here - Ceramic Arts Daily
Transcription
here - Ceramic Arts Daily
editor Sherman Hall associate editor Tim Frederich assistant editor Renee Fairchild assistant editor Carol Horvath 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 735 Ceramic Place Westerville, Ohio 43081 USA telephone editorial: (614) 895-4212 advertising: (614) 794-5809 classifieds: (614) 895-4212 circulation: (614) 794-5890 fax (614) 891-8960 e-mail [email protected] [email protected] [email protected] [email protected] website www.ceramicsmonthly.org Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. 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Copyright © 2003 The American Ceramic Society All rights reserved Ceramics Monthly October 2003 2 Ceramics Monthly October 2003 4 OCTOBER 2003 / Volume 51 Number 8 featu res 38 Jennifer Lee The Circumnavigation of Form by David Whiting 42 Animal Tracks by Anne Macaire Technical challenges in constructing large slabwork 45 Anagama Firing at Chris Gustin's by Scott Ruescher Camaraderie and cooperation among ceramists in New England 52 Ceramic Showcase 2003 by Renee Fairchild Oregon Potters Association’s nonjuried members’ exhibition 56 Ducuale Grande A Nicaraguan Women's Pottery Cooperative by Peter Chartrand 60 A Taste for C lay by Fred C. Wilson III Early creative experience fosters lifelong passion 62 Chinese Ceramics Today byjim weaver Traveling exhibition of works by 22 contemporary ceramics artists 65 Roush's Teapot by David M. Brin A quest for the perfect pouring vessel 67 Ceramics 2003 by Susan Peterson Biennial juried competition in Guilford, Connecticut 69 Gallery Guide 2003 Where to see ceramics in the U.S. and abroad departments 10 14 30 letters upfront new books 88 call for entries 94 suggestions 96 calendar 114 questions 116 classified advertising 118 comment: That Would Be Just Ridiculous, Don't You Think? by Dick Lehman 120 index to advertisers cover: Vessel, 35 inches (89 centimeters) in height, wheel-thrown and coil-built stoneware, fired in reduction to Cone 11, by Chris Gustin; page 45. Photo: Dean Powell. Ceramics Monthly October 2003 5 upfront 14 Marilyn W. Simon 14 Paul Jackson Majolica sculpture and tile at ArtForms Gallery in Manayunk, New York Vessels and sculpture at Alpha House Gallery in Sherborne, England 14 Karen Thuesen Massaro Receives Award Ceramist becomes Santa Cruz County Arts Commission’s 2003 Artist of the Year 14 Birgitte Wyller Bernsten Handbuilt vessels at det Norske Teatret in Oslo, Norway 16 Asian Trade Ceramics at the Crocker Art Museum by Paul f. Dauer Over 400 pieces of production ware from the Takahashi Collection in Sacramento, California 18 Change is Good by Tim Mosgrove 20 Jean Cappadonna Nichols Receives $5000 Award 20 Midwest Clay in Baltimore 20 Clay Exhibition in Singapore Stoneware mural at the Mosgrove Gallery in Coeur d’Alene, Idaho Florida ceramist recognized with State Individual Artist Fellowship Works by eight artists at Baltimore Clayworks in Maryland Group show at Utterly Art Exhibition Space in Southeast Asia 20 Tom Hoffman Wood- and soda-fired pots at KOBO Gallery in Seattle 22 Materials: Hard and Soft by Peggy Heinkel-Wolfe Works by 13 ceramists included in juried crafts exhibition Meadows Gallery of the Center for Visual Arts in Denton, 24 at the Texas Raymon Elozua Retrospective exhibition at the Mint Museum of Craft + Design in Charlotte, North Carolina 24 14th Annual California Clay Competition Juried exhibition at the Artery in Davis 26 Juried Exhibition of Teapots in Las Vegas Works by 36 artists at Contemporary Arts Collective in Nevada 26 Helena Starcevic Sculpture at photo-graphic Gallery in New York City Ceramics Monthly October 2003 6 Ceramics Monthly October 2003 7 letters Start-Up Frustrations First of all, I would like to thank you for all of the articles you publish. To see that some artists are making a living at making “art” that I wouldn’t even sell at a garage sale is inspirational! It’s clear that some people have had things handed to them all their lives—house, education (paid for by their parents), etc. I still have just under $40,000 left to pay on my student loans, and haven’t even had the chance to touch a piece of clay since 1998! For those people who have to pay for everything themselves, I just have a few questions. How do you pay for everything (e.g., house, education, insurance, bills) and/or make a living from scratch by your self? I have everything I need (wheels, kilns, clay, glaze, materials, etc.), but I’m having a problem with finding a place to work. If I do decide to go head first into making pottery for a living, I would have to make at least $1500 per month to pay for the above. I know some potters can, and do, make this amount and more, but where does it start, and with how much funding and support? One day, I know I will be able to walk into my studio, with coffee in hand, and make pots all day long with the roar of the kiln, but when? Steve Belovich, Washington, PA Fusion of Form and Surface The pottery by B. R. and Abhay Pandit is superb [September CM]. Great glazes that fit forms perfectly is a wonderful thing to behold. These very talented artists embody what high-quality studio ceramics is all about. They have created the equations needed to maximize the fusion of form and surface treatments. Tom Turnquist, Lakewood, CO Memories of Greenfield Village My first memory of ever seeing a pot thrown on the potter’s wheel was at Greenfield Village [May 2003 CM]. That was some 45 years ago. Since my career for the last 30 years has been pottery, this image is indelibly imprinted on my mind. Now, in my pottery shop, I delight in seeing children’s faces light up when they see me throwing clay into pots. What a truly enjoyable and rewarding occupation! Tim Wierwille, Ruidoso, NM Equipment Theft Late one recent Saturday evening or early Sunday morning, an unknown person or persons pried open the side door [of Hands on Clay studio] and stole all of our raku equipment. Missing are numerous boxes of soft kiln brick, seven gas burners, three pairs of long-handled tongs, a custom manifold that allows three burners to be hooked up to the same gas source, and a variety of other firing accessories. The approximate value of the stolen items is $6000. We feel the person responsible for this theft knows us quite well. He or she prob ably studied with us and, more specifically, participated in raku firings at Hands on Clay. This person had knowledge of our alarm system and knew where we stored equipment. He or she also knew exactly what was needed to set up a firing system. I understand that people who experience the excitement of raku sometimes develop a passion for it. This person obviously felt strongly, but in order to satisfy his or her own impulse, he or she deprived at least a dozen people here at the studio of the right to fire their own pots. We are now, unfortu nately, in a position of having to cancel our scheduled demonstrations and workshops. Ceramics Monthly October 2003 10 Ceramics Monthly October 2003 11 letters Some of us were in the process of making pots and sculptures to be raku fired for various shows and exhibitions and will no longer be able to participate. We have been practicing raku in this country since the 1960s. It remains one of the few truly spontaneous and interactive methods of firing pottery. There is also a strong spiritual component surrounding the practice of raku, which this person seems to have missed. One cannot begin such a journey with such a cold heart. I can’t imagine any good coming from such a shameful beginning. We would like to ask this person to give serious thought to what has been done, the effects these actions have had on the mem bers of our studio, and to seriously consider returning our equipment. It could simply be left in the backyard and all concerned would feel a whole lot better. Peggy Stasi, Program Director, Hands on Clay, East Setauket, NY Love the Controversy I always look forward to the reader com ments. It is so interesting to see that one person loves what the other person hates. I am a longtime subscriber, and it has always seemed to be that way. You sure are doing something right. Controversial—Thanks! Ellen Jones, Bellevue, WA Annual Review Yields "New" Ideas I’ve known I would be a potter since I was six, and made pots out of ditch clay and water. I’ve subscribed to Ceramics Monthly since I first saw the magazine in 1972. I’ve made my living making functional porce lain since 1976. Once a year, I go through all my back issues for “new” ideas. Great magazine—great resource. Rhoda Fleischman, Brownsville, OR Educational Value Both my students and I hungrily await Ceramics Monthly every month to find the treasures that inspire and educate us. Rui Haagen, Colorado Springs, CO 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 ad dress, 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. Ceramics Monthly October 2003 12 upfront earthenware forms, loosely based on French and Italian ceramics. Over time, Jackson also became influenced by Russian graphics and Islamic art, then human nudes and painterly abstraction. Inspired by the garden at his new studio, Jackson recently began making sculptures for the outdoors. For the most part, these are also human nudes. Marilyn W. Simon “Inside • Outside • Upside Down: Works in Majolica • Figures and Tiles,” an exhibition of works by Cheltenham, Pennsylvania, ceramist Marilyn W. Simon, can be seen through October 5 at ArtForms Gallery in Manayunk, New York. One of Simons latest series—“Floating Free” Karen Thuesen Massaro Receives Award Santa Cruz, California, ceramist Karen Thuesen Massaro (see the Sep tember 2000 CM) was recently named 2003 Artist of the Year by the Santa Cruz County Arts Commission; she is the 19th artist to be honored as such. The award is given to an artist who has a national and/ Marilyn W. Simon’s “Floating Free,” 8V2 inches (22 centimeters) square, earthenware with majolica; at ArtForms Gallery, Manayunk, New York. (shown here)—consists of floating nudes on tiles. These two-dimen sional images have recently become three-dimensional as well. For some reliefs, Simon creates “upside-down pinch pots, forming a leg, thigh, abdomen, bosom, cloud, etc., attaching them to each other as I go, to make the completed piece. The reverse side thus becomes a series of crevices or cavities—another element to consider. I then sculpt tiny people, animals and objects that are placed into these hollows to finish the work.” Paul Jackson Ceramic vessels and sculpture by British artist Paul Jackson are on view through October 11 at Alpha House Gallery in Sherborne, England. After giving up a career in law to become a potter, Jackson opened his first studio in 1979 in Cornwall. His first pieces were brightly decorated Karen Thuesen Massaro in her Santa Cruz studio. or international reputation, as well as having contributed to the cultural enrichment of the local community. In conjunction with the award presentation, Thuesen Massaro s sculptures were exhibited at the County Government Center. Birgitte Wyller Bernsten Paul Jackson’s “Rocking Vase,” 10 inches (25 centimeters) in height, earthenware with sgraffito and brushed slips; at Alpha House Gallery, Sherborne, England. Ceramics by Norwegian artist Birgitte Wyller Bernsten can be seen through October 18 at det Norske Teatret in Oslo, Norway. “I bring what I’ve learned from studying the natural sciences to my work in ceramics,” she noted. “Clay and glazes are truly organic matter. Its useful to understand the chemical reactions that occur when clays and glazes combine. I’m fascinated by the harmonious combination of technology and the unpredictable forces that act on the clay.” She has been working on her most recent pieces for the past year. Beginning with a simple cylindrical form, she manipulates it, then adds feathers, leather, keys, wire, etc. “There is a bit of my inner being in each Ceramics Monthly October 2003 14 not onty serve to explicate but reflect the individuality of the maker. A signature 15th-century Chinese double-gourd jarlet with two lugs (see page 18) is perfectly proportioned. The rich, saturated, plum-purple glaze complements the voluptuously sensual feminine shape and com mands recognition as something more than another nondescript mem ber of a production population. lipffOnt miniature Diue-ana-wmte ware, to HV2 inches (9 centimeters) in height, stoneware, 15th- or 16th-century Vietnam. Birgitte Wyller Bernsten’s “The Day Before” and “The Day After,” approximately 40 centimeters (16 inches) in height, slab-built white stoneware, with engobes (“The Day Before”), copper carbonate (“The Day After”) and glazes, NOK4800 (approximately US$640); at det Norske Teatret, Oslo, Norway. piece,” Bernsten commented. “To make them, I call on moods and memories. I work with different structures and colors to create a con nection between the traditional and the unknown.” Asian Trade Ceramics at the Crocker Art Museum by Paul F. Dauer Intricate and delicate underglaze brushwork and overglaze enamel ing mark the indelible identity of unknown potters laboring as a pro duction resource but expressing a personal manifesto. We may never know the identities of these individuals, but we cannot ignore their cultural artistic idiom. They are part of a continuum that marks the marvel of homo sapiens and the artistic artifacts of our species. No exhibition of Asian ceramics would be complete without celadonglazed pieces. Unlike the contemporary association of celadons with porcelain, historically, these glazes were applied over stoneware. The glazes were wood-ash and iron based, and fired in a reduction atmo sphere. Depending on the iron content, thickness and the firing tem perature, the glaze ranges from a pale white with a green tinge to a lush, rich translucent green or gray-green. The glaze also varies from a soft matt to a high gloss. The epitome of this glaze is a shallow plate made in Thailand in the 15th or 16th century. Mold-impressed patterns and a foliated rim also enhance the surface. Over 400 pieces of Asian ceramics from the Hiroko Hara and Shigeharu Takahashi collection were donated to the Crocker Art Museum in Sacramento. The recent exhibition of these pieces validates a quintes sential principle of artistry: art is not a contrived or structured expres sion, but is most often an intuitive articulation. The pots in the exhibition were not created as an artistic expression. To the contrary, they were a commercial exercise. That so many of the pieces in the show illustrate individual artistic talents is a measure of the innate sensitivities in what is essentially production ware. The collection encompasses the spectrum of Asian trade ceramics, except for Korean works, born of the Takahashis’ residency in Indonesia in the 1970s. What at a superficial level is mundane functional ware, in a global view is a cross-section of six centuries of Chinese, Thai and Vietnamese production ware. These are not one-of-a-ldnd works, ex cept for rarity of survival. Rather, they were mass produced for their utility in storing and transporting goods and foodstuffs. Some acquired extrinsic spiritual values among Southeast Asian populations and even served as a measure of wealth. Many of the examples are miniatures and jarlets, burial surrogates for valuable utilitarian wares that were venerable family treasures. Monu Si Satchanalai foliate plate, approximately 12 inches (30 centimeters) in diameter, mental dark-brown-glazed stoneware storage jars, covered boxes with stoneware, 15th- or 16th-century Thailand. intricate brush decoration, cups, plates and bowls were also exhibited. The collection documents culturally unique developments and external White-glazed stoneware with cobalt blue underglaze from all the influences adapted to the local clays, kilns and aesthetics. principal countries is well represented in the collection. The supremacy The Takahashis’ eye for selecting from multiple repetitive examples of Vietnamese pieces derives from clays that, although not true porce of trade goods is commendable. Repeatedly, examples in the collection lain, had the kaolin component that permitted higher firing, greater Ceramics Monthly October 2003 16 upfront vitrification and a whiter body. Proximity to China necessarily reflects that influence, although the cobalt decoration is not as intensely blue, but rather more gray and restrained. tion project began with the idea that some day I would have retail/ studio space there. The demolition work was difficult—39 tons of old wall, concrete floors, heating system, wire, steel and concrete block were removed. This part of the project was vastly underestimated and took much longer than I had expected. With the help of Coeur d’Alene architect Bill Dahlberg, an old building that had been an eyesore eventually became a landmark. The renovated space now houses a retail gallery for my work, as well as the baskets my wife makes. There is an architect’s office across the hall, and a Rolfing/massage specialist in another office suite. The back half of the building, approximately 2400 square feet, is my studio. A downdraft gas kiln, electric kiln, wheels, slab roller and other supplies fill the space. The idea for a stoneware mural on the front of the building came about after a workshop with architectural ceramist Peter King of Florida. The project started with smaller murals to see whether the freeze/thaw factor was a concern. Shrinkage rates and durability of the clay also had to be determined. Adding 30% coarse grog (20/48) to the clay body provided strength and reduced warpage. Next, the cedar columns were built and the cultured stone was mortared into place on the lower half of the facade. Measurements of the area remaining for tilework were taken, then 8.75% was added to allow for shrinkage. After building a form representing the building facade (plus 8.75%) from 2x4s and plywood, I used a slab roller to transform 3800 pounds of clay into ¾-inch-thick slabs. Two, three, four Double-gourd jarlet, 3 inches (8 centimeters) in height, stoneware, 15th-century China; at the Crocker Art Museum, Sacramento, California. Modern archaeological excavations of Southeast Asian shipwrecks have added significantly to the knowledge of Vietnamese and Chinese production centers, as well as Asian and European trade ceramics. This collection provides a complementary context of trade ceramics and the intrinsic artistry of the producers of trade production ware. Change Is Good Tim Mosgrove mural, 55 feet (6¾ meters) in length, stoneware with underglazes, glazes, iron oxide and stains; at the Mosgrove Gallery, Coeur d’Alene, Idaho. by Tim Mosgrove I’ll be the first one to step forward and say that I’m a glutton for punishment. The idea of putting a 3800-pound, 6x5 5-foot stoneware mural on a building seemed doable. After nine weeks of work and a couple trips to the chiropractor, I realized the magnitude of the project. Over the past 15 years, I have been making a living as a production potter. Along the way, though, I’ve taken construction work to fill in some slow periods. I’ve always had an interest in carpentry and masonry, even spending four years on active duty with the U.S. Army Corp. of Engineers as a carpenter/mason specialist. The construction-related work experience has been helpful in making certain decisions. It was that background that helped me decide to take on a 1940s building in downtown Coeur d’Alene, Idaho, that had been on the market for nearly three years. I knew there was potential. The renova and five layers were scored and slipped into place, and loop tools, scrapers and ribs were used to create detail. The fish were made large enough to be seen from the road, yet detailed enough so that closer study