundas St.
South Africa, Cape Town, Foreshore October518 "Altech Ceramics Triennial," juried international
exhibition; at Artscape, the Opera Foyer, D F Malan St.
Spain, Estella (Navarra) October 17-November
23 Angel Garazza; at Gustavo Maeztu Museum.
Spain, Manises November 14-January 18, 2004
"Sixth International Biennial of Ceramics, Manises"; at
Museu de Ceramica de Manises, Calle Sagrario, 22.
Spain, Tolosa September 5-October 11 Angel
Garazza; at Aramburu Palace, Plaza Santa Mari 1.
Switzerland, Carouge September 20-November
23 "Prix de la Ville Carouge: La Cuillere Ceramique";
at the Musee de Carouge, Place de Sardaigne 2.
Switzerland, Kirchberg through September 28
Michael Cleff, "About Inside and Outside"; at
Kunstforum Kirchberg, Eystrasse 66.
For a free listing, submit announcements of confer
ences, exhibitions, workshops and juried fairs at
least two months before the month of opening. Add
one month for listings in July; two months for those
in August. Mail to Calendar, Ceramics Monthly,
735 Ceramic PI., Westerville, OH 43081; e-mail
to [email protected]; or fax to (614)
891-8960.
122
123
questions
Answered by the CM Technical Staff
Q
I'm a high school instructor and potter, and
am in need of suggestions and solutions regard
ing the demise of Gerstley borate. I'm having a
terrible time coming up with good raku glazes.
I've been experimenting with several recipes I
have loved for years. The substitute I've tried is
Gillespie borate, but it does not work satisfacto
rily. Some of the glazes run, some don't get that
beautiful metallic luster they had. Some seem to
pool. A suggestion was made to add EPK (Edgar
Plastic Kaolin) to raise the melting temperature.
I did several tests, increasing the amount 5%
and 10%. The glazes still don't look great. I use
commercial
glazes
along
with
regular
raku
glazes, so they both need to flux at the same
time. Is there a substitute that really works?This
problem has derailed the raku element of my
ceramics program, and my efforts haven't been
successful. Thanks for your help.—P.R.
The answer, in many cases, is to use glazecalculation software when substituting materials in
glazes and clay bodies. There are a number of
substitutes for Gerstley borate on the market, and
none of them duplicate the original material ex
actly (hard to do with a material that was never the
same twice to begin with). However, the fact that
the formula for Gerstley borate varied does not
explain the gross differences between some of the
so-called copies.
Raku glazes are in a class by themselves. Be
cause they need to start melting early and com
pletely, they rely on lots of melter—in this case
boron. Gerstley borate provided a lot of boron with
minimal solubility.
A comparison between the 1997 analysis of
Gerstley borate and that of the Gillespie borate
shows a difference in boron levels. The latter has
less B2O3 (35.4% total) compared to 39.3% in the
original Gerstley borate. So, the verdict is that your
glaze is short of low-temperature melter. The other
main difference is that there is more calcium (CaO)
in the Gillespie borate. Except for the absence of
iron (Fe2O3) in the Gillespie borate, they are simi
lar, even in silica to alumina ratios and calculated
coefficients of expansion.
Part of the content of Gerstley borate is a shale.
This explains why there is no iron in the Gillespie
product. Adding 1 % or 2% of an iron-bearing clay,
such as Cedar Heights Redart, may bring back the
metallic luster.
Ron Roy
Ceramics Consultant
Brighton, Ontario
Have a problem? Subscribers’ questions are
welcome, and those of interest to the ceramics
community in general will be answered in this
column. Due to volume, letters may not be an
swered personally. Mail to Ceramics Monthly,
735 Ceramic PI., Westerville, OH 43081,
e-mail to [email protected] or fax
to (614) 891-8960.
124
125
126
127
Comment I price and the second highest bidder
by Larry Brow
When someone tries to sell a car by parking it an imagined second potential buyer, the typical
in a prominent roadside spot with a “for sale” format is absolutely dependent on the activity
sign in the window, they are running a sort of level of the second bidder. It is the second
“Dutch auction.” That’s an auction at which bidder (or third or fourth) who drives up the
the auctioneer starts with a fairly high price and final price by repeatedly attempting to win the
bid. The final bid is not set so much by the
works slowly downward until someone says,
“Yes!” By waiting to respond, you’re gambling winning bidder’s willingness to pay as by the
that no one else will bid first. If you correctly second bidder’s ultimate unwillingness to pay
read the other bidders and the seller’s willing more. If the second bidder gives up early, the
ness to continue lowering the price, you can winning bidder gets a bargain and the seller
buy the item fairly cheaply. But, of course, with loses out.
As an artist, particularly when setting your
a car parked along a busy highway, you don’t
know who the other potential buyers might be, prices at a gallery, you are placing yourself in
and you’d have to make a special effort to meet the role of the second highest bidder. That is, if
your sculpture has been priced at $500, you
the seller.
In a typical auction, the price starts low and would rather give up the object than turn down
the auctioneer tries to persuade people to offer that much money. But you would rather keep
greater and greater sums of money—however the object than sell it for less than $500. If the
much it will take—to win away the item being customer is unwilling or unable to pay the full
sold. Auctions in this style thrive on the emo amount, he or she will not go home with the
sculpture. You, in effect, will be the winning
tions and natural competitiveness of the bid
ders. In the heat of the moment, prices may rise bidder, and you get to keep the sculpture.
I mention this because I have several times
far above a reasonable level through an unrea
heard stories of artists who didn’t really want to
soning desire to possess. The seller loves this.
sell particular works of art, so they put what
On the other hand, unlike the Dutch for
mat, which only requires a seller, a buyer and they thought were outrageous prices on their
pieces and they sold anyway. In effect, the art
ists were outbid for ownership of the object,
even though their final bid seemed ridiculously
high. The thing is, if this happens to you, you
cannot whine about it later. You determined
what the winning bid would be.
The reverse also holds true. If the price is set
too high and no one buys the piece, you have
made yourself the winning bidder. You may
not have shown the piece in its best light or to
the right group of potential bidders, but, today
at least, you get to keep the object. Tomorrow
you may decide that it’s not worth as much as
you thought. It’s probably not in your best
interest to have the world’s greatest collection
of your own stuff.
You are always free to lower the price (or
raise it even higher if the mood strikes you).
But never lower it to the point where you
would feel cheated if it sells. Once it has sold,
all you have are memories and money.
As an artist, you should never be unhappy
to be the second highest bidder. Being the
second highest bidder is how you sell your
work. Learn to be cheerful in the role, and
good luck at the auction.
index to advertisers
2004 Taiwan Ceramic Biennale................. 3
A.R.T. Studio............................................ 43
Aardvark Clay & Supplies...................... 123
ACerS Books................................ 95,101
Aegean Sponge..................................... 110
Aftosa......................................................... 2
Amaco/Brent/Genesis............................. 8,9
American Craft Council............................ 31
Amherst Potters Supply......................... 120
Anderson Ranch.................................... 113
Annie’s Mud Pie Shop........................... 125
Axner Pottery.................................... 18,19
Bailey Pottery................. 1, 11, 29, 32,33
BatGrabber............................................ 100
Bellevue Art Museum............................ 115
Bennett’s Pottery............................................ 7
Big Pots Made Easy.............................. 120
BigCeramicStore.com............................. 12
Bluebird Manufacturing......................... 124
Bracker’s Good Earth Clays.................. 108
Brickyard................................................ 109
Brown Tool Co....................................... 110
Canton Clay Works.................................. 40
Carolina Clay Connection..................... 110
Ceramic Services.................................. 125
Ceramic Supply Chicago....................... 120
Ceramic Supply of New England ... 114
Ceramica Imports.................................. 121
Ceramics Monthly.................................. 103
Chinese Clay Art, USA.......................... 105
Clark Art Glass & Refractories............. 120
Classifieds.............................................. 126
Clay Art Center (NY).............................. 122
Clay Art Center (WA)............................. 113
ClayinMotion......................................... 116