would reveal textures. Once the design work was complete, the mural was cut into indi vidual tiles to be fired. Following a bisque firing, the tiles were surfaced with underglazes, glazes, iron oxide and stains, and fired again. The day finally came to install the tiles on the wall. Thin-set mortar was mixed using three parts water to one part acrylic latex additive. This ratio was also used to mix the colored grout. A moment of hesitation struck me. What will happen if it doesn’t fit? I had come too far to turn back, so I set the first rounded tile into place. It fit like a glove. I could be Ceramics Monthly October 2003 18 upfront “The ideas generated through the artwork encompass many points of view, embracing both the vessel traditions and sculptural aspects of contemporary ceramics. The work employs freestanding and wall-relief formats, as both form and content are vigorously explored. A strength of this group’s work is the range of firing techniques employed, including raku, wood, salt, stoneware and earthenware.” heard laughing for blocks away. Installation of all 300-plus tiles took about three and a half days. Grouting took two days. Despite all the hard work it took to plan, design, build and install this mural, it was well worth it. The response from people in the community has been wonderful, and I was recently presented an Achieve Clay Exhibition in Singapore ment in the Aits award from the Coeur d’Alene arts commission. “Life from Earth,” an exhibition of ceramics by seven local artists—Paul Chay, Alvin Leow, Donald-Eric Lim, Jason Lim, Angie Seah, Shirley Jean Cappadonna Nichols Receives $5000 Award Soh and Hong-Ling Wee—was on view recently at Utterly Art ExhibiFt. Myers, Florida, ceramist Jean Cappadonna Nichols was awarded a $5000 Individual Artist Fellowship by the Florida Department of State Florida Arts Council, Division of Cultural Affairs, in Tallahassee. The fellowship is given to professional, practicing artists residing in Florida. Cappadonna Nichols creates figurative sculptures. “I regard my work as being a combination of personal experiences and eclectic influ ences arranged in a ‘stream of consciousness’ format,” she commented. “This approach allows me to juxtapose imagery as the means to the manifestation of a crossbred reality....I choose to work in series form; there are many contemporary issues that inform each series as well as my life. When an issue becomes so important to me that it continues to linger in my mind, it will find its way into my work.” Midwest Clay in Baltimore “Prairie Fire: Hot Midwest Clay,” an exhibition of works by eight artists, was on view through August 9 at Baltimore Clayworks in Maryland. Keith Ekstam, Kevin Hughes, Jeff Johnston, Missouri; Hong-Ling Wee’s “Bird Vase,” 13 inches (33 centimeters) in height, wheel-thrown and altered stoneware, with temmoku glaze, fired to Cone 10 in reduction; at Utterly Art Exhibition Space, Singapore. Howard Koerth’s “Teapot Tableau,” 10 inches (25 centimeters) in height, earthenware; at Baltimore Clayworks, Maryland. Howard Koerth, Oklahoma; Malcolm Kucharski, Elaine O. Henry, Kansas; Lisa Lockman, Marcia Polenberg, Michigan, make up Prairie Fire, a group that exhibits collectively once a year at various venues. “The individual artists of Prairie Fire are firmly committed to clay as their principal medium of expression,” they stated. “Almost without exception, the material quality of clay shows in the finished work; it is the tie that binds distinctive visions together into a cohesive exhibition. tion Space in Singapore. The vase shown above is characteristic of Hong-Ling Wee’s long-necked, birdlike forms. “Each seems to suggest a unique personality with a different gesture,” Wee noted. “In a group, these vases appear to be engaged in conversation. Yet, each can stand alone, much like a person in solitude. Though there is cohesiveness in the assemblage, no two are identical. Individuality is key.” Tom Hoffman Wood- and soda-fired ceramics by Washington potter Tom Hoffman were exhibited recently at KOBO Gallery in Seattle, Washington. “My Ceramics Monthly October 2003 20 19th-century Denton County, an anomaly that fuels a passion today among some collectors for the old salt- and slip-glazed pottery. The Texas tradition built from this natural resource makes Denton, other wise a bookish small town, a logical hamlet for a national juried exhibition of contemporary craft. Now in its 16th year, “Materials: Hard and Soft” was presented recently at the Meadows Gallery of the Center for Visual Arts in Denton. A project of the Greater Denton Arts Council, the exhibition attracted 650 submissions by nearly 300 artists from across the country. Juror Alan DuBois selected 82 pieces by 68 artists, including 15 works in clay by 13 ceramists. Curator of Decorative Arts at the Arkansas Arts Center, DuBois made eclectic choices in all media, which ultimately showed a respect for each artist’s vernacular and values. DuBois awarded two ceramists—Scott Dooley of Ohio and Mika Negishi Laidlaw of Kansas—juror’s awards. The slab-built form of Dooleys “Teapot” (shown below) suggests human gesture but with fantastic, Dr.-Seusslike overtones. Its proportions are elegantly bal anced and counterbalanced. Tom Hoffman teapot, 8 inches (20 centimeters) in height, stoneware, soda fired, cooled in reduction; at KOBO, Seattle, Washington. work is a metaphor for my artistic life: cutting, stretching, pulling apart, and then putting the parts together in a new whole,” Hoffman com mented. “Recent work strives to blend traditional elements of form with sculptural elements, such as bold lines, faceted planes, and saturated surfaces of color and texture. My work attempts to evoke, through transformation of the traditional forms, a sense of the passage of time.” Materials: Hard and Soft by Peggy Heinkel-Wolfe An outcropping of clay from the Eagle Ford Geological Formation in northern Texas supported an unusual density of family-run kilns in Scott Dooley’s “Teapot,” 16 inches (41 centimeters) in height, handbuilt porcelain. Una Mjurka’s “Carrot Bowl #3,” 17 inches (43 centimeters) in length. Other clayworks chosen for the exhibition ranged from inventive, functional forms to purely decorative objects. Nature was a recurring theme in many of the pieces. “Cream and Sugar Set” by New York artist Posey Bacopoulos (see page 24), for instance, incorporated botanical parts fashioned as structural elements, offering fragile flowers, seeds and leaves as a sturdy bowl and pitcher. California ceramist Una Mjurka’s “Carrot Bowl #3” (shown at left) celebrated the earthen quality of clay. Created as an open, basketlike Ceramics Monthly October 2003 22 upfront Raymon Elozua’s “Caboose #2,” 29 inches (74 centimeters) in length, stoneware, with oils and steel wire, 1982; at the Mint Museum of Craft + Design, Charlotte, North Carolina. found in the process of decay, an aesthetic that remains at the heart of his work today,” states art critic Edward Leffingwell in the accompany ing catalog. Posey Bacopoulos’ “Cream and Sugar Set,” 6 inches (15 centimeters) in height; at the Center for Visual Arts, Denton, Texas. form, the bowl’s surface was rough and worn. The carrot-shaped handles were made to appear old and broken. “The ‘Hard and Soft’ exhibition at its best is a moving target,” DuBois noted in his juror’s statement. “With each succeeding year, we see the artist’s vocabulary evolving and expanding. This is what enriches us and gives meaning to our lives.” 14th Annual California Clay Competition The 14th annual “California Clay Competition” was on view recently at the Artery in Davis. From 340 slide entries, juror Richard Shaw selected 40 works by 37 artists. “Jurying this show was a rather daunting task,” Shaw commented, “mostly because of the amount of work I had Raymon Elozua “Constructing Elozua: A Retrospective” covers the 30-year career of New York City artist Raymon Elozua. “In his diverse bodies of work that include photography, ceramic vessels and sculptural landscapes, there are recurring themes,” noted Melissa G. Post, the exhibition “Bowl with Posts,” 6 inches (15 centimeters) in diameter, stoneware with glaze, 1973, by Raymon Elozua, New York City. curator. “Elozua’s art is a metaphor for mankind in general, and himself as an artist. It is a reflection of the world around him, a vehicle for conceptual ideas. In examining Raymon Elozua’s career, we are wit nesses to a remarkable metamorphosis of the artist along with his art.” For the most part self-taught, Elozua grew up in south Chicago, where the decline of industrial manufacturing influenced his ceramic sculptures. “Elozua has invested his landscapes with the beauty he Tiffany Schmierer’s “Accumulated View,” 30 inches (76 centimeters) in height, handbuilt with underglaze, glazes and luster, fired multiple times, $975. Ceramics Monthly October 2003 24 Ceramics Monthly October 2003 25 upfront to view over and over again. However, it is very rewarding to see the breadth of ceramic artwork being produced in California today. “There were both functional and sculptural pieces, and the skill level of the applicants stretched from the beginner to the focused, involved artist and craftsperson. I attempted to concentrate on works I felt Porntip Sangvanich’s “Oval Tea Set 2003,” to 7¾ inches (20 centimeters) in height, earthenware; at Contemporary Arts Collective, Las Vegas, Nevada. “Construction and the graphic arts are my main focus,” Porntip Sangvanich stated. “I have been using geometric shapes and patterns to integrate techniques and ideas, while focusing on the simplicity of curved and straight lines, designs and colors.” Helena Starcevic Sculptures by New York ceramist Helena Starcevic were exhibited re cently at photo-graphic Gallery in Soho, New York. Among the works on view was “Breathing Tubes” (shown here), a grouping of exaggerated, handbuilt cylinders. “Negative space between the tubes adds a dynamic tension,” Starcevic explained. “A monochromatic patina keeps the focus on the forms, creating a subtle rhythm of repeating shapes. Tom Decker s “Short-Handled Amphora,” 27 inches (69 centimeters) in height, wood-fired stoneware, $800; at the Artery, Davis, California. exhibited a personal feeling for the material, ideas that pushed the material and originality, holding both sculptural and functional works to this criteria.” Juried Exhibition of Teapots in Las Vegas “Jackpot! National Juried Teapot Exhibition” was presented recently at Contemporary Arts Collective in Las Vegas, Nevada. Juror Mark Burns selected both functional and nonfunctional forms by 36 artists from across the United States. From these pieces, he also chose award win ners. Best of Show went to Los Angeles artist Porntip Sangvanich for “Oval Tea Set” (shown above right). Merit awards were received by Tom Binger, Cheyenne, Wyoming; Fong Choo, Louisville, Kentucky; Jason Huff, Seattle, Washington; Jeremy M. Kane, Athens, Ohio; Ricky Maldonado, Los Angeles; Adam Posnak, Fayetteville, Arkansas; and Nicholas Sevigney, Newport, Rhode Island. Helena Starcevic’s “Breathing Tubes,” to 31 inches (79 centimeters) in height, stoneware, fired to Cone 10; at photo-graphic Gallery, Soho, New York. “As a child of the ’60s, retro-futurism, mid-century architecture and furniture have informed my sensibility,” she added. “I look to African totems, Mayan glyphs, Calder and Brancusi, where the simplest forms convey meaning.” Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’ statements and original (not duplicate) slides or transparencies in conjunction with exhibitions or other events of interest for publication. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081. Ceramics Monthly October 2003 26 Ceramics Monthly October 2003 27 new books Julian Martinez, who by their example became careful forming, smooth and clear finishes, care the key figures in a pottery revival. Their influ fully applied and well-executed designs, and, in ence was quickly felt at San Ildefonso and soon the case of black ware, a highly lustrous surface polish... .Maria was ac extended to the other pueblos as well, and The Legacy of Maria Poveka knowledged by all in pottery making once again became an impor Martinez formed observers as tant economic product.” by Richard i. Spivey the master potter of After a historical overview of San Ildefonso “Maria’s legacy is a significant one,” states San Ildefonso.” the author of this well-illustrated monograph. pueblo, the author discusses the lives and work The next chapter “In the first part of the twentieth century, Pueblo of Maria and her husband, Julian. “By 1915 discusses Maria’s col pottery making was in serious decline and eco Maria had mastered the art of making larger laborations with her nomic conditions at the pueblos were at an all- vessels and had attained a sldll that surpassed all daughter-in-law, time low. There were many who predicted a other San Ildefonso potters. Her pottery was Santana, after Julian’s characterized by relatively thin walls, hard firing, total demise of the art. Then came Maria and death in 1943, as well as the work of Maria’s and Santana’s descen dants. Next, the book covers the work of Maria and son Popovi Da; the work of Popovi’s son, Tony; the various signatures used by Maria throughout her working career; and honors and awards she received. The final chapter consists of excerpts from interviews with Maria Martinez on her life and career as a potter. 224 pages, including appen dixes on Indian values by Popovi Da, Indian pottery and Indian values by Popovi Da, in memoriam: Popovi Da of San Ildefonso by Laura Gilpin, and a letter from Bernard Leach; bibliography; genealogy; and index. 126 color and 132 black-and-white photographs. $60. ISBN 0-89013-419-7. Museum of New Mexico Press, PO Box 2087, Santa Fe, NM 87504. Majolica A Complete History and Illustrated Survey by Marilyn G. Karmason with Joan B. Stacke “With its rich colors and eclectic mix of revival styles, majolica was in harmony with the Victo rian era,” state the authors of this revised and updated historical survey. “Majolica artists cel ebrated Victorian scientific developments in botany and horticulture, zoology and ornithol ogy, marine biology and conchology—and also reflected the culinary and gastronomic en thusiasms that inspired the Victorian cook. “The philosophy of Victorian decorative art was to design a piece first to attract the eye and only then to be acknowledged as useful. It was the antithesis of the twentieth-century concept ‘form follows function,’ which would never permit the whim sical figurative shapes and decoration of much of Victorian majolica. The design of these ceramics Ceramics Monthly October 2003 30 Ceramics Monthly October 2003 31 new books often elaborated a message, as an ebullient nar ration of what a piece was to be used for, and thus indicated its function by decoration, rather than by form alone.” The book first looks at historical ceramics of early cultures, as well as early English ceramics and majolica antecedents, and their later influ ence on majolica ware. Minton, Wedgwood and other British potteries are discussed in the fol lowing chapters, then the early history of Ameri can majolica and American majolica makers are covered. “The great period of American ma jolica, from the late 1870s to the late 1880s, was intense but short-lived. Overproduction of an easily duplicated commodity diluted the quality of the wares; recurring strikes made it difficult for employers to continue; and the public imagi nation was soon captured by art pottery and bone china. By 1900, majolica was no longer produced in any quantity in America.” Final chapters talk about the clays and glazes used, collecting majolica, and majolica in the millennium. 261 pages, including introduction by David R. McFadden, curator of decorative arts, Cooper-Hewitt Museum, Smithsonian Institution; list of marks; glossary; majolica in museums; bibliography; and index. 179 color and 70 black-and-white photographs. $75. ISBN 0-8109-3595-3. Harry N. Abrams, Inc., 100 Fifth Ave., New York, NY 10011; see website www. abramsbooks. com. Big Ware Turners The History and Manufacture of Pennsylvania Stoneware by Phil Schaltenbrand “Large or small, rich or poor, all stoneware manufacturers in Pennsylvania made specific ware pieces. Product lines reflected customer needs and companies worked hard to accommo date particular tastes,” states the author of this historical guide. “While most stone ware products were variations of earlier earthenware pieces, the plastic nature of good fireclay permit ted forms of ambi tious size and configuration to be created. Changing times also created the need for special ized wares that required the intense heat of a stoneware kiln....Each of Pennsylvania’s firms Ceramics Monthly October 2003 32 Ceramics Monthly October 2003 33 new books including appendix with an interview of Larry Rumble, references and index. 219 color and 39 black-and-white photographs; 44 sketches. sold about twelve popular pieces but could make $55.50; Softcover, $35. WesterwaldPress, POBox many more upon request.” 72, Bentleyville, PA 15314; (724) 945-6000. Most of the chapters discuss various regions and their potteries during different periods: the The Subterranean Army of Philadelphia area from 1690 to 1890, the South Emperor Qin Shi Huang east corner from 1840 to 1880, Pennsylvania’s The Eighth Wonder of the World Dutch potters from 1835 to 1900, the Northeast by Wu Xiaocong potteries from 1849 to 1910, etc. Schaltenbrand In 1974, farmers digging a well unearthed also describes the making and firing processes, as part of what has become one of the world’s well as the variety of wares made. 200 pages, largest archaeological discoveries: the tombs of Qin Shi Huang, the first emperor of China. During excavation, three pits were found, mea suring a total area of 20,000 square meters. Un earthed were nearly 8000 terra-cotta warriors and horses and more than 100 wooden war chariots. “The terra-cotta soldiers, horses and chariots are on a scale so grand and immense that they remain unmatched to this day by other relics from the same period in history,” states the author. “The three pits include nearly 8000 pottery soldiers and horses, still waiting for the command to attack. The soldiers are all around 1.8 meters tall, the tallest being 2 meters, and are all stoutly built....The legions remain the only discovery of so great a number of life-sized horses in the history of Chinese archaeology.” The nicely illustrated book briefly covers Em peror Qin Shi Huang and his empire, then discusses the findings in the tombs, as well as the actual formations of the soldiers and horses and the logic behind the groupings. The sculptures themselves, including dress, weap onry and facial expressions, are described, as are the potters who probably made them. Finally, the bronze statues are detailed. 126 pages. 207 color and 2 black-and-white photographs. US$25. ISBN 7-5032-1881-9. Distributed in the United States by Chinese Clay Art, PO Box 1733, Cupertino, CA 95015; telephone (800) 689-2529; see website www.chineseclayart.com. Pueblo Pottery Families by Lillian Peaster “I would encourage the collector not to become entangled with the word ‘tradition,’” states the author of this collector’s guide. “Buy what appeals to you, not for investment but as something you can look at every day and enjoy.” First published in 1997, this guide has been revised to reflect current prices. In the book, Peaster discusses the works of individuals/family members from 17 pueblos, including the Chino family of Acoma pueblo, Mary Cain of the Santa Clara pueblo, Emily Tsosie of Jemez pueblo, etc. Family lines are provided, as is the revised price guide. 160 pages, including price guide and index. 162 color photographs. Softcover, $ 19.95. ISBN 0-7643-1850-0. Schijfer Publishing Ltd., 4880 Lower Valley Rd, Atglen, PA 19310. Ceramics Monthly October 2003 34 Ceramics Monthly October 2003 35 Jennifer Lee The Circumnavigation of Form by David Whiting “Speckled Pols,” to 22.9 centimeters (9 inches) in height, handbuilt colored stoneware. Jennifer Lee is a potter of silence. She does not issue artist’s statements and, although naturally interested in ceramics debates, she does not actively engage in them. She prefers simply to focus on her work, to make pots that evolve slowly in the small studio at the rear of her house in London. They are objects of exacting clarity, vessels that do not appear to have changed that radically over the years—until you compare what she makes today to those she made in the mid 1980s. Then, one sees the subtle and gradual developments. While her palette has deepened and broadened, there is also an increased discipline and precision. Hers is an art that is built up and then honed down. Like stones on the beach that have matured geologically and then been smoothed by the elements, her pots appear to encompass a great deal about our world in concentrated form. They have no “message” as such. You will find no politics or polemicism here. What her work does express is the continuing renewal of what the late Joanna Constantinidis called “latent energy,” of a tension built up in the rising clay through the fingers, a kind of upward movement made through the symmetry and asymmetry of form and the stratified layers within. Yet, while these objects are suggestive of many things, they are also quietly and confidently self-contained. Jennifer Lee’s creative certainty brought her success at a young age. Since leaving London’s Royal College of Art in 1983, she has gone on to exhibit all around the world and is represented now in over 25 public collections. She has also had two museum retrospectives. Though long established in Camberwell, just south of the River Thames, her roots are very different. She was born into a farming family in Aberdeenshire, Scotland, a landscape to which she often returns. In the mid 1970s, after a brief flirtation with physiotherapy, she went to Edinburgh College of Art to study ceramics and tapestry. She then spent several months on a traveling scholarship in the United States, where she researched Southwest Indian prehistoric ceramics and visited West Coast potters, including Peter Voulkos, Paul Soldner and Ken Price. Upon returning to Britain, she completed her ceramics studies at the Royal College of Art. What is striking about the work is its constancy, the way in which she has been able to explore and fathom the constitution of clay and delineation of form through the endless possibilities of the cylinder and the bowl. Within these self-imposed parameters, her journey has, in a sense, moved inward, gauging and regauging the interaction of profile and surface, interior and exterior, vol ume and lift. Right from the beginning, there was a concern with poise and balance; the curvature of her pots swelling from a narrow base that creates a minimal point of contact with the surface on which they rest. It appears to make them float. But more than this, her pots often present, as Oliver Watson once “Pale Pot,” 26.8 centimeters (11 inches) in height, handbuilt stoneware, with colored stoneware vein and rim. Ceramics Monthly October 2003 39 “Dark Pot, Tilted Rim,” 28.7 centimeters (11 inches) in height, handbuilt colored stoneware. observed, “an asymmetric disjuncture which disturbs their classi cal profiles.” This is found not only in the sedimentary motion of the work, but in Lee’s approach to contour. Rims often lean or deviate in other ways. She has made “shelf rims,” which partially close the opening and naturally transform the nature and light of the contained space. Lips have been tilted and extended outward. Some pieces have had softly emerging ridges—interventions that grow seamlessly from the main body. They clearly relate to some of the most elemental examples of early pots, from Bronze Age bowls to Ancient Egyptian wares found on numerous grave sites. Yet she also achieves a precision that distills and condenses what she has seen and experienced. They are pots that, singly or in related sculptural groups, have a very modern intelligence. The superb vessels made in predynastic Egypt, on the Upper Nile, certainly have affiliations with Lee’s work. These early pots, made from red Nile silt or hard, buff marl clay, are among the most abstract we know. The egyptologist Jaromfr Malek said that they are remarkable for their “subdued elegance,” surely a descrip tion we could apply to Lee’s ceramics. She too builds up her shapes from coils or strips of rolled clay, but whereas the black crests that characterize those Egyptian pots were achieved through the firing process, Lee’s color is introduced into the clay by mixing in metallic oxides. These carefully judged tonal variations create a symbiosis between inside and outside that avoids the dividing skin of a covering glaze. Moreover, the horizontal and diagonal layers and veins of staining add to the sensation that these objects hover and shift in space. They have a posture and equilibrium that is far from static. Those Egyptian pots were burnished to create their glossy surfaces. Lee’s patient abrading and burnishing completes that sense of wind-polished geology, but to see them solely as evocations or excavations of landscape is rather limiting. One critic has recently related her art to color-field painting and her best work has a comparable geometry of hues. Reminiscent of Mark Rothko, there is a similar ambiguity of depth and space. While some pots are more arid, with coarser speckled stains, others have a more liquid and vaporous quality, like watercolor or a bank of rain cloud. In fact, Lee is just as much a painter as she is a potter, but whose abstraction is expressed in the three-dimen sional terms of enclosed form. Looking back at the work Lee produced in the early 1980s, after she left the Royal College, we realize what a different kind of potter she was in the milieu of that time. Her work did not exemplify the loud color, glitz and baroque forms of so many of that generation. Instead, her pots seemed, as they remain, disarmingly simple. They continue to allude to natural and manmade archetypes, to history and the passage of time. Their broad frame of reference removes them from any sense of the specific. Today, Ceramics Monthly October 2003 40 the pots seem more economic in form, but increasingly complex and virtuosic in their distribution and densities of color. Some pieces are best appreciated when placed with near relations, to fully understand how a formal idea is developed and carried through before she moves on. Lee’s art is not concerned with fashion or sudden stylistic changes of gear. It evolves on its own terms, regardless of the temperature in the outside world. Jennifer Lee will be exhibiting with Galerie Besson at SOFA Chicago, October 16-19, and at Galerie Besson in London, England, November 5-28. She also exhibits regularly at the Frank Lloyd Gallery in Santa Monica, California. “Sand-Grained Pot, Smoky Spiral,” 19.2 centimeters (8 inches) in height, handbuilt colored stoneware. “Olive Pot, Dark Olive Pot, Dark Pot,” to 24.7 centimeters (10 inches) in height, handbuilt colored stoneware, by Jennifer Lee, London, England. Animal Tracks by Anne Macaire For many years, I lived in the Yukon wilderness (see the February 1993 CM), where animal tracks were an important part of my world. Although we actually saw our wild neighbors only occasionally, the tracks they left behind told us of their comings and goings. They ranged from the cross stitching of a mouse on winter snow to the ambling of a grizzly along the beach. One day, I found a particularly magnificent wolf track on the lake shore and cast it in plaster. I then began collecting tracks of all the other animals in the area; eventually, my collection grew to over two dozen species. Being a potter, I (of course) pressed these molds into clay. This led to a Canada Council grant and a project that spanned many years. The same year that I received the grant, which allowed me to take a break from production work and explore the idea of track panels, we decided to move to town. Our relocation efforts extended over a period of five years and three towns, as we tried to find a place where our family would be comfort able. Through all of the upheaval, ideas for the animal-track project simmered on the back burner. I made 30 panels (each 1x2 feet) that moved around with us, were packed and unpacked, only to be thrown away when we finally settled. Eventually, the animal tracks matured into a body of work that was presented at the Yukon Arts Centre Gallery. Making large panels presented many challenges in developing a clay body, glazing, firing and mounting. Each was solved through trial and error. A rhythm of process evolved that allowed me the freedom to concentrate on design and glazes. In glazing the pieces, I kept to a palette that alluded to the natural world: earth tones, moss greens, lichens, stones. Rather than attempt ing a realistic backdrop to the tracks, I explored texture, pattern and color. “Moose,” 5 feet (1.5 meters) in height, paper clay with impressed plaster tracks. Ceramics Monthly October 2003 42 This exploration took on a life of its own and led me down many paths I had not anticipated. To prepare a paper-clay body, I dumped the dry ingredients in a garbage can one-third full of water, just enough to make mixing by hand easy—stiffer than a slip but too wet to wedge. To this mix, I added paper pulp by volume. (I soaked shredded office paper for a few days or longer, then mixed it in small batches with an electric kitchen mixer until it was an unrecognizable pulp.) Paper-Clay Body Ball Clay................................................... 9% Fireclay..................................................... 13 Local Clay................................................. 65 Local Sand................................................ 13 100% Add 3 parts paper pulp to 10 parts clay by volume. The paper pulp worked like magic. Large slabs cast from this clay body were strong, flexible, easy to dry with no warping or cracking. Note: paper pulp can also be used with a white clay body; the ink on the paper fires out. To produce a set of panels, I started with three plaster bats a few inches larger than the desired dimensions of the finished panels. A piece of old sheeting was laid on top of each bat and a simple frame made from lxl-inch wood went on top of the sheet. The clay was then spread into the frame. At this point, I would decide what surface the piece would have. Some were smoothed flat with a long straight edge; others were stippled or sculpted in “Moose Calf,” 5 feet (1.5 meters) in height, paper clay with impressed plaster tracks. Ceramics Monthly October 2003 43 wave or folded patterns. For certain sur faces, it was more effective to wait until the clay was stiffen Once the clay had set up enough to handle, I scored the edges around the frame so that I could remove it, and slid the slab, along with the cloth, onto a piece of plasterboard. I then pressed the plaster molds of the animal tracks into the clay. When dry, the panels were fired on edge, with firebrick to support them, in an elec tric kiln. I also used firebrick to support the top shelf, which enabled me to fire six pan els at a time. By firing to Cone 06, I could do bisque and glaze pieces at the same time. Some panels were single fired; some only bisqued. Many were fired six times, but loss due to cracking was minimal. To mount the panels, I used clear sili cone adhesive (which can be found in any hardware store) to attach ½-inch plywood to their backs. Silicone adhesive contents and application recommendations vary widely. I spread it evenly over the plywood, then beaded it onto the clay panel. This may be more than was needed, but I wanted to feel confident the mounting would hold. To apply adequate pressure while the glue dried, I laid the panels face down on a 2-inch-thick foam, then positioned three heavy firebricks on the plywood (attempt ing to use clamps resulted in breakage). The foam allowed even very delicate surfaces to be glued this way. The plywood, which was recessed 3 inches on all sides, allowed the panel to be hung with two “D” rings. Far left: “Wolf,” 5 feet (1.5 meters) in height, paper clay, impressed with plaster tracks. Left: “Fox,” 5 feet (1.5 meters) in height, paper clay, impressed plaster tracks, fired to Cone 06, by Ann Macaire, Whitehorse, Yukon, Canada. Ceramics Monthly October 2003 44 Anagama Firing at Chris Gustin’s by Scott Ruescher Vase, 25 inches (64 centimeters) in height, wheel-thrown and coil-built porcelain, fired with wood to Cone 11. Vase, 21 inches (53 centimeters) in height, thrown and altered porcelain, wood fired to Cone 11. Vase, 31 inches (79 centimeters) in height, thrown and altered porcelain, wood fired to Cone 11. Twice a year, Chris Gustin sends out invitations to potters from around the country who might be interested in firing their pieces in the wood kiln outside the converted chicken coop that serves as his studio in South Dartmouth, Massachusetts. A core group of students, invited artists and seasoned career potters from the New England area shows up for the semiannual event, and a few newcomers from these categories accept the invitation as well, all promising to participate in each phase of the firing. Two days of loading, six days of stoking the fire (including a day of salt-andsoda glazing), and a week of kiln cooling later, the long-awaited unloading begins. The newcomers aren’t strangers to the core group for long, because the kiln draws the potters together as surely as the intense fire inside draws molecules of oxygen to its flames. Under the corrugated metal roof of Gustin’s open-air shed, the community of ceramists gathers like jovial pilgrims at a secular shrine. Some white geese peck the ground in a cage near the kiln shed, a little pasture on the rise above the shed fades into a tangled under growth of bushes and saplings, and a small yellow Bobcat rests from its wood-hauling labors under a big blue tarp. A muddy lane descends from the kiln down past the studio to a long, straight road that goes south past dairy farms to Buzzards Bay in one direction and north toward the old whaling town of New Bedford in the other. An atmosphere of camaraderie prevails around the kiln—talk of the practical business at hand leavened by quips, anecdotes and casual observations. The potters seem proud to be a part of the scene Gustin has created. It would be an overly formal misrepresentation of Gustin’s relaxed but directed style to call him the priest of this shrine, however. He built the brick kiln with a group of his students in 1995 and 1996 while teaching on the nearby campus of the University of Massachusetts at Dartmouth. A native of Los Ange les, he had already been in Massachusetts since 1982, when he was on the faculty of Boston University in the Program in Artisanry—a program he followed from Boston to its new home at the now-defunct Swain School of Design in New Bedford. After Swain merged with Southeastern Massachusetts University in 1988, and then became the UMass branch campus in Dartmouth in 1991, he taught there full time until his early retirement as professor emeritus in 1998. Throughout these latter sojourns, Gustin has presided over the firings as much for the creation of community spirit under the shed as for the creation of his own vases and cups. The kiln outside the studio, though, is really two kilns—or three, if you count the small, “secret” chamber, a sarcophagus sized air passage between the big anagama kiln in front and the smaller catenary soda kiln in back. During the two days of load ing, a dozen or more ceramists work at the openings of the kilns, helping out in any way they can with the necessary preparations. Under Gustin’s supervision, and with the assistance of his two resident interns, Matt Kenyon and Paul Krause, artists who’ve brought tumblers, teapots, vases and platters to fire, help to prepare the wood piles, to arrange the pieces on pallets for place- Ceramics Monthly October 2003 46 the anagama (“probably Japanese for incred ibly f-ing hot,” says one of Gustin’s friends) with one or two of the more experienced pot ters. He fills the rear of the anagama chamber with smaller pieces, saving the vaulted middle portion of the kiln’s concave interior for the placement of the six or seven large vases that will be shown at his solo exhibition at John Elder Gallery in New York. He and a friend carry up from the long gray studio building these two- to three-foot-tall pot-bellied vases, each long irregular throat opening into a small pouting mouth at the top. To ensure the sta bility of such large works, Gustin places scal lop shells (found on nearby Horseneck Beach) under the base of the vessel, propping the piece up so that the melted ash won’t fuse with the clay to stick the piece to the shelf, with a mind toward leaving some ridged impressions of the shell underneath the base. Between breaks for meals and snacks, Gustin and the crew—usually one of his apprentices, often a fellow veteran, such as Hollis Engley, Steve Murphy or Joe McCaffery, and sometimes a student, such as Angela Rose—will spend long contemplative stretches of daylight time pa Oval platter, 25 inches (64 centimeters) in width, wheel-thrown stoneware, reduction fired to Cone 11. tiently arranging and rearranging the pots. Seeking quantity as well as quality, they strive ment in the kilns, and to wad the bottoms of the pots in prepara at once to fire as much pottery as possible and to satisfy their tion for stacking all of the work. fellow potters’ desired aesthetic results. In the catenary soda chamber—catenary being the parabolic It isn’t just a matter of randomly cramming meticulously arc of a string hung between two static points, like that of a jump crafted vessels onto the shelves and letting the heat do the rest. To rope at rest, but in this case describing the solid arch over the achieve those desired aesthetic results in the trainlike kiln, each entrance, like that of a jump rope on the upswing—this means chamber of which must reach Cone 11 before the wood ash melts setting pieces upright, almost but not quite shoulder-to-shoulder or the soda ash is sprayed in through the stoking holes, Gustin on the brick floor, on cushions of putty-colored wadding that will and his comrades must set the pieces at specific angles to the not fuse to the clay vessel or the brick floor. When the floor level source of heat. Unlike a reduction firing that’s done in a downdraft is full, the loader places a few tall posts on the brick floor and sets gas-fired kiln, a wood firing, whether in an anagama or catenary, a silicon carbide shelf on top. That shelf fills with a motley relies on a cross draft that is, by definition, directional. The flame selection of mugs, vases and teapots. and heat in the firebox at the very front of the kiln, drawn toward Slowly and surely, the loaders fill several tiers of shelving with the rear chambers by the draft from the chimney, reach the pots pieces that have been bisque fired in gas kilns at separate loca from that one inevitable direction, leaving the residual wood ash tions—some of the pots glazed, some of them raw, dependent on traveling through the kiln to surround and adhere to the clay the melting of the wood ash and the air-injected spray of soda ash vessels on its own. Though the intense fire of pine and oak that is mixed with water to form chemical