Clay Times............................................ 105
Clayworks Supplies.............................. 124
Columbus College of Art & Design . 16
Continental Clay................................... 102
Cornell Studio Supply........................... 114
Cotronics............................................... 104
Creative Industries................................ 98
Cress...................................................... 21
Dan Finch Pottery................................ 117
Davens.................................................. 100
Del Val................................................... 100
Dew Claw Studios................................ 116
Dolan Tools.......................................... 104
Duralite................................................. 104
Euclid’s.................................................. 36
Falcon Company.................................. 100
Flat Rock Studio Clay Supplies........... 124
Gare...................................................... 117
Geil Kilns................................................ 15
Georgies Ceramic & Clay.................... 119
Giffin Tec............................................... 27
GlazeMaster.......................................... 118
Great Lakes Clay................................... 96
Greyrock Clay Center........................... 117
Hammill & Gillespie.............................. 115
Handmade Lampshades...................... 116
Herring Designs/SlabMat..................... 120
Highwater Clay/Odyssey..................... 107
Hormaca............................................... 118
Hydro-Bat............................................. 119
Jepson Pottery....................................... 35
K.D. Art/Glyptic Tools........................... 100
Kazegama............................................ 120
Kentucky Mudworks............................. 121
Kickwheel Pottery..................................... 4
Kiln Doctor............................................ 114
Pottery Making Illustrated..................... 97
PotteryTools.com.................................. 94
PotteryVideos.com................................ 39
Pure & Simple...................................... 122
L&L..................................................Cover 3
L&R Specialties.................................... 103
Laguna Clay....................................23,110
Lark Books........................................... 112
Lockerbie............................................... 42
Lou Davis Wholesale........................... 110
Ram Products........................................ 12
Rosewood Arts Centre......................... 109
Runyan................................................. 116
New Mexico Clay................................. 118
Ninety-Second St. Y............................. 115
North Star..................................... 25,111
Northwinds Ceramics............................ 42
Seward Park Art Studio........................ 114
Sheffield Pottery................................... 119
Shigaraki Ceramic Cultural Park .... 111
Shimpo............................................ Cover 2
Skutt Ceramic Products .... 123, Cover 4
Smith-Sharpe Fire Brick Supply............ 38
SOFA Chicago....................................... 93
Soldner Clay Mixers............................. 124
Spectra Chrome................................... 122
Spectrum Glazes................................... 10
Standard Ceramic Supply.................... 106
Studio Potter......................................... 124
Studio Sales Pottery............................. 114
StudioMate........................................... 118
Oaxacan Clay....................................... 105
Olsen Kilns........................................... 122
Olympic Kilns........................................ 111
Orton Ceramic Foundation.................. 118
Thomas Stuart Wheels.......................... 17
Tongin Gallery....................................... 14
Tools4Clay............................................ 120
Trinity Ceramic Supply.......................... 34
Manassas Clay..................................... 122
ManitouArts.......................................... 104
Master Kiln Builders............................. 114
Mastering Cone 6 Glazes..................... 109
Mile Hi Ceramics.................................. 104
Minnesota Clay.................................... 122
Paper Clay.............................................122
Paragon Industries................................ 37
Pebble Press........................................ 118
Penland School of Crafts..................... 113
Peter Pugger................................ 41,116
PMC Connection.................................. 125
Portland Pottery- Supply..................... 125
Potters Council...................................... 39
Potters Shop......................................... 124
128
U.S. Pigment........................................ 121
Venco - Westwind - Solarflow............... 13
Vent-A-Kiln.............................................116
Ward Burner Systems........................... 92
West Coast Kiln.................................... 118
Westerwald........................................... 112
Whistle Press........................................ 116
www.Clay-King.com............................. 103

here - Ceramic Arts Daily

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