bonds with the clay for scraps—pine for the length of flame it produces, oak for its BTU coloration. Up, eventually, go six to eight tiers of smallish pieces rating in the form of heat—is fed around the clock for six days by of pottery in this smaller catenary chamber, each tier arranged potters working in eight-hour shifts, the flames do not lick and carefully with as many as two or three dozen pieces. Gustin’s the heat does not necessarily reach all parts of each vessel or the powder-toned cups (dimpled, deceptively heavy-looking creations, kiln equally. Rather, the flames spurt and flare and jet around the without handles, that will go for $50 each on gallery pedestals) chambers with the irregular intensity they’re known for, as they mix with the works of his potter friends and apprentices. would in a house fire. During the two days of loading, while three or four potters at a Every surface eventually gets transformed, and the surface time are stacking the catenary chamber, Gustin is usually inside decorations emerge more or less unexpected, often with grada Ceramics Monthly October 2003 48 tions of color, one relatively more polished than another. The side of a vessel facing the flame and wood ash will assume a different coloration. For example, one of Gustin’s large vases will get a burnished, deeper chocolate tone to the side facing the source of heat, its shadow side remaining a powdered orange brown. By the same token, a dimpled, goose-necked vase glazed with a Shino slip will go deep green on the side that faces the howling storm of fire and wood ash. Gustin has always made artfully unfinished-looking cups— perfectly irregular, monochromatic, dimpled forms unique in their meticulous simplicity, with tones counterbalancing the heft of their appearance—but he has not always made the large, pot bellied, goose-necked vases. Those he has been making for only the past five years. And they, too, start out on the wheel as clay cylinders, only much larger. Only in recent years has he made platters that also start out as cylinders—large cylinders, like steep bowls, with low walls that he lays down to form the sidewall of the platter, later decorating their surfaces with overlapping geo metric and organic shapes, each glaze covered by wax to make way for the next color before the firing. The pastel, larger-scaled sculptures that Gustin has been pro ducing for the past two or three years also start out as clay cylinders on the wheel, though it would be hard to guess that on first glance. Technically functional as plant pots but really orna mental, each sculpture resembles a monumental assemblage of futurist sculptures by Jean Arp or Constantin Brancusi, a compos ite construction of ovals, cubes, bars and spheres that gyrates vertically from a relatively small base to a dramatically fuller brim. Smoky shades of green, gray, red or blue, they’re hollow inside like any ordinary vase, and open at the top (unlike any ordinary sculpture), but perforated with drainage holes at the base for outdoor placement on patios and in gardens. Teapot, V/2 inches (19 centimeters) in height, thrown and altered stoneware, fired to Cone 12 in a wood kiln. Cups, to 5 inches (13 centimeters) in height, thrown and altered porcelain, wood and soda fired to Cone 11. Vase, 30 inches (76 centimeters) in height, thrown and altered stoneware, fired to Cone 11 in reduction. Gustin constructs these vertically, from the bottom up, coil on top of coil, like a simple coiled bowl, improvising the rolled coil into curvaceous forms that are punctuated by cubes, spheres and diamonds as he raises the form in physical height and suggested meaning. None of the recognizable geometric shapes is given full form, however; one significant side of each remains buried in the body of the vessel, leaving three-quarters of the shape exposed to the world, as if to evoke the specific actions of a person trying to put a public face on his private struggle. The sculptures might put some one in mind of the legendary definition of architecture as frozen music—only this would be jazz rather than the classi cal stuff the speaker of the epigram may have had in mind. Folk or blues, not classical or jazz, would seem to be the musical genres most suited to the atmosphere around the kilns during the ceremonial firings. After a few days of stok ing, with the participating potters throwing five to ten logs into the front firebox and stuffing as many as 25 or 30 sticks of wood into each of the side stoking holes every 10 to 20 minutes, the fire is able to maintain the 2300°F (1260°C) temperature that’s not only hot enough to bake the clay thoroughly but powerful enough to hold that high tempera ture for an extended period of time to melt the wood ash. The flames have been flaring from the stoke holes day and night, and the potters have spent their promised and paid-for time at the kiln. After the main anagama chamber has fired off and the soda chamber is at its final temperature, Gustin emerges from the studio, relaxed and optimistic that the firing will turn out fine. He carries in a bag the two pounds of soda ash that he will stir into a couple of gallons of water and spray into the catenary chamber. Blown about the inte rior of the kiln by the raging flames, the saline solution will react with the slips and glazes to create the surface coloration. The all-consuming, labor-intensive process of loading and stoking the kiln exhausts everyone, Gustin included. Like any group effort, a sense of community develops along the way, and can be appreciated in full only in retrospect, after the collective goal has been attained. For the potters participating in a wood firing in Gustin’s shed, that cathartic moment can’t happen until the kiln has cooled for a week. Then, finally, comes the anticipated unloading. After a week of rest and recovery, the whole crowd meets early on the designated day to begin the unloading. With a sense of anticipation and excitement, and with one final burst of collective physical energy, they take the doors off the kiln, brick by brick, and get their first look at the shapely and subtly colorful results of their hard work. This is when aesthetic possibility and community spirit con verge in the shed at Gustin’s studio—when the wonder of it all becomes clear. Ceramics Monthly October 2003 50 Bowl, 16 inches (41 centimeters) in height, thrown and altered porcelain, fired to Cone 11 in reduction, by Chris Gustin, Dartmouth, Massachusetts. Shino Slip Gustin Shino (Cone 11) Soda Ash................................................... 4.0 % Kona F-4 Feldspar..................................... 10.8 Nepheline Syenite..................................... 45.0 Spodumene............................................... 15.2 EPK (Edgar Plastic Kaolin)....................... 10.0 Kentucky Ball Clay (0M 4)......................... 15.0 (Cone 11) Soda Ash................................................. 3.20% Kona F-4 Feldspar.................................... 8.64 Nepheline Syenite...................................36.00 Spodumene............................................. 12.16 EPK (Edgar Plastic Kaolin)..................... 28.00 Kentucky Ball Clay (OM 4).................... . 12.00 100.0% 100.00% Bauer Slip (Cone 11) Borax......................................................... 5.7 % EPK (Edgar Plastic Kaolin)....................... 41.9 Kentucky Ball Clay (0M 4).........................41.9 Zircopax..................................................... 10.5 Blair's Red Slip (Cone 11) Nepheline Syenite........................................ 15 % Grolleg Kaolin..................................................... 20 Helmar Kaolin..................................................... 65 100.0% Ceramics Monthly October 2003 51 100% by Renee Fairchild “Flower Holder with Tray,” 15 inches (38 centimeters) in length, slab-built terra cotta, with white slip, by Kathryn Finnerty, Pleasant Hill, Oregon; Best in Show award winner. “Of the honors and awards that one can receive, the acknowledgement by a peer-based jury is particularly gratifying. I was honored to receive ‘Best in Show’ at this year’s ‘Showcase’ event. It is a wonderful feeling to have the support of the community where I have chosen to live and work.” With over 200 participating ceramists, the 21st annual Oregon Potters Association (OPA) “Ce ramic Showcase” was one of the largest nonjuried all-clay shows in the United States. More than 10,000 visitors attended this year’s show, held at the Oregon Convention Center in Portland, al lowing exhibitors to realize almost ½ million dol lars in combined sales. In addition to booth spaces and the Showcase gallery, there were also demon strations by over 15 ceramists, as well as a children’s clay activity center. All exhibitors must be OPA members. Consist ing of over 400 artists from Oregon and Washing ton, OPA awards points to its members based on services provided to the association. The points are cumulative and are totaled once a year. If a mem ber does not yet have enough points for an indi vidual booth, he or she can participate in the group booth. All members, regardless of points, are eli gible to display work in the Showcase gallery. “Deep Connection,” 20 inches (51 centimeters) in height, carved stoneware with stains, $165, by Babette Harvey, Portland, Oregon; second-place award winner. “I remember my first year at ‘Showcase.’ I met artists whose work I had been admiring for years. I guess I was in awe of some of them, but I discovered that they were pretty much human and friendly, and not all that different from me. They also have a lot to offer, in the form of advice and encouragement. For new artists, rubbing elbows (literally, at times) with people who have been showing their art for 20 or 30 years is invaluable. I think everyone can walk away from the show having gained something good from interacting with people at all different stages of artistic development.” Ceramics Monthly October 2003 52 “Totem at Sunset,” 331/2 inches (85 centimeters) in height, terra sigillata with iron and stain, fired to Cone 03 and smoked in a sawdust pit kiln, by Victoria Shaw, Portland, Oregon; third-place award winner. A potter with 30 years experience in ceramics, Shaw has found that ‘“Ceramic Showcase’ has become an important factor in my annual sales. However, more than the financial reward and recognition, the camaraderie and support from my peers is the reward for me. I can count on honest feedback on the progress of my work, and it is always a learning experience. OPA was just a small group of energetic potters when it was first formed. Today, it has national recognition for the professional level of work exhibited and I am honored to be counted among its number.” “After 9/11,” 16 inches (41 centimeters) in height, porcelain, gold leaf, wood, fired to Cone 6, by Gyllian Davies, Portland, Oregon; third-place award winner. “I love being a part of ‘Showcase,’ working with other ceramics artists to bring off this amazing event. I put a piece in the gallery and I do not have a booth, so before and after I do my work shifts, I help my friends with their booths. Working in my studio can be very isolating and this is the time when I get to be around other clay folk, catching up on news, seeing people’s new work, getting inspiration when someone really pushes their own edge and creates something exciting. Everyone helps everyone. Everyone applauds everyone’s successes. It’s a very respectful environment.” Platter, 25 inches (64 centimeters) in diameter, stoneware, by Wally Schwab, Aloha, Oregon; Bennett Welsh Award recipient. “I’ve been involved with OPA since its beginning in 1980. When OPA ‘Showcase’ comes around in May, I often stop and reflect on what a huge event it has become, how the community has supported the Oregon potters in such a positive way and that I have been fortunate enough to be part of such an event. Our efforts over time have certainly been rewarded—financially, professionally and socially. It’s a time to renew old acquaintances, make new friends and gain new customers. As the years roll by, the social aspect becomes more important than ever to me, especially since I’ve been a teacher for nearly all my working life. The success of my students is very gratifying, watching them develop and getting involved, helping to make Showcase what it is today. I’m proud to be a part of OPA Showcase. It is like nothing else that I have ever been involved with.” Ceramics Monthly October 2003 53 Booth display by David Fitzpatrick, Portland, Oregon; Best Booth award. “All these potters working together is a great opportunity for seeing each other’s work, exchanging ideas and information about techniques, glazing, etc. For the most part, potters are happy to talk shop, though there never seems to be enough time. I am always energized (and exhausted) by ‘Showcase.’ One of the best aspects for me is the direct contact with my patrons. I love to explain the building and firing techniques, tell them the story of their new piece. I always like to meet the ‘family’ as I send my ‘babies’ off to their new home.” “Tinman Teapot,” 8 inches (20 centimeters) in height, stoneware, salt fired to Cone 10, by Larry Nelson, Hillsboro, Oregon. “This was my fifth year at ‘Showcase’ and the second year I was able to produce enough work for a spot in the group booth. Or so I thought. During the last year, I had really focused on improving just two (dramatically different) styles of work. With practice and innovation, I had improved the quality through better glazes and more refined forms. I experimented with some variations on the themes. The result was that, even though I displayed more work, most pieces were purchased by the afternoon on the first day of the show and I was left with an embarrassingly empty display for the next two days. Lesson learned. I’ll be better prepared for Showcase 2004.” Ceramics Monthly October 2003 54 “The Ears of Corn Go to Sea,” 8 inches (20 centimeters) in length, handbuilt porcelain salt-and-pepper set, soda fired, by Janet Buskirk, Portland, Oregon. “One of the things I always admired about ‘Ceramic Showcase’ is that the potters in the show have a one-for-alland-all-for-one spirit,” states Buskirk, an 18-year participant. “If a customer walks into someone’s booth and asks for a specific type of work, the potter may send him or her to a competitor who makes a better version of that type of work. Everyone in the show wants to do well and wants the customer to be happy and return next year. Showcase is the most fun show I do. Two hundred potters are in the show and most of us know each other pretty well. It makes the show feel like a family reunion, with all the good and bad things that are associated with a reunion of 200 family members.” “Wooly Worm Vase,” 15 inches (38 centimeters) in height, porcelain, fired to Cone 6, by Sam Sloan, Ridgefield, Washington. “An artist can take advantage of the presentation at ‘Showcase’ by carefully assessing his/her work with the work of others. Sharing techniques or ideas can be extremely valuable in developing your own style and direction of your work. Showcase is an anomaly inasmuch as the best and the worst of an entire single medium of art (ceramics) come together in one location to present the full range of the medium’s work to the public. In that regard, it is an educational experience, both for the public and for the artists and craftspeople who attend and take part.” Participating members are responsible for run ning all aspects of Showcase. “The organization of it is very complex and completely relies on every one doing their part, from booking the space years in advance to the bookkeeping at the end of the show. All the work is done by teams or commit tees, with the more experienced taking the lead and teaching the novices what to do,” states OPA member Gyllian Davies. Best in Show awards, chosen by member votes, were as follows: first place, Kathryn Finnerty, Pleas ant Hill, Oregon; second place, Babette Harvey, Portland; third place, tie between Victoria Shaw and Gyllian Davies, Portland. The Bennett Walsh Award for decoration went to Wally Schwab, Aloha, Oregon, and the award for best booth went to David Fitzpatrick, Portland. For more informa tion, see website www.oregonpotters.org. Ceramics Monthly October 2003 Ducuale Grande A Nicaraguan ¥omens Pottery Cooperative By Peter Chartrand Plate, 10 inches (25 centimeters) in diameter, burnished, with chrome oxide and resist decoration. It is said that the name Condega comes from the indigenous Chorotega word conthecatl, mean ing land of potters. Three-and-a-half kilometers north of Condega, the pot ter community of Ducuale Grande main tains this heritage. The people of Ducuale Grande like to call it capital de la artesania, translated as “capital of crafts.” Dona Asuncion Cordoba, 64, who has worked in clay all her life, says, “In Ducuale Grande, every house is a workshop of the crafts we have inherited from our ancestors.” Condega is 185 kilometers north of Managua on the Pan American highway. At 1800-feet altitude, the area has a somewhat cooler, drier climate than the capitol. The small town of almost 9000 has been a crossroads of commercial activity since colonial times, witnessing the transport of the conquistadors’ pillage as well as production of the campo (field). Coffee, tobacco, hand made cigars and basic grains constitute the small-scale agricul tural industry of the area’s economy. In 1986, the Museo Precolombino “Julio Salgado” was founded in Condega. A collection of some 3000 complete ceramic pieces and countless shards exhibit a range of early local production, from polychrome ceremonial wares to everyday utensils. Ceramist Gregoria Martinez says, “Our duty is to keep alive the art of our ancestors. Our roots are deep in the land where we live. We feel a great love for our community, because we were born here. Most campesino (farmer) women are capable of making whatever rustic household ceramics their families require, comales (griddle plates) to cook tortillas, or tinacas (pitchers) to hold water, for example. In October of 1989, nine women formed the Taller Comunal de Ceramica (Commu nal Factory of Ceramics) with the intention of earning their living working full time in pottery. Their work is now sold internationally and other pottery-making cooperatives have formed in Ducuale. Elma Santander, coordinator of the Casa de la Cultura Condega at the time, helped with organization and a Spanish potter, Paulo Valverde, spent 20 months with the women, teaching use of the potter’s wheel, burnishing techniques and the smoking process for which the cooperative is renowned. The women helped build the workshop complex and now share all tasks involved in production, in addition to their household responsibilities. Nearly all pieces are collectively made. Marketing was another skill to be learned. Valverde intro duced them to Ron Rivera, Nicaragua coordinator for the U.S. group Potters for Peace, and they began to make the rounds to possible outlets. The majority of the women are widowed or single, and the pottery has permitted them to attain indepen dence, even power, in their family and community life. The nine founders remain in the co-op, whose membership now stands at thirteen. Once a month, and upon receipt of a significant order, a meeting is held to come up with a work plan. Ultimately, it is the responsibility of the president, or, as she prefers to be called, coordinator, to guide the process and assure that the schedule and quality of the work is kept up. A committee of five runs the organization, including a president, vice presi dent, secretary, treasurer and fiscal officer. Members receive a Ceramics Monthly October 2003 56 weekly salary and will be paid in situations where they may not be actively working, such as medical or family emergencies, deliver ing a baby, etc. About the only time one would not be paid is if she is taking time off to fill an order placed with her personally. Though at times business may be brisk, the women earn little more than a subsistence wage. As with any business, a good portion of the income must go to overhead. Basics, such as clays used for the body, sand and colorants are bought yearly. Firewood may be purchased periodically as ven dors appear. When business is slow, the women spend time pre paring materials. The pottery of Ducuale has an easily recognizable style, start ing with a body of part locally dug clay and part clay from the town of Santa Clara. Decorative clay slips include a white from the Nicaraguan stoneware source of Cinco Pinos, yellow from Santa Clara, red from Yalagiiina and imported chrome oxide for green. The heart of the Ducuale style is based on multiple applica tions of slip, or tague, and a clay/sand resist combined with smoke firing. As soon as the ware can be handled after forming, it is covered with a red slip and the entire undecorated piece is bur nished with a piece of plastic. It may be mounted in a chuck on one of the wheels for this step. Some effects require a second slip application before wares reach the bone-dry stage. Notable among these is a toothbrush spatter pattern of multicolored slips. The droplets will be quite thick. Pieces receive another burnishing, resulting in a marbelized ef fect with the colors seemingly suspended beneath the shiny surface. When bone dry, all pieces are again burnished with a smooth stone. All pots are then fired to about 800°C (1472°F). Much of the work is then resist decorated with a slip composed of fine sandy clay and wood ash. Application is done with vari ous improvised brushes. A feather is often used, and experiments have been done with trailing from a discarded popsicle bag. The slip adheres easily to the still-porous ware. Patterns are usually varia tions on traditional spiral or other elementary em bellishments of the form, but buyers regularly introduce new ideas. The pieces are placed in one of the two smoking ovens. One of these closely resembles a domed bread oven, and pots are deftly placed and removed using long, forked sticks. The other oven is rectangular, about 96 cubic feet, covered with a sheet-metal roof. Pots are placed on a grate and very smoky fires of wood and Pots are burnished with a piece of plastic, with the help of a chuck on a kickwheel. Burnished pieces are loaded into an updraft kiln and fired to 800°C (1472°F). Ceramics Monthly October 2003 57 After the initial firing, clay-and-sand resist is applied, and the pieces are smoke fired. sometimes sawdust are maintained in several fireboxes. The smok ing only lasts about 20 minutes. Upon removal, the pots are cleaned in water, revealing a rich red design, sometimes empha sized with sgraffito, against a dark brown to black background. With many hands taking part, the group is nonetheless very successful in maintaining the quality and style upon which their reputation rests. Most Ducuale pots are formed on kick wheels. Seven of the women are torneras, or throwers. Large thrown forms are made in the shop by men on a piecework basis. There are a number of small, hand-formed sculptural pieces, such as fruits, birds, veg etables and earrings. A full range of ware—cups, saucers, plates, bowls, teapots, coffee pots and cooking pots—is a staple of their production. In addition, vases and thrown forms altered to look like owls are very popular. The cooperative has spacious and well-organized work areas. Hand-lettered signs encourage proper procedures and use of ma terials. Burnishing is a labor-intensive group activity, with the women sitting in an airy space and easily chatting as work progresses. Clay mixing is done in a roofed area with several brick and concrete tanks for mixing and drying. With Central America’s often extreme natural events, outdoor structures such as kilns come and go. At present, the cooperative has a traditional cubical updraft and two Mani kilns, the latter developed by Potters for Peace technician Manny Hernandez. They are about 1 cubic meter in capacity and something of an Olsen Fast-Fire/Minnesota Flat Top hybrid. They are fuel efficient, even firing and con structed of locally fired bricks. After Hurricane Mitch, Hernandez trained a Nicaraguan kilnbuilding team and, in two months, built some 15 kilns around Ceramics Monthly October 2003 58 the country. Attached to one side of the updraft kiln is a tradi tional hand-formed adobe cooking stove, where a cauldron may be bubbling away with the communal lunch. Children are seen and heard around the workshop, helping out or just hanging out. Pottery can be a means to earn a living in rural Nicaragua, where even secondary school is out of the question for most children, and agriculture is a high-risk activity, thanks to droughts, floods and volatile international markets. An apprenticeship can be arranged for a young woman, perhaps in partnership with another organization, to pay her living expenses. Ducuale Grande receives a steady trickle of Nicaraguan and foreign tourists, but most of the production is for wholesale export and several outlets around the country. Several years ago, the cooperative had an 18,000-piece order for Pier 1 Imports. Though successfully completed, it is not an experience they are eager to repeat. Seventy people had to be temporarily hired, housed and fed in the cooperative’s courtyard. The normally The friendly, relaxed atmosphere became frantic. Nevertheless, it was a maturing experience for the group. Production problems arose and had to be resolved quickly. Breakage was a problem, contrib uting to a high loss rate. To increase production, men were hired to throw for the first time. They came from the pottery communi ties of San Juan de Oriente, Ocotal and Mozonte. Some formerly handbuilt pieces became wheel thrown. Young men from the community have since been trained to throw—to be called upon when needed. The Ducuale potters place a high value on interacting with other potters and, to this end, participate in visits to other Nicara guan potters, usually with financing from Potters for Peace. Sev eral of the women have been to Honduras to conduct a workshop on their techniques for a Honduran women’s cooperative. Mexico and the United States have also been on their agenda, with a workshop for indigenous women in Sonora, Mexico; a National Council on Education for the Ceramic Arts conference; and a month-long session at El Colegio Charter School in Minnesota. These experiences, as well as their ongoing relationship with Potters for Peace, keep the women open to developments adapt able to their situation. One change in the works is a burner capable of using corn husks for fuel, economizing on wood. Improvising tools from whatever comes to hand and using local raw materials, as well as international marketing, determine the end product. Nicaragua is the second poorest country in the Western Hemi sphere and seemingly just recovers from one manmade or natural disaster when another appears. Working in the crafts field is only relatively stable. The in-country market is small, and quality must be very high for export. By Nicaraguan standards, the Taller Comunal de Ceramica of Ducuale Grande is successful. What at first glance might be called a traditional pottery is, in reality, a blend of many influences. ware is smoke fired in a dome-shaped updraft kiln (foreground), The resist material is cleaned off after smoke firing to reveal the design Ceramics Monthly October 2003 59 A Taste for Clay by Fred C. Wilson I would say that my life in pottery began when I was about five— way back in the Stone Age. There was this girl I had met at a little storefront church next to our home. The girl must have been about six or seven. My parents had a small mom-and-pop pie bakery next to the church, and you could smell those empanadashaped apple, peach, pumpkin, you-name-it pies for miles around. And the taste! Lord have mercy! But getting back to the subject, this little girl made the cutest little mud pie I’d ever seen, then coaxed me to eat it. Ever since that first taste, I have been hooked on clay. At the age of seven, I was given my first pack of Crayola modeling clay. It’s not the kind of clay that potters normally as sociate with “Cartoon Vase,” 17 inches (43 centimeters) in height, $200. our craft, but I didn’t know it, and it was fun just the same. As I remember, the stuff came as four colored sticks of clay that never hardened, so you could reshape it as many times as you wanted to. For old times’ sake, I still keep a box of it among my ceramic supplies and tools. “Macho Man,” 7 inches I was in a world (18 centimeters) in height, $100. of my own work ing with clay. To me, clay had (and still has) a very magical element associated with it. In those days, the outside world was grim, bleak and chaotic. I had to manufacture my happiness from within. Clay was my vehicle of expression. I lived through my “daymen,” as I called the figurines that I made, imagining traveling to places that I can only recently afford. It was only when my family and I left Chicago’s rather infamous Robert R. Taylor Projects, and moved to fashionable Hyde Park that I discovered what “real” clay was. At Hyde Park Art Center, I took two classes in handbuilding, the method that I use today. Making the transition from “fake” clay to real clay wasn’t that big of a deal. Learning that clay could be worked wet, dried and fired threw me for a loop. I was amazed that clay could be permanently hardened, but I got used to it. I started to mass produce all sorts of vases, figures, you name it. It was really great cranking out all that stuff. I only settled down when, on my first firing, I took out an entire kiln load of my works, along with that of the entire class. They almost strung me up for that. After I finished high school, I left clay. I needed money, so I went to trade school to study industrial design. It was a good “The Idea,” 46 inches (117 centimeters) in height, $1000. Fred Wilson decorating a figure sculpture in his Chicago studio. move moneywise. I put my love for clay on a ten-year hold. My industrial design job paid well, but I was bored out of my mind, so after four years I decided to leave the state of Illinois to go back to school. After four years at various colleges and universities, I graduated with a teaching degree from Loyola University. Since 1974, I’ve worked as a teacher for the Chicago Public Schools. Only one of the schools that I’ve taught art at had a kiln, and it was broken. In the early 1980s, I went back to City College for a degree in fine arts, with an emphasis on ceramic sculpture. Then I decided to study at the Lillstreet Art Center. It has to be one of the best places on the planet to learn ceramics. Ceramic knowledge per meates the very air at that place. Why, at times, I could swear I learned about various ceramics techniques by osmosis. And no one minds sharing what he or she knows with other artists. For the most part, I did all right, but I did manage to bomb out in the two wheel-throwing classes that I took. My problem is that my hands shake, so I now stick mainly to handbuilding. To make my “clay folk” appear real, I first mold them into shape, then individualize them later. When working, I take what I like to refer to as the “kitchen sink” approach to tools—anything from used toothbrushes and dental tools to drill bits. I almost never buy art supplies from art stores. Too expensive. Hardware stores are much better. When I glaze, I prefer majolica. I like loud colors. Depending on the effect that I want to produce, sometimes I may partially glaze the piece, leaving certain portions unfinished, only to be painted later on. It’s not uncommon for some works to be glazed, washed with an oxide or two, or painted with acrylics to achieve a certain quality or texture. I like to experiment, and clay gives me plenty of opportunity to give free reign to my imagination. Besides giving me personal satisfaction, daywork can even serve the greater good. Let me explain. My wife and I maintain a charity website (www.harmony-international.org); it’s our small way of giving back to the world. Half of the proceeds from art sold through this site goes toward housing, feeding and educating children in the Philippines and Africa. If making daywork can help poor kids, as someone who was once one himself, I’m all for it. It’s been a long time since that first taste of clay. It’s time to pay the check. Ceramics Monthly October 2003 61 Chinese Ceramics Today by Jim Weaver “Memory Dishes,” each 24.5 centimeters (10 inches) in diameter, by Bei Li, Shenzhen, Guangdong. The word China is synonymous with ceramics, and for good reason. “No other nation in this world can boast of an older, richer and more brilliant ceramics culture than China,” accord ing to Roland Blaettler, curator of Musee Ariana in Geneva, Switzerland. Blaettler and I-Chi Hsu, a ceramist and founder of Le Pottery HAP (studio) and “Chinese Potters Newsletter” in Beijing, were responsible for organizing the first major exhibition of contemporary Chinese ceramics to be shown in the West. Titled “Chinese Ceramics Today: Between Tradition and Contemporary Expression,” the exhibition was initially shown at Musee Ariana this past spring, then traveled to the Clay Studio in Philadelphia, Pennsylvania, where it was on view June 6-July 26. Further venues include the University of Washington in St. Louis, Missouri; Orange County Center for Contemporary Arts in Santa Ana, California; and the University of Hawai‘i in Honolulu. The show includes works by 22 independent ceramists from China and Hong Kong. While China’s ceramics tradition has been thousands of years in the making, the concept of the individual was largely absent in the past. In a society where individuality was discour aged, ceramics were factory made by persons trained to perform a specific task in the production process. This collective effort is why few Chinese ceramics ever bore the name of the maker. It has been only in the past 15 years that ceramics artists, as we know them in the West, have emerged. Ceramics Monthly October 2003 62 “Vacuum,” 37 centimeters (15 inches) in height, by Dewu Xia, Beijing. Temple,” 80 centimeters (31 inches) in width, terra cotta, by Fiona Wong, Hong Kong In his catalog essay, Hsu points out that China spent much of the 20th century cut off from developments taking place in the outside world in both technology and the arts. “The situation has changed in the past 20 years with China’s reform and opening up,” he says. “In the late 1980s, most government-run ceramics factories were closed down or reorganized to suit the new economic environ ment. At the same time, private factories, including family run ceramics businesses, began to flourish.” These changes continue today. The concept of the studio artist was introduced by the Western world, and today’s market economy in China has enabled the rise of independent ceramics artists. Hsu esti mates that, in the past three years, over 100 influential ceramists have established their own studios. Exhibitions of contemporary ceramics have become more frequent as well, and include a biennial at Guangdong Museum of Art in Canton (founded in 1998) and the “Biennial of Young Chinese Ceramics.” “Traditionally, Chinese artists are not accustomed to expressing their own point of view in their work,” says Hsu. “The new generation, however, has moved beyond “Lovers,” 60 centimeters (24 inches) in height, terra cotta with enamel, by Zheng Liu, Hangzhou, Zhejiang. Ceramics Monthly October 2003 63 functionality toward introspection of self and a critique of the living environment.” Fifteen of the exhibiting artists were born in the 1960s. The youngest participant was born in 1975 and the oldest in 1934. Nearly all have earned an art degree in ceramics from a major Chinese university or ceramics institute. Several have earned master’s degrees. Three earned ceramic art degrees in the United States. Only two were trained in the traditional Chinese manner of working with a master artist. One of these later earned an art degree. Nearly all have pursued careers in ceramic art education. Three have had other careers—as an independent artist, a potter and business owner, and a writer/editor and gallery owner. China has taken a new direction, and will not return to the past. According to Hsu, independent Chinese ceramics artists have made significant progress in a short time, but there must be a “great leap forward” (an expression used during the Chinese Cultural Revolution) if they are to achieve their potential. “There is need for greater originality, more experimentation with materi als and techniques, and expanded markets,” he says. “Blue and White Porcelain,” 45 centimeters (18 inches) in height, porcelain, by Xueli Pei, Suzhou, Jiangsu. “Fossil 2000 III,” 180 centimeters (71 inches) in length, terra cotta, by Bin Lu, Shenzhen, Guangdong. Ceramics Monthly October 2003 64 Roush's Teapot by David M. Brin Some time ago, when I went to housesit in a small town on Northern California’s coast, I found myself in charming sur roundings. The house was full of books, music and original paintings, and was situated only half a block from the Pacific. The kitchen was small, but it contained a treasure that immediately caught my eye—a beautifully crafted teapot. The spout was merely an extension of the cylindrically shaped body, the handle was on the side and the lid was simply a saucer that fit the opening at the top of the cylinder. The glaze was reddish brown, and on one side a star-shaped pattern had been stamped into the wet clay. I soon discovered that this teapot was a joy to use. It was the perfect size for one person, making about two mugfuls of tea. It poured without spilling (a test that too few teapots pass). It was delightful to hold and to look at. The teapot soon became part of my morning ritual. Still groggy from sleep, I would boil water and make a pot of black tea, thoroughly enjoying every step that involved the teapot—warm ing it with hot water, scooping in two teaspoons of tea, adding the water, and ultimately pouring out the tea and drinking it. Who had made it? Its owner was in Bulgaria, so that question was not easily answered. But the mystery was solved by accident. While driving to the nearby town of Stinson Beach, I spotted a sign that read “Roush Pottery.” I pulled into the driveway, not knowing what to expect. The studio was a few steps away; outside were pots in various states of manufacture. The showroom was attached to the house, and as I walked in, I began to feel upbeat. Within a few moments, I realized that I had discovered the origin of the teapot I liked so much. The potter, Dale Roush, appeared and we had a nice conversation. Since I didn’t need a teapot, I bought a candelabra and several planters. Roush’s planters had rough textures and attractive glazes, and were reasonably priced. I later gave some to friends. (They were delighted and later reported that they had gone back and bought several more for themselves. I was almost embarrassed that they had found out how little I had paid for the pots.) Meanwhile, I enjoyed the teapot for the considerable time I stayed in that lovely house by the ocean. When it came time to leave, I went back to Roush Pottery to buy a teapot of my own. I found one that I liked, but of course, it wasn’t exactly like the one I was so fond of. The shape was similar, but the glaze was a greenish-beige. It would serve as the centerpiece of my morning tea ritual for many years. It happened that, several years later, a houseguest broke the lid. I was crestfallen, but one day when I was driving by Stinson Beach, I stopped in to see Roush. I asked him if he could make a new lid for the pot I liked so much. He said he could, and suggested I come back with the teapot. Since I was living in Berkeley, about an hour’s drive away, I didn’t get back to Stinson Beach for several months. In the meantime, I was using a saucer on top of the otherwise-intact teapot, but it wasn’t the same. The centerpiece of my daily tea ceremony felt incomplete without its proper top. Perhaps five or six months later, I decided to travel up the coast to see some friends and bring back the teapot. I drove along the familiar road, watching for the “Roush Pottery” sign to pop up, but it had vanished. I turned around (not that easy on California’s twisty Highway 1) and drove by again. No sign in the other direction. I turned around again, found what I was pretty sure was the driveway, drove in and parked. I got out and began to walk up to the studio, but something had changed. It didn’t have the feel of an artist’s workshop. Perhaps they had moved away. Not being the outgoing type, I got back in my car and drove off, wondering about the turn of events that had changed the life of someone I barely knew. I needed an unbroken teapot for Teapot, 7 inches (18 centimeters) in height, wheel-thrown stoneware, with incised lines, glazed and fired to Cone 10. Ceramics Monthly October 2003 65 Teapot, 41/2 inches (12 centimeters) in height, stoneware with pulled spout and handle, with Shaner Red glaze, fired to Cone 10 in reduction Teapot, 6 inches (15 centimeters) in height, stoneware, incised with bamboo and stamped with a poppy pod, fired to Cone 10, by Dale Roush, Stinson Beach, California. my morning ritual, and bought another. It had a nice round shape and a ceramic handle above the lid. When I got it home, I discovered that the handle’s position made the teapot itself almost inaccessible. The spout also tended to dribble when tea was poured from it. I put it on a shelf and placed Roush’s teapot next to it. From below, one couldn’t tell that the lid was missing. I then bought a factory-made teapot that functioned well. A gust of wind broke the lid to that teapot, too, but I didn’t seem to mind substituting a saucer for the lid of the factory-made pot. Many years later, I was at a crafts fair and bought another hand-thrown teapot, this one with a wicker handle and a crackle glaze. The factory-made pot went on the shelf with the other two. I practically had a collection. I then added an abstraction of a teapot by Nancy Selvin, a ceramics artist from Berkeley, whose teapots can’t hold water, but convey the idea of the form. Just over a year ago, I was driving along Highway 1 after having enjoyed a hike in Point Reyes National Seashore. For several miles, the road follows Bolinas Lagoon, one of the best locations for bird watching in Northern California. On the right, kingfishers were sitting on the phone wires looking into the lagoon, and on the left the majestic egrets were nesting at Audubon Canyon Ranch. I could see them clearly from the road as I drove toward Stinson Beach. A few more turns of the road and suddenly I saw the Roush Pottery sign. It may have even been the same sign I had first seen 25 years ago. Before I had even found a place to turn around, I was thinking of replacing my beloved teapot. The small parking lot, the studio, the showroom were all the same as before. Outside were some planters, still reasonably priced, although inflation had been accounted for. Eventually I learned the rest of the story. Dale Roush had been afflicted by the burnout that most artists experience at some time or other. After sitting at his wheel for three months without throwing a pot, he decided to take a job in construction and closed down the showroom. Years later, through his daughter, he met Susan Vickery, an artist and teacher. After they married, Susan convinced him to return to pottery. Their showroom is now filled with a variety of pots that look much like those I remember from before; there are also photographs and pots made by Susan, and some new pottery forms they have created together. Their collaboration is a happy one, and I, for one, am glad that Roush Pottery is back in business. I’m planning to bring my teapot back for that new lid. The author David M. Brin is editor of the Mills Quarterly, the alumni magazine for Mills College in Oakland, California. Ceramics Monthly October 2003 66 CERAMICS 2003 by Susan Peterson The Guilford Handcraft Center in Guilford, Connecticut, recently presented “Ceramics 2003,” a biennial competition of clayworks from the United States, Canada and Mexico, through August 23. Now in its fourth showing, the exhibition is one of the few remaining wide-open opportunities for clay artists. Lack of suitable exhibition space for major competi tions, as well as the daunting costs of shipping and returning works to a gallery or museum (the responsibility of the artist), have made national juried shows mostly a thing of the past. After several previous jury obligations in which I worked with only slides, I had vowed to never do that again. I succumbed to Lisa Wolkow’s insistence, however, and agreed to jury this year’s competition. My former student at Hunter College in New York City, Wolkow has been the ceramics instructor at the Guilford Handcraft Center since 1986. She has also acquired the titles of studio manager, registrar and education associate. The ceramics depart- First place: “Out of Alignment,” 24 inches (61 centimeters) in length, earthenware, $2400, by Robert Wood, Kenmore, New York. ment has over 100 students per semester, from ages four to adult, and the apprentice program currently has six artists working two- to five-year terms. Visiting artists present workshops and lectures as well. The number of slides was awesome—jurying more than 800 entries from 225 artists was a heady problem. The goal was to choose 65-85 works for the exhibition. I was also responsible for selecing the first-, second- and third-place award winners. I spent five days looking at the slides. As I looked at all of them over and over again with a projector, I made mental notes to myself about the futility of jurying by slide. I tried to choose an interesting, diverse group of ceramics that would be applicable to pedestal, floor and wall exhibition space. Even now, as I look at the color prints that the center has sent me of several of the selected pieces, I see the work very differently on the flat plane than I did even in the slides. A few remarks to artists who are considering submitting to a slide-juried exhibition: remember that the juror sees only the slide, not the actual piece; look at the object in the slide frame as if it were a two-dimensional painting; photograph the object from the view that best expresses its three-dimensionality; two views may be needed. I agonized over the three awards, choosing them based on originality, imagination, interest, craftsmanship and uniqueness. There were many that could have qualified. In the end, I awarded Robert Wood’s “Out of Alignment” first place, because it epitomized history, pottery, good design, good craftsmanship and oneness in storytelling empathy. Second place went to Todd Shanafelt’s “Industrie Sterile,” and third place was awarded to Barbara Katz for “Warrior. Second place: “Industrie Sterile,” 8 inches (20 centimeters) in height, thrown and assembled stoneware, with mixed media, $400, by Todd Shanafelt, Mankato, Minnesota. Third place: “Warrior,” 30 inches (76 centimeters) in height, clay and wood, $1050, by Barbara Katz, Mansfield Center, Connecticut. Ceramics Monthly October 2003 68 Gallery Materia, 4222 N. Marshall Way, Scottsdale AZ 85251; e-mail [email protected]; website www.gallerymateria.com; telephone (480) 949-1262; fax (480) 949-6050. Contemporary ceramics; 6-8 exhibitions per year. Udinotti Gallery, 4215 N. Marshall Way, Scottsdale AZ 85251; telephone (480) 946-7056. Contemporary ceramics, including works by Carl Dahl, Stephen DeStaebler, Gary Grooters, Brian Harper, Nobuhito Nishigawara, Don Reitz, Patricia Sannit, John Toki and Agnese Udinotti. ASU Art Museum Ceramics Research Center, Arizona State University, Mill Ave. and Tenth St., Tempe AZ 85287-2911; e-mail [email protected]; website http://asuartmuseum.asu.edu/home.html; telephone (480) 965-2787; fax (480) 965-5254. Permanent collection of over 3000 pieces of British and American ceramics, including works by Linda Arbuckle, Robert Arneson, Bill Brouillard, Chris Gustin, Jun Kaneko, Maria Martinez, Daniel Rhodes, Adrian Saxe, Toshiko Takaezu and Peter Voulkos; 4-6 exhibitions per year. Obsidian Gallery, 4340 N. Campbell Ave., #90, Tucson AZ 85718; e-mail [email protected]; website www.obsidian-gallery.com; telephone (520) 577-3598; fax (520) 577-9018. Contemporary ceramics, including works by over 10 artists; 3-4 exhibitions per year. Arkansas Arkansas Arts Center, 501 E. 9th St., Little Rock AR 72202; e-mail [email protected]; website www.arkarts.com; telephone (501) 372-4000; fax (501) 375-8053. Contemporary ceramics; 1-3 exhibitions per year. California TRAX Gallery, 1812 Fifth St., Berkeley CA 94710; e-mail [email protected]; website www.traxgallery.com; telephone (510) 540-8729; fax (510) 540-0430. Functional ceramics, including works by over 12 artists; 4 exhibitions per year. Winfield Gallery, Dolores between Ocean and Seventh, PO Box 7393, Carmel CA 93921; e-mail [email protected]; website www.winfieldgallery.com; telephone (800) 289-1950 or (831) 624-3369; fax (831) 624-5618. Contemporary ceramics, including works by Jillian Banks, Annette Corcoran, Don Fritz, David Furman, David Gilhooly, Beau Kvenild, Roberta Laidman, James Lovera, Karen Shapiro and Betty Spindler. “Water Dog,” 19¾ inches (50 centimeters) in height, by Gary Dinnen; at Solomon Dubnick Gallery, Sacramento, California. This marks the fifth year for CM’s guide to galleries. The intent is to provide an annually updated list of galleries that typically exhibit ceramics, as well as museums with significant ceramics collections. Only venues that have verified the information in their listings have been included. To help us make the guide more comprehensive in the future, please send information about any omissions to Ceramics Monthly, Gallery Guide, 735 Ceramic PL, Westerville OH 43081, USA. United States listings are alphabetical by state, district or common wealth, then cities within the state. International listings are by country and city. Contact information has been included to allow you to check current offerings and hours before visiting. Arizona Bisbee Clay, 30 Main St., PO Box 1043, Bisbee AZ 85603; e-mail [email protected]; telephone (520) 432-1916. Functional ceramics by over 12 Southern Arizona artists; 4 exhibitions per year. Andora Gallery, 7202 E. Carefree Dr., PO Box 5488, Carefree AZ 85377; e-mail [email protected]; website www.andoragallery.com; telephone (480) 595-1039; fax (480) 595-1069. Contemporary ceramics, including works by Jane Blackman, Fong Choo, Lisa Henriques, James Lovera, Donald Penny, Mary Roehm and Kaiser Suidan; 2-4 exhibitions per year. Ruth Chandler Williamson Gallery, Scripps College, 1030 Columbia Ave., CA 91711-3948; e-mail [email protected]; website www.scrippscol.edu/~dept/gallery/index.html; telephone (909) 607-3397; fax (909) 607-4691. Marer collection of over 1500 contemporary ceramics pieces, including works by Jun Kaneko, John Mason, Paul Soldner and Peter Voulkos; 1-3 exhibitions per year. Claremont The Artery, 207 G St., Davis CA 95616; e-mail [email protected]; website www.artery.coop; telephone (530) 758-8330; fax (530) 758-8509. Contemporary ceramics; 2-3 exhibitions per year, including the annual “California Clay Competition.” John Natsoulas Gallery, 521 First St., Davis CA 95616; e-mail [email protected]; website www.natsoulas.com; telephone (530) 756-3938; fax (530) 756-3961. Contemporary ceramics; 12 exhibitions per year. Gallery Alexander, 7925a Girard Ave., La Jolla CA 92037; e-mail [email protected]; telephone (858) 459-9433; fax (858) 459-0080. Contemporary ceramics; 2-3 exhibitions per year. Gallery Eight, 7464 Girard Ave., La Jolla CA 92037; e-mail [email protected]; telephone (858) 454-9781; fax (858) 454-0804. Contemporary ceramics; 1-2 exhibitions per year. The Figurative, Gallery of Contemporary Art, 78225 Calle Fortuna, La Quinta CA 92253; e-mail [email protected]; website www.thefigurative.com; telephone (760) 564-6060; fax (760) 564-0012. Contemporary ceramics by over 30 artists. Ceramics Monthly October 2003 69 gallery guide 2003 Mesa Contemporary Arts, PO Box 1466, 155 N. Center St., Mesa AZ 85211-1466; e-mail [email protected]; website www.mesaarts.com; telephone (480) 644-2056; fax (480) 644-2901. Contemporary ceramics; 3 exhibitions per year, including juried nationals. Freya Gallery, 3215 Highland Ave., Manhattan Beach CA 90266; e-mail [email protected]; website www.freyaartgallery.timecrystal.com; telephone (310) 545-1849; fax (310) 546-7455. Contemporary ceramics; 6 exhibitions per year. gallery guide 2003 Mendocino Arts Center, Box 765, 45200 Little Lake St., Mendocino CA 95460; e-mail [email protected]; website www.mendocinoartcenter.org; telephone (707) 937-5818 or (800) 653-3328; fax (707) 937-1764. Contemp orary ceramics; several multimedia shows including ceramics. Palo Alto Art Center, 1313 Newell Rd., Palo Alto CA 94303; e-mail [email protected]; website www.cityofpaloalto.org/artcenter; telephone (650) 329-2366; fax (650) 326-6165. Contemporary ceramics, including works by Robert Arneson and Robert Brady, plus historical Asian and European ceramics; 1-2 exhibitions per year. Crocker Art Museum, 216 0 St., Sacramento CA 95814; e-mail [email protected]; website www.crockerartmuseum.org; telephone (916) 264-5423; fax (916) 264-7372. Permanent collection, including Asian, contemporary and Northern California ceramics; 2-5 exhibitions per year. exploding head gallery, 924 12th St., Sacramento CA 95814; e-mail [email protected]; website www.explodingheadgallery.com; telephone (916) 442-8424; fax (916) 442-8428. Contemporary ceramics; 4 exhibitions per year. Solomon Dubnick Gallery, 2131 Northrop Ave., Sacramento CA 95825; e-mail [email protected]; website www.sdgallery.com; telephone (916) 920-4547; fax (916) 923-6356. Contemporary ceramics, including works by Eric Dahlon, Gary Dinnen, Fred Gordon, Melinda Johnson and Tom Rippon; 2-4 exhibitions per year. Mingei International Museum, 1439 El Prado, Balboa Park, San Diego CA 92101; e-mail [email protected]; websitewww.mingei.org; telephone (619) 239-0003; fax (619) 239-0605. Arts of the people; ongoing multimedia exhibitions including clay. San Diego Museum of Man, 1350 El Prado, Balboa Park, San Diego CA 92101; e-mail [email protected]; website www.museumofman.org; telephone (619) 269-2001; fax (619) 269-2749. Permanent display of ancient Egyptian and Kumeyaay ceramics; 1-3 exhibitions per year. Asian Art Museum, 200 Larkin St., San Francisco CA 94102; e-mail [email protected]; website www.asianart.org; telephone (415) 581-3500; fax (415) 581-4700. Permanent collection of Chinese, Himalayan, Indian, Japanese, Korean, Southeast Asian and West Asian ceramics. Vases, to 49 centimeters (19 inches) in height, handbuilt colored earthenware, by Christine Jones: at the Gallery, Ruthin Craft Centre, Ruthin, Denbighshire, Wales. Lincoln Arts Center, 540 F St., Lincoln CA 95648-1166; e-mail [email protected]; website www.lincolnarts.org; telephone (916) 645-9713; fax (916) 645-3945. Contemporary ceramics; 2-3 exhibitions per year, including “Feats of Clay.” Del Mano Gallery, 11981 San Vicente Blvd., Los Angeles CA 90049; e-mail [email protected]; website www.delmano.com; telephone (310) 476-8508; fax (310) 471-0897. Contemporary ceramics, including works by James Aarons, Susan Beiner, Donald Frith, Steve Hansen, Carianne Hendrickson, Ricky Maldonado, Noi Volkov, Gerry Wallace, Laura Wilensky and Russell Wrankle. Freehand Gallery, 8413 W. Third St., Los Angeles CA 90048; e-mail [email protected]; website www.freehand.com; telephone (323) 6552607; fax (323) 655-7241. Contemporary ceramics, including works by Stuart Compton, Romulus Craft, Susan Garson, David Gurney, John Leach, Nikki Lewis, Kazuko Matthews, Nicholas Seidner, Kevin Stafford and Sara Jaeger. J. Paul Getty Museum, 1200 Getty Center Dr., Los Angeles CA 90049; website www.getty.edu; telephone (310) 440-7360; fax (310) 440-7722. Permanent collection of ceramics from Austria, China, England, Germany, Italy, Japan and Spain, plus Greek and Roman terra-cotta vases. Los Angeles County Museum of Art, 5905 Wilshire Blvd., Los Angeles CA 90036; e-mail [email protected]; website www.lacma.org; telephone (323) 857-6000. Permanent collections, including French Limoges, Italian majolica, English porcelain and pottery, Islamic, Southeast Asia, Japanese porcelain and tea-ceremony ware. Braunstein/Quay Gallery, 430 Clementina St., San Francisco CA 94103; e-mail [email protected]; website www.bquayartgallery.com; telephone (415) 278-9850; fax (415) 278-9841. Contemporary ceramics, including works by Robert Brady, Bean Finneran, Richard Shaw and Peter Voulkos; 3-4 exhibitions per year. Legion of Honor, Lincoln Park, 100 34th Ave., San Francisco CA 94121; website www.thinker.org/legion; telephone (415) 750-3600; fax (415) 7503656. Permanent collection, including 18th-century English and continental porcelain, and ancient pottery. Mexican Museum, Ft. Mason Center, Bldg. D, San Francisco CA 84123; e-mail [email protected]; website www.mexicanmuseum.org; telephone (415) 202-9700; fax (415) 441-7683. Permanent collection, including contemporary and preconquest ceramics. Museum of Craft & Folk Art, Landmark Bldg. A, Ft. Mason, San Francisco CA 94123-1382; e-mail [email protected]; website www.mocfa.org; telephone (415) 775-0991; fax (415) 775-1861. Contemporary, traditional and culturespecific ceramics. Rena Bransten Gallery, 77 Geary St., San Francisco CA 94108; e-mail [email protected]; website www.renabranstengallery.com; telephone (415) 982-3292; fax (415) 982-1807. Contemporary ceramics, including works by Ann Agee, Viola Frey, Dennis Gallagher and Ron Nagle. V. Breier Contemporary and Traditional Craft, 3091 Sacramento St., San Francisco CA 94115; e-mail [email protected]; website www.vbreier.com; telephone/fax (415) 929-7173. Contemporary ceramics, including works by Christa Assad, Jillian Banks, Jennifer Kenworth, Kazuko Matthews, Tony Natsoulas, Patricia Sannit, Karen Shapiro and Farraday Ayne Newsome; 2-3 exhibitions per year. Ceramics Monthly October 2003 70 Clay and Paper, Inc., 350 Main St., Dunedin FL 34698; e-mail [email protected]; website www.claypaper.com; telephone (727) 736-0934; fax (727) 772-9570. Contemporary ceramics, including works by over 15 artists; 3-4 exhibitions per year. Verdigris Clay Studio + Gallery, the Cannery, 2801 Leavenworth St., San Francisco CA 94133; e-mail [email protected]; website www.verdigrisgallery.com; telephone (415) 440-2898; fax (415) 674-8443. Contemporary ceramics by over 35 Bay Area artists. Tierra Solida: a clay art gallery, 1221 State St., #8, Santa Barbara CA 93101; e-mail [email protected]; website www.tierrasolida.com; telephone (805) 884-8224. Contemporary ceramics by over 12 artists; 8 exhibitions per year. Frank Lloyd Gallery, 2525 Michigan Ave., Bldg. B5b, Santa Monica CA 90404; e-mail [email protected]; website www.franklloyd.com; telephone (310) 264-3866; fax (310) 264-3868. Contemporary ceramics by 30 artists from England, Japan, Mexico, the Netherlands and the United States; 12 exhibitions per year. Colorado Hibberd McGrath Gallery, 101 N. Main St., Box 7638, Breckenridge CO 80424; e-mail [email protected]; website www.hibberdmcgrath.com; telephone/fax (970) 453-6391. Contemporary ceramics; 2-3 exhibitions per year. CLAYSPACE Gallery, Carbondale Art Center, 135 Main St., Carbondale CO 81623; e-mail [email protected]; website www.carbondaleclay.org; telephone (970) 963-2529; fax (970) 963-4492. Contemporary ceramics with emphasis on functional work by over 10 artists and a permanent collection including Charity Davis, Josh DeWeese, Ron Meyers, Jeff Oestreich and Lynn Smiser Bowers; 2 exhibitions per year. Florida Craftsmen Gallery, 501 Central Ave., St. Petersburg FL 33701; e-mail [email protected]; website www.floridacraftsmen.net; telephone (727) 821-7391; fax (727) 822-4294. Contemporary ceramics by regional and national artists; 2-4 exhibitions per year. Georgia MudFire Gallery, 1441 Dresden Dr., Ste. 250, Atlanta GA 30319; e-mail [email protected]; website www.mudfire.com; telephone (404) 969-3260; fax (404) 969-3259. Contemporary ceramics, including works by Gayle Bair, Kyle Carpenter, Jim Connell, Craig Edwards, Dave Finkelnburg, Marta Matray Gloviczki, Ken Horvath, Mark Issenberg, Jerry Maschinot and Gay Smith; 12 exhibitions per year. Signature Shop & Gallery, 3267 Roswell Rd., NW, Atlanta GA 30305; e-mail [email protected]; website www.thesignatureshop.com; telephone (404) 237-4426; fax (404) 237-2382. Contemporary American ceramics, including works by Mark Burleson, Andy Nasisse, Brad Schwieger, Michael Simon and Michaelene Walsh; 3-6 exhibitions per year. Hawaii Honolulu Academy of Arts, 900 S. Beretania St., Honolulu HI 96814; e-mail [email protected]; website www.honoluluacademy.org; telephone (808) 532-8700; fax (808) 532-8787. Permanent collection of ceramics from the Americas and Asia, including works by Richard DeVore, Wayne Higby, Jun Kaneko, Gertrud and Otto Natzler, Henry Varnum Poor, Rudolf Staffel, Toshiko Takaezu, and Robert Turner. Illinois Artists on Santa Fe, 747 Santa Fe Dr., Denver CO 80204; e-mail [email protected]; website www.artistsonsantafe.com; telephone (303) 573-5903; fax (303) 573-0246. Contemporary ceramics, including works by Connie Christensen, Macy Dorf, James Garnett, Adrienne Johnson and Janey Skeer. Denver Art Museum, 100 W. 14 Ave. Pkwy., Denver CO 80204-2788; e-mail [email protected]; website www.denverartmuseum.org; telephone (720) 865-5000; fax (720) 913-0001. Pre-Columbian, Native American and Asian ceramics; 3 exhibitions per year, plus multimedia shows including ceramics. Connecticut Antioch Pottery Works, 25942 Heart-O-Lakes Blvd., Antioch IL 60002; e-mail [email protected]; website www.antiochpottery.com; telephone (847) 838-1040; fax (847) 838-8546. Contemporary ceramics, including works by Susie Goldstein, Matt Johnson, Ted Novey, Nancy Stueben and Jill Tortorella; 4 exhibitions per year. Parkland Art Gallery, College Ctr., 2400 W. Bradley Ave., Champaign IL 61821; e-mail [email protected]; website www.parkland.edu/gallery; telephone (217) 351-2485; fax (217) 373-3899. Contemporary ceramics; 3 exhibitions per year, including a biennial ceramics invitational. Ann Nathan Gallery, 218 W. Superior St., Chicago IL 60610; telephone (312) 664-6622; fax (312) 664-9392. Permanent collection, including works by Pavel Amromin, Ji Man Choi, Kim Dickey, Krista Grecco, Michael Gross, Annabeth Rosen, Esther Shimazu and Bela Silva; 2 exhibitions per year. Brookfield Craft Center, P0 Box 122, Rte. 25, Brookfield CT 06804; e-mail [email protected]; website www.brookfieldcraftcenter.org; telephone (203) 775-4526; fax (203) 740-7815. Works by more than 100 ceramists; 1-2 exhibitions per year. Creamery Gallery, Canton Clay Works lie, 150 Cherry Brook Rd., Canton CT 00019; e-mail [email protected]; website www.cantonclayworks.com; telephone/fax (860) 693-1000. Contemporary ceramics, representing over 20 artists; 4 exhibitions per year. Mill Gallery, Guilford Handcraft Center, P0 Box 589, 411 Church St., Guilford CT 06437; e-mail [email protected]; website www.handcraftcenter.org; telephone (203) 453-5947; fax (203) 453-6237. Contemporary ceramics; 4-5 exhibitions per year, plus juried ceramics biennial. District of Columbia Arthur M. Sackler Gallery, Smithsonian Institution, 1050 Independence Ave., SW, Washington DC 20560-0707; mailing address: P0 Box 37012, MRC 707, Washington DC 20013-7012; website www.asia.si.edu; telephone (202) 357-4880; fax (202) 357-4911. Permanent collection includes Japanese porcelain, plus Near Eastern and Southeast Asian ceramics. Freer Gallery of Art, Smithsonian Institution, Jefferson Dr. at 12th St., SW, Washington DC 20560; website www.asia.si.edu; telephone (202) 357-4880; fax (202) 357-4911. Permanent collection of ceramics from Asia, Iran, Iraq, Japan, Korea, Syria and Turkey. Vessels, to 22 centimeters (9 inches) in height, slip-cast porcelain, with inlaid slip, by Emily Burton; at Blaze, Bristol, Avon, England. Renwick Gallery of the Smithsonian American Art Museum, Pennsylvania Ave. at 17th St., NW, Washington DC 20006; telephone (202) 357-2700. Permanent collection of 20th- and 21st-century ceramics. Ceramics Monthly October 2003 71 gallery guide 2003 Florida gallery guide 2003 New Orleans Museum of Art, 1 Collins Diboll Cir., New Orleans LA 70179; e-mail [email protected]; website www.noma.org; telephone (504) 4882631; fax (504) 484-6662. Permanent collections, including Meissen porcelain, French ceramics from 1770-1870 and American art pottery from 1880-1960; 4 exhibitions per year. The William and Joseph Gallery, 713 Royal St., New Orleans LA 80226; e-mail [email protected]; website www.thewilliamandjosephgallery.com; telephone (504) 566-7009; fax (504) 566-0607. Contemporary ceramics, including works by John Bailey, Kate Dunn and Garson Pakele. Function + Art, 1046 W. Fulton Market, Chicago IL 60601; e-mail [email protected]; website www.functionart.com; telephone (312) 243-2780. Contemporary ceramics, including works by Patrick Dragon, Chris Gryder, Joe Klinger, Stephen Merritt, Bob Pulley, James Spiroff and Kathy Triplett; 2 exhibitions per year. Maine Watershed Center for Ceramic Arts, 19 Brick Hill Rd., Newcastle ME 04553; e-mail [email protected]; website www.watershedcenterceramicarts.org; telephone (207) 882-6075; fax (207) 882-6045. One-three exhibitions per year. Lillstreet Art Center, 4401 N. Ravenswood Ave., Chicago IL 60640; e-mail [email protected]; website www.lillstreet.com; telephone (773) 7694226. Contemporary ceramics, including works by over 10 artists; 7 exhibitions per year. Maryland Perimeter Gallery, 210 W. Superior St., Chicago IL 60610; e-mail [email protected]; website www.perimetergallery.com; telephone (312) 266-9473; fax (312) 266-7984. Contemporary ceramics; 6 exhibitions per year. Baltimore Clayworks, 5707 Smith Ave., Baltimore MD 21209; e-mail [email protected]; website www.baltimoreclayworks.org; telephone (410) 578-1919; fax (410) 578-0058. Contemporary ceramics; 12 exhibitions per year. Down to Earth Pottery, 217½ S. Third St., Geneva IL 60134; e-mail [email protected]; telephone (630) 208-7807. Contemporary ceramics with emphasis on functional work by over 16 artists; 12 exhibitions per year. The Potters Guild of Baltimore, 3600 Clipper Mill Rd., Baltimore MD 21211; e-mail [email protected]; website www.pottersguild.org; telephone (410) 235-4884. Contemporary ceramics by Maryland artists; 4 exhibitions per year. Clay Orbit, 10918 York Rd., Cockeysville MD 21030; e-mail [email protected]; website www.clayorbit.com; telephone (410) 329-1440. Contemporary ceramics with emphasis on functional work; 4-6 exhibitions per year, plus multimedia shows including ceramics. Terra Incognito Studios and Gallery, 246 Chicago Ave., Oak Park IL 60302; e-mail [email protected]; website www.terraincognitostudios.com; telephone (708) 383-6228; fax (708) 383-6355. Contemporary ceramics with emphasis on functional work by over 30 artists; 10 exhibitions per year. Massachusetts Indiana Museum of Overbeck Art Pottery, 33 W. Main St., Cambridge City IN 47327; e-mail [email protected]; website www.cclib.lib.in.us; telephone (765) 478-3335; fax (765) 478-6144. Permanent collection of over 200 pieces of pottery by the Overbeck sisters. Charlie Cummings Gallery, 4130 S. Clinton St., Ft. Wayne IN 46806; e-mail [email protected]; website www.claylink.com; telephone (260) 458-9160. Contemporary ceramics; 8 exhibitions per year. Iowa AKAR, 4 S. Linn St., Iowa City IA 52240; e-mail [email protected]; website www.akardesign.com; telephone (319) 351-1227; fax (319) 887-2614. Contemporary ceramics, representing over 12 artists; 12 exhibitions per year. Iowa Artisans Gallery, 207 E. Washington St., Iowa City IA 52240; e-mail [email protected]; website www.iowa-artisans-gallery.com; telephone (319) 351-8686 or (877) 439-6554. Permanent display of ceramics; 2 invitational exhibitions per year. Campbell Steele Gallery, 1064 Seventh Ave., Marion IA 52302; e-mail [email protected]; website www.campbellsteele.com; telephone (319) 373-9211; fax (319) 377-8581. Contemporary ceramics, including works by John Beckelman, Pam Dennis, James Kasper, George Lowe, Ray Mullen, Marck Nystrom, Kathy Thor and Mary Weisgram; 4 exhibitions per year. Charles H. Macnider Museum, 303 Second St., SE, Mason City IA 504013988; e-mail [email protected]; website www.macniderart.org; telephone (641) 421-3666. Permanent collection of 19th- and 20th-century American ceramics. Kentucky Contemporary Artifacts Gallery, 325 Chestnut St., Berea KY 40403; telephone/ fax (859) 986-1096. Contemporary ceramics; 1-2 exhibitions per year. Kentucky Museum of Arts + Design, 715 W. Main St., Louisville KY 40202; e-mail [email protected]; website www.kentuckyarts.org; telephone (502) 589-0102; fax (502) 589-0154. Contemporary ceramics by over 10 artists; 2-3 exhibitions per year. Louisiana Alianza, 154 Newbury St., Boston MA 02116; website www.alianza.com; telephone (617) 262-2385; fax (617) 262-2980. Contemporary ceramics, including works by Nancy Adams, Katya Apekina, Jerry Berta, Gary DiPasquale, Ed Risak and Jill Solomon; 3 exhibitions per year. Genovese/Sullivan Gallery, 47 Thayer St., Boston MA 02118; e-mail [email protected]; telephone (617) 426-9738; fax (617) 4511108. Contemporary ceramics, including works by Rob Barnard, Hanako Nakazato, Mary Roehm and Malcolm Wright; 2 exhibitions per year. Pucker Gallery, 171 Newbury St., Boston MA 02116-2897; e-mail [email protected]; website www.puckergallery.com; telephone (617) 267-9473; fax (617) 424-9759. Contemporary ceramics, including works by over 10 artists, and Southern African pots; 3-4 exhibitions per year. Society of Arts and Crafts Gallery, 175 Newbury St., Boston MA 02116; e-mail [email protected]; website www.societyofcrafts.org; telephone (617) 266-1810; fax (617) 266-5654. Contemporary ceramics; 1-2 exhibitions per year, plus multimedia shows including ceramics. Fresh Pond Clay Works, 368 Huron Ave., Cambridge MA 02138; telephone (617) 492-1907; fax (781) 648-8240. Contemporary ceramics, including works by Mary Barringer, Chris Carter, Karen Futral, Donna Polseno and Pao-Fei Yang; 3-4 exhibitions per year. Mudflat Gallery, Porter Square Shopping Center, Cambridge MA 02140; e-mail [email protected]; website www.mudflat.org; telephone (617) 4917976; fax (617) 628-2082. Works by 46 ceramists on permanent display with artists featured monthly. Lacoste Gallery, 25 Main St., Concord MA 01742; e-mail [email protected]; website www.lacostegallery.com; telephone (978) 369-0278; fax (978) 3693375. Contemporary ceramics, including works by Susan Beiner, Michelle Erickson, Randy Johnston, Warren MacKenzie, Mark Pharis, Mark Shapiro, Michael Simon, Diana Thomas, Jack Troy and Maryann Webster; 6-9 exhibitions per year. Designs Gallery, 3 S. Water St., Edgartown, Martha’s Vineyard MA 02539; e-mail [email protected]; website www.designsgallerycollection.com; telephone (508) 627-7200; fax (617) 9161281. Contemporary ceramics with an emphasis on nonfunctional, including works by Richard Aerni, Daisy Brand, Rick Foris, Judith Motzkin, Jeanette Rakowski, Ed Risak, David and Laura Rossinow, and Susan and Jim Whalen. Carol Robinson Gallery, 840 Napolean Ave., New Orleans LA 70115; e-mail [email protected]; website www.carolrobinsongallery.com; telephone/fax (504) 895-6130. Contemporary ceramics; 1-2 exhibitions per year. Ceramics Monthly October 2003 72 Mackerel Sky Gallery, 217 Ann St., East Lansing Ml 48823; e-mail [email protected]; website www.mackerelsky.com; telephone (517) 351 2211; fax (517) 351-5751. Contemporary ceramics; 3-6 exhibitions per year. Revolution Gallery, 23257 Woodward Ave., Ferndale Ml 48220-1361; e-mail [email protected]; website www.revolutn.com; telephone (248) 541-3444; fax (248) 541-1914. Contemporary ceramics, including works by John Gill, Tony Hepburn, Jean-Pierre Larocque, Jae Won Lee, Jim Melchert, Ron Nagle, James Shrosbree and Robert Turner; 6-8 exhibitions per year. Ariana Gallery, 119 S. Main St., Royal Oak Ml 48067; telephone (248) 546-8810; fax (248) 546-6194. Contemporary ceramics, including works by over 50 artists; 2-4 exhibitions per year, plus multimedia shows including ceramics. Minnesota Tweed Museum of Art, University of Minnesota, Duluth, 10 University Dr., Duluth MN 55812-2496; e-mail [email protected]; website www.d.umn.edu/tma; telephone (218) 726-8222; fax (218) 726-8503. Permanent collections, including works by over 12 artists and the Glenn C. Nelson Collection of ceramics. Fired Up, Inc., 1701 E. Hennepin Ave., #255, Minneapolis MN 55414; e-mail [email protected]; website www.firedupstudios.com; telephone (612) 852-2787. Works by over 40 ceramists on permanent display; 2 exhibitions per year. Northern Clay Center, 2424 Franklin Ave., E, Minneapolis MN 55406; e-mail [email protected]; website www.northernclaycenter.org; telephone (612) 339-8007; fax (612) 339-0592. Works by over 50 ceramists; 7-10 exhibitions per year. Mississippi Ohr-O’Keefe Museum of Art, 136 G. E. Ohr St., Biloxi MS 39530; e-mail [email protected]; website www.georgeohr.org; telephone (228) 374-5547; fax (228) 436-3641. Contemporary ceramics by emerging artists and over 450 pots by George Ohr; 11-13 exhibitions per year. “Tall Vessel,” 191/2 inches (50 centimeters) in height, earthenware, by Mark Pharis; at Lacoste Gallery, Concord, Massachusetts. Clay and Canvas Gallery, 109 Town Creek Dr., Ste. A, Saltillo MS 38866; e-mail [email protected]; website www.clayandcanvas.com; telephone/ fax (662) 869-1651. Contemporary ceramics; 4 exhibitions per year. Missouri Red Star Studios Ceramic Center and Gallery, 821 W. 17th St., Kansas City MO 64108; e-mail [email protected]; website www.redstarstudios.org; telephone/fax (816) 474-7316. Contemporary ceramics with emphasis on functional work; 6-10 exhibitions per year. Ocmulgee Pottery & Gallery, 317 High St., Ipswich MA 01938; e-mail [email protected]; website www.ocmulgeepottery.com; telephone (978) 356-0636; fax (978) 356-3465. Stoneware and porcelain collection; 4-6 exhibitions per year. Ocmulgee Pottery and Fine Crafts Gallery, 26 Market St., Ipswich MA 01938; e-mail [email protected]; website www.ocmulgeepottery.com; telephone (978) 356-1298. Contemporary ceramics; 3 exhibitions per year. Ferrin Gallery, 69 Church St., Lenox MA 01241; e-mail [email protected]; website www.ferringallery.com; telephone (914) 271-9362 or (413) 637-4414; fax (914) 271-0047. Contemporary ceramic art, sculpture and studio pottery; 12 exhibitions per year. Pinch, 179 Main St., Northampton MA 01060; e-mail [email protected]; website www.epinch.com; telephone/fax (413) 586-4509. Studio pottery from the U.S., including works by Angela Fina, Donna McGee, Mark Shapiro, Linda Sikora and Michael Simon. George & Anna Krikorian Gallery, Worcester Center for Crafts, 25 Sagamore Rd., Worcester MA 01605; e-mail [email protected]; website www.worcestercraftcenter.org; telephone (508) 753-8183; fax (508) 797-5626. Contemporary ceramics; 9-10 exhibitions per year, including annual Karen Karnes pottery invitational. Michigan Cranbrook Art Museum, 39221 Woodward Ave., PO Box 801, Bloomfield Hills Ml 48303-0801; e-mail [email protected]; website www.cranbrook.edu/art/museum; telephone (877) 462-7262; fax (248) 6433324. Permanent collection of contemporary ceramics by over 20 artists. Sherry Leedy Contemporary Art, 2004 Baltimore Ave., Kansas City MO 64108; e-mail [email protected]; website www.sherryleedy.com; telephone (816) 221-2626; fax (816) 221-8689. Contemporary ceramics, including works by Rudy Autio, John Balistreri, Bede Clarke, Cary Esser, Anne Hirondelle, Jun Kaneko, Karen Karnes, Bobby Silverman, Charles Timm-Ballard and Peter Voulkos; 6 exhibitions per year. Craft Alliance Gallery, 6640 Delmar Blvd., St. Louis MO 63130; e-mail [email protected]; website www.craftalliance.org; telephone (314) 725-1177; fax (314) 725-2068. Contemporary ceramics by emerging, mid-career and established artists; 6-10 exhibitions per year. Daum Museum of Contemporary Art, State Fair Community College, 3201 W. 16th St., Sedalia MO 65301; e-mail [email protected]; website www.daummuseum.org; telephone (660) 530-5888; fax (660) 530-5890. Contemporary ceramics, including works by Rudy Autio, John Balistreri, Anne Currier, Jun Kaneko, Karen Karnes, Jim Leedy, Ole Lislerud, Don Reitz, George Timock and Peter Voulkos. Montana Artifacts Gallery, 308 E. Main St., Bozeman MT 59715; e-mail [email protected]; website www.artifacts-bzn.com; telephone (406) 586-3755. Contemporary ceramics, including works by over 12 artists; 2 exhibitions per year. Ceramics Monthly October 2003 73 gallery guide 2003 Pewabic Pottery, 10125 E. Jefferson, Detroit Ml 48214; e-mail [email protected]; website www.pewabic.com; telephone (313) 822-0954; fax (313) 822-6266. Contemporary ceramics by over 60 artists. Running Ridge Gallery, 640 Canyon Rd., Santa Fe NM 87501; e-mail [email protected]; website www.runningridgegallery.com; telephone (505) 988-2515; fax (505) 988-7692. Contemporary ceramics by over 15 artists; 2 exhibitions per year. gallery guide 2003 Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe NM 87501; e-mail [email protected]; website www.santafeclay.com; telephone (505) 984-1122; fax (505) 984-1706. Contemporary American ceramics; 10-12 exhibitions per year. Artworks Gallery, 123 W. Main St., Bozeman MT 59715; e-mail [email protected]; website artworksmontana.com; telephone (406) 585-8465. Contemporary ceramics, including works by over 10 artists; 6 exhibitions per year. Touching Stone Gallery, 539 Old Santa Fe Trail, Santa Fe NM 87505; e-mail [email protected]; website www.touchingstone.com; telephone/fax (505) 988-8072. Contemporary and traditional Japanese ceramics, representing works by Moriyuki Ando, Nobuhiko Fukushima, Kiyoharu Ichino, Shukai Kagami, Reiko Kakiuchi-Cohen, Yuho Kaneshige, Jun Murashima, Tadashi Nishibata, Hiroyuki Wakimoto and Kazu Yamada; 6-7 exhibitions per year. Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave., Helena MT 59602; e-mail [email protected]; website www.archiebray.org; telephone (406) 443-3502; fax (406) 443-0934. Contemporary ceramics by over 10 artists; 7-9 exhibitions per year. Blue Dome Gallery, 307 N. Texas St., Silver City NM 88061; e-mail [email protected]; website www.zianet.com/bluedome; telephone/fax (505) 534-8671. Contemporary ceramics, including works by over 10 artists; 2-3 exhibitions per year. Holter Museum of Art, 12 E. Lawrence St., Helena MT 59601; e-mail [email protected]; website www.holtermuseum.org; telephone (406) 442-6400; fax (406) 442-2404. Permanent collection; 4-6 exhibitions per year. Clay & Fiber Gallery, 201 Paseo del Pueblo Sur, Taos NM 87571; e-mail [email protected]; website www.collectorsguide.com/clayfiber; telephone (505) 758-8093; fax (505) 758-7179. Contemporary ceramics, including works by Rob Drexel, Carolyn Dulin, Barbara Harnack, Sheila Hrasky, Jim Kempes, Patricia Naylor, Stephen Schrepferman, J. Randall Smith, Jarrett West and Carl Whitkop; 8-10 exhibitions per year. The Clay Studio, 910 Dickens St., Missoula MT 59802; e-mail [email protected]; telephone (406) 543-0509. Contemporary ceramics, including works by over 10 artists; 12 exhibitions per year. New Jersey Lafayette Clayworks, 22 Wantage Ave., P0 Box 289, Branchville NJ 07826; e-mail [email protected]; website www.lafayetteclayworks.com; telephone (973) 948-3987; fax (973) 948-5168. Contemporary ceramics by emerging artists with emphasis on functional stoneware; 3-4 exhibitions per year. Old Church Cultural Center, 561 Piermont Rd., Demarest NJ 07627; e-mail [email protected]; website www.occcartschool.org; telephone (201) 767-7160; fax (201) 767-0497. Works by emerging ceramics artists; 2-3 exhibitions per year. New York The Schein-Joseph International Museum of Ceramic Art, NY State College of Ceramics at Alfred University, Alfred NY 14802; e-mail [email protected]; website www.ceramicsmuseum.alfred.edu; telephone (607) 871-2421; fax (607) 871-2615. Contemporary and historical ceramics; 4 exhibitions per year. m. t. burton gallery, 1819 Long Beach Blvd., Surf City NJ 08008; e-mail [email protected]; website www.mtburtongallery.com; telephone (609) 494-0006 or (877) 530-0988; fax (609) 494-0105. Contemporary ceramic sculpture and pottery; 7 exhibitions per year. New Jersey State Museum, 205 W. State St., P0 Box 530, Trenton NJ 08625-0530; e-mail [email protected]; website www.state.nj.us/state/museum/index.html; telephone (609) 292-6464; fax (609) 599-4098. Collection of 18th- to 20th-century ceramics. The Trenton City Museum, Ellarslie Mansion, Cadwalader Park, Parkside Ave., Trenton NJ 08618; e-mail [email protected]; website www.ellarslie.org; telephone (609) 989-3632; fax (609) 989-3624. Commercial pottery collection, including Belleek, Boehm, Cybis, Lenox, Mercer Pottery, Ott & Brewer, Scammel, and Willets. New Mexico The Fisher Gallery, 1620 Central Ave., SE, Albuquerque NM 87106; e-mail [email protected]; telephone (505) 2471529; fax (505) 243-6701. Contemporary ceramics, including works by Jennifer Lucht, Beth Sailer, Jason Sailer and Marilyn Schultz; 6 exhibitions per year. Bellas Artes, 653 Canyon Rd.. Santa Fe NM 87501; e-mail [email protected]; website www.bellasartesgallery.com; telephone (505) 983-2745. Contemporary ceramics, including works by Richard DeVore, Ruth Duckworth, Shoichi Ida and Brad Miller. “Oribe Plate,” 11 inches (28 centimeters) in width, glazed stoneware, by Shigemasa Higashida; at Dai Ichi Gallery, New York City. LewAllen Contemporary, 129 W. Palace Ave., Santa Fe NM 87501; e-mail [email protected]; website www.lewallenart.com; telephone (505) 9888997; fax (505) 989-8702. Contemporary ceramics, including works by Liz Anderson, Robert Brady, David Joy, Jun Kaneko and Gretchen Wachs. Robert F. Nichols Gallery, 419 Canyon Rd., Santa Fe NM 87501; e-mail [email protected]; website www.robertnicholsgallery.com; telephone (505) 982-2145; fax (505) 982-7171. Contemporary ceramics specializing in Native American potters of the Southwest, including works by Nathan Begaye, Pascal Chmelar, Virginia Garcia, Bill Gilbert, Bill Glass, Les Namingha, Kathleen Nez, Virgil Ortiz and family, Diego Romero, and Jacobo de la Serno; 6-10 exhibitions per year. Ceramics Monthly October 2003 74 Max Protetch Gallery, 511 W. 22nd St., New York NY 10011-1109; e-mail [email protected]; website www.maxprotetch.com; telephone (212) 633-6999; fax (212) 691-4342. Contemporary ceramics, including works by Richard DeVore and Betty Woodman. 65 Hope Street Gallery, 65 Hope St., 2nd FI., Brooklyn NY 11211; e-mail [email protected]; website www.tigerblue.com/65hope; telephone (718) 963-2028; fax (718) 963-2102. Contemporary ceramics, including works by Irina Davidovich, Kathleen Moroney, Mitzi Morris, Rina Peleg and Chris Russell; 7 exhibitions per year. Gallery of Fine Crafts at Hands on Clay, Inc., 128 Old Town Rd., E. Setauket NY 11733; e-mail [email protected]; website www.handsonclay.com; telephone (631) 751-0011; fax (631) 751-9133. Contemporary ceramics; 4-6 exhibitions per year. Garth Clark Gallery’s Project Space, 45-46 21st St., Long Island City NY 11101; e-mail [email protected]; website www.garthclark.com; telephone (718) 706-2491; fax (718) 706-9425. Contemporary ceramics, including works by Philip Eglin, Ken Ferguson, Babs Haenen, Anne Kraus, Ah Leon, Richard Notkin, Lawson Oyekan and Nicholas Rena; 6 exhibitions per year. Museum of Arts and Design, 40 W. 53rd St., New York NY 10019; website www.madmuseum.org; telephone (212) 956-3535; fax (212) 459-0926. Contemporary international ceramics; 7-10 exhibitions per year. Nancy Margolis Gallery, 531 W. 25th St., ground fl., New York NY 10001; e-mail [email protected]; website www.nancymargolisgallery.com; telephone (212) 343-9523. Contemporary American, European and Asian ceramics; 8-9 exhibitions per year. Tong-in Gallery New York, 16W. 32nd St., Ste. 503, New York NY 10001; e-mail [email protected]; website www.tonginstore.com; telephone (212) 5642020; fax (212) 564-1180. The Klay Gallery, 65 S. Broadway, Nyack NY 10960; e-mail [email protected]; website www.klaygallery.com; telephone (845) 348-6306. Contemporary American ceramics; 1-2 exhibitions per year. Antik, 104 Franklin St., New York NY 10013; e-mail [email protected]; telephone (212) 343-0471; fax (212) 343-0472. Twentieth-century Scandinavian ceramics, including works by Berndt Friberg, Gunnar Nylund, Axel Salto and Harry Stalhane. Clay Art Center, 40 Beech St., Port Chester NY 10573; e-mail [email protected]; website www.clayartcenter.org; telephone (914) 937-2047; fax (914) 935-1205. Contemporary ceramics; 8 solo and 3 group exhibitions per year. The Asia Society, 502 Park Ave., New York NY 10022; e-mail [email protected]; website www.asiasociety.org; telephone (212) 288-6400; fax (212) 517-8315. Ceramics from East and Southeast Asia. Everson Museum of Art, 401 Harrison St., Syracuse NY 13202; e-mail [email protected]; website www.everson.org; telephone (315) 474-6064; fax (315) 474-6943. Permanent collection in the Center for the Study of American Ceramics; 2-3 exhibitions per year. Bodanna Gallery, 125 E. Seventh St., New York NY 10009; e-mail [email protected]; website www.bodanna.org; telephone (212) 388-0078; fax (212) 388-0068. Contemporary ceramics; 4-6 exhibitions per year. Celadon, A Clay Art Gallery, 41 Old Mill Rd., PO Box 564, Water Mill NY 11976; e-mail [email protected]; telephone (631) 726-2547; fax (631) 725-4605. Contemporary ceramics; 6 exhibitions per year. Capeluto Arts, 147 Reade Rd., New York NY 10013; e-mail [email protected]; website www.capelutoarts.com; telephone (212) 964-1340; fax (212) 964-1346. Contemporary ceramics, including works by Frank Boyden, Nobuhiro Mizuma, Jissei Omine, Reinaldo Sanguino, Takemi Shima and Shinman Yamada. Charles Cowles Gallery, 537 W. 24th St., New York NY 10011; e-mail [email protected]; website www.cowlesgallery.com; telephone (212) 741-8999; fax (212) 741-6222. Contemporary ceramics, including works by Toshiko Takaezu and Peter Voulkos. North Carolina Asheville Art Museum, 2 S. Pack Sq., Asheville NC 28802-1717; e-mail [email protected]; website www.ashevilleart.org; telephone (828) 253-3227; fax (828) 257-4503. Permanent collection; 2 exhibitions per year, plus multimedia shows including ceramics. Blue Spiral 1, 38 Biltmore Ave., Asheville NC 28801; e-mail [email protected]; website www.bluespiral1.com; telephone (828) 251-0202; fax (828) 251-0884. Southeastern contemporary ceramics; 8-10 exhibitions per year. Dai Ichi Gallery, 24 W. 57th St., 6th FI., New York NY 10019; e-mail [email protected]; website www.daiichiarts.com; telephone (212) 262-0239; fax (212) 262-2330. Contemporary American and Japanese ceramics; 4 exhibitions per year. Odyssey Gallery, 242 Clingman Ave., Asheville NC 28801; e-mail [email protected]; website www.highwaterclays.com; telephone (828) 285-9700; fax (828) 253-3853. American contemporary ceramics; 5 exhibitions per year. Franklin Parrasch Gallery, Inc., 20 W. 57th St., New York NY 10019; e-mail [email protected]; website www.franklinparrasch.com; telephone (212) 246-5360; fax (212) 246-5391. Contemporary ceramics, including works by Stephen DeStaebler, Beverly Mayeri, Ken Price and Carlo Sammarco; 12 exhibitions per year. Garth Clark Gallery, 24 W. 57th St., New York NY 10019; e-mail [email protected]; website www.garthclark.com; telephone (212) 2462205; fax (212) 489-5168. Contemporary ceramics, including works by Ralph Bacerra, Wouter Dam, Ruth Duckworth, Leopold Foulem, David Packer, Gwyn Hanssen Pigott, Martin Smith and Kurt Weiser; 11 + exhibitions per year. Green Tara Gallery, 1800 E. Franklin St., #18b Eastgate, Chapel Hill NC 27514; e-mail [email protected]; website www.greentaragallery.com; telephone (919) 932-6400; fax (919) 918-7542. Contemporary ceramics, including works by over 20 artists, plus potters of Mata Ortiz; 10-12 exhibitions per year. Somerhill Gallery, 3 Eastgate, E. Franklin St., Chapel Hill NC 27514; e-mail [email protected]; website www.somerhill.com; telephone (919) 968-8868; (919) 967-1879. Contemporary ceramics; 2 exhibitions per year. Tyndall Galleries, University Mall, 201 S. Estes Dr., Chapel Hill NC 27514; e-mail [email protected]; website www.tyndallgalleries.com; telephone (919) 942-2290; fax (919) 942-2294. Contemporary ceramics, including works by Colleen Black-Semelka, Cathy Kiffney, Ellen Kong, Julie Olson, Sally Bowen Prange, Siglinda Scarpa and Conrad Weiser; 3 exhibitions per year. James Graham & Sons, 1014 Madison Ave., New York NY 10021; e-mail [email protected]; website www.jamesgrahamandsons.com; telephone (212) 535-5767; fax (212) 794-2454. Contemporary British ceramics, including works by Vivienne Foley, Peter Hayes, Jennifer Lee, Ursula Morley Price, Lucie Rie, Geoffrey Swindell, Angela Verdon, Tina Vlassopulos and John Ward. Jane Hartsook Gallery, Greenwich House Pottery, 16 Jones St., New York NY 10014; e-mail [email protected]; website www.greenwichhousepottery.org; telephone (212) 242-4106; fax (212) 645-5486. Contemporary and historical ceramics; 6-7 exhibitions per year. John Elder Gallery, 529 W. 20th St., 7W, New York NY 10011; e-mail [email protected]; website www.johnelder.com; telephone (212) 462-2600; fax (212) 462-2510. Contemporary ceramics, including sculpture by Robert Ceramics Monthly October 2003 75 gallery guide 2003 Brady, Lisa Clague, Cynthia Consentino, Andrea Gill, Arthur Gonzalez, Chris Gustin, Pamela Earnshaw Kelly, Justin Novak, Kukuli Velarde and Janis Mars Wunderlich; 10-12 exhibitions per year. National Ceramic Museum and Heritage Center, PO Box 200, Crooksville OH 43731; website www.geocities.com/ceramiccenter; telephone (740) 697-7021 or (800) 752-2604; fax (740) 697-0171. Art pottery, early stoneware, bricks and contemporary ceramics. gallery guide 2003 The East Liverpool Museum of Ceramics, 400 E. Fifth St., East Liverpool OH 43920; e-mail [email protected]; website www.themuseumofceramics.org; telephone (330) 386-6001 or (800) 600-7180; fax (330) 386-0488. Mint Museum of Art, 2730 Randolph Rd., Charlotte NC 28207; e-mail [email protected]; website www.mintmuseum.org; telephone (704) 337-2000; fax (704) 337-2101. Permanent collections, including English creamware, Chinese porcelain, American art pottery and North Carolina folkware. Gallery 138, 138 Main St., Kent OH 44240; e-mail [email protected]; website http://dept.kent.edu/art/gallery138; telephone (330) 672-9772; fax (330) 672-9773. Contemporary ceramics; 3-4 exhibitions per year, plus a national juried cup show. Mint Museum of Craft + Design, 220 N. Tryon St., Charlotte NC 28202; e-mail [email protected]; website www.mintmuseum.org; telephone (704) 337-2000; fax (704) 337-2101. Permanent collections, including contemporary teapots, vessels and ceramic sculpture. Rosewood Gallery, 2655 Olson Dr., Kettering OH 45420; e-mail [email protected]; wesbite www.ketteringoh.org/gallery; telephone (937) 296-0294; fax (937) 296-3289. Several multimedia exhi bitions including clay, plus 1 juried regional ceramics exhibition per year. W.D.O., 214 N. Tryon St., Hearst Plaza, Ste. 1, Charlotte NC 28202; e-mail [email protected]; website www.gallerywdo.com; telephone (704) 3339123; fax (704) 335-0310. Contemporary ceramics; 5-6 exhibitions per year. Cowan Pottery Museum at Rocky River Public Library, 1600 Hampton Rd., Rocky River OH 44116-2699; e-mail [email protected]; website www.rrpl.org/rrpl_cowan.stm; telephone (440) 333-7610; fax (440) 333-4184. Permanent collection of over 1100 pieces, including works by Russell Aitken, Elizabeth Anderson, Arthur Baggs, Paul Bogatay, R. Guy Cowan, Edris Eckhardt, Waylande Gregory, Margaret Postgate, Viktor Schreckengost and Elsa Shaw; 2 exhibitions per year. Pocosin Arts, 201 Main St., PO Box 690, Columbia NC 27925; e-mail [email protected]; website www.pocosinarts.org; telephone (252) 796- 2787; fax (525) 796-1685. Traditional and contemporary ceramics; 2 exhibitions per year. Cedar Creek Gallery, 1150 Fleming Rd., Creedmoor NC 27522; e-mail [email protected]; website www.cedarcreekgallery.com; telephone (919) 528-1041; fax (919) 528-1120. Collection of historical American pottery and representing over 200 contemporary ceramists; 5-6 exhibitions of contemporary work per year. Franklin Square Gallery, 130 E. West St., Southport NC 28461; e-mail [email protected]; website www.arts-capefear.com/fsgallery; telephone (910) 457-5450. Regional ceramics by over 20 artists; 7 exhibitions, including 1 juried national, per year. Twigs & Leaves, 98 N. Main St., Waynesville NC 28786; e-mail [email protected]; website www.twigsandleaves.com; telephone (828) 456-1940; fax (828) 452-7286. Contemporary ceramics, including works by Brandon Dodson, Jon Ellenbogen, Maggi Fuhriman, Sarah House, Leigh Houston, Rebecca Plummer, Alan and Nancy Stegall, and Kaaren Stoner; up to 5 exhibitions per year. Freed Gallery, 6119 S.W. Hwy. 101, Lincoln City OR 97367; e-mail [email protected]; website www.freedgallery.com; telephone (541) 994-5600; fax (541) 994-5606. Contemporary ceramics, including works by over 12 artists; 7 exhibitions per year. Fire’s Eye Gallery, 19915 S.W. Muddy Valley Rd., McMinnville OR 97128; e-mail [email protected]; website www.fireseyegallery.com; telephone/fax (503) 843-9797. Contemporary ceramics, including works by over 12 artists; 3-4 exhibitions per year. Contemporary Crafts Museum & Gallery, 3934 S.W. Corbett Ave., Portland OR 97239; e-mail [email protected]; website www.contemporarycrafts.org; telephone (503) 223-2654; fax (503) 223-0190. Permanent collection from the Oregon Potters Association; 3-4 exhibitions per year, plus multimedia shows including ceramics. New Elements Gallery, 216 N. Front St., Wilmington NC 28401; e-mail [email protected]; website www.newelementsgallery.com; telephone (910) 343-8997. Contemporary ceramics, including works by Jen Bireline, Sally Bowen Prange, Hiroshi Sueyoshi, Cindy Weaver and Dina Wilde-Ramsing; 2-3 exhibitions per year. Fifth Element Gallery, 404 N.W. Tenth Ave., Portland OR 97209; e-mail [email protected]; website www.fifthelement.org; telephone (503) 279-9042. Functional ware and sculpture; 12 exhibitions per year. Piedmont Craftsmen Gallery, 601 N. Trade St., Winston-Salem NC 27101; e-mail [email protected]; website www.piedmontcraftsmen.org; telephone (336) 725-1516; fax (336) 722-6038. Works by over 100 members of the Piedmont Craftsmen Guild. The Real Mother Goose, 901 S.W. Yamhill St., Portland OR 97205; e-mail [email protected]; website www.therealmothergoose.com; telephone (503) 223-9510. Contemporary ceramics by over 100 artists. Pennsylvania Ohio Chester Springs Studio, 1671 Art School Rd., Chester Springs PA 19425; e-mail [email protected]; website www.chesterspringsstudio.org; telephone (610) 827-7277; fax (610) 827-7157. Contemporary ceramics; 2-3 exhibitions per year. Throwing Clay Pottery, 4719 Vine St., Cincinnati OH 45217; e-mail [email protected]; telephone (513) 424-7687. Functional ceramics by regional artists; 4 exhibitions per year. American Crafts Gallery, 13010 Larchmere Blvd., Cleveland OH 44120; telephone (216) 231-2008; fax (216) 231-2009. Permanent display of Cleveland Museum of Art, 11150 East Blvd., Cleveland OH 44106-1797; e-mail [email protected]; website www.clevelandart.org; telephone (888) 262-0033. Permanent collection of ceramics, including works by Robert Arneson, Hector Guimard, Auguste Rodin and Viktor Schreckengost, plus19th-century European, precolumbian, Native American and Asian ceramics. Oregon Gallery at Salishan, 7755 N. Coast Hwy. Gleneden Beach OR 97388; e-mail [email protected]; telephone (800) 764-2318. Contemporary ceramics, including works by Daphne Gillen, Michael Gustavson, Kyle Knipe, Michele Rigert, Wally Schwab, Don Sprague and Lloyd Walker; 2-3 exhibitions per year. North Carolina Pottery Center, 250 East Ave., Seagrove NC 27341; e-mail [email protected]; website www.ncpotterycenter.com; telephone (336) 873-8430; fax (336) 873-8530. Permanent collection detailing the history of pottery in North Carolina, from Native American pots to utilitarian earthen wares and stonewares of the 18th and 19th centuries to contemporary; 3 exhibitions per year. ceramics; 1 exhibition per year. Toledo Museum of Art, 2445 Monroe St., Toledo OH 43620; e-mail [email protected]; website www.toledomuseum.org; telephone (419) 255-8000 or (800) 644-6862; fax (419) 255-5638. Erie Art Museum, 411 State St., Erie PA 16501; e-mail [email protected]; website www.erieartmuseum.org; telephone (814) 459-5477; fax (814) 452-1744. American ceramics and Chinese porcelains collections; 2-3 exhibitions per year. The Clay Studio, 139 N. Second St., Philadelphia PA 19106; e-mail [email protected]; website www.theclaystudio.org; telephone (215) 925-3453; fax (215) 925-7774. National and international ceramics; 20 exhibitions per year. Ohio Craft Museum, 1665 W. Fifth Ave., Columbus OH 43212; e-mail [email protected]; website www.ohiocraft.org; telephone (614) 486-4402; fax (614) 486-7119. Studio ceramics collection; several multimedia exhibitions including ceramics. Ceramics Monthly October 2003 76 Appalachian Center for Crafts Gallery, 1550 Craft Center Dr., Smithville TN 37166; e-mail [email protected]; website www.craftcenter.tntech.edu; telephone (615) 597-6801; fax (615) 597-6803. Contemporary ceramics; 2-5 exhibitions per year. Texas Art Corridor I, Tarrant County College Southeast Campus, 2100 Southeast Pkwy., Arlington TX 76018-3144; e-mail [email protected]; telephone (817) 515-3711; fax (817) 515-3189. Contemporary ceramics; 4-6 exhibitions per year. Craighead-Green Gallery, 2404 Cedar Springs, Ste. 700, Dallas TX 75201; e-mail [email protected]; website www.craigheadgreen.com; telephone (214) 855-0779; fax (214) 855-5966. Regional and international ceramics; 1 exhibition per year, plus multimedia shows including ceramics. Foelber Gallery, 706 Richmond Ave., Houston TX 77006; e-mail [email protected]; telephone (713) 524-7211. Contemporary ceramics, including works by Judy M. Adams, Andy Carroll, John Foelber, Dr. Henry F. Gamble III, Darryl McCracken and Bob Riddell; 5-6 exhibitions per year. Tray, 17 Inches (43 centimeters) in width, porcelain, by Connie Christensen; at Artists on Sante Fe, Denver, Colorado. Goldesberry Gallery, 2625 Colquitt St., Houston TX 77098-2117; e-mail [email protected]; website www.goldesberrygallery.com; telephone (713) 528-0405; fax (713) 528-0418. Contemporary ceramics by over 15 artists; 5-7 exhibitions per year. Houston Potters’ Guild Shop and Gallery, 2433 Rice Blvd., Houston TX 77005; e-mail [email protected]; website www.houstonpottersguild.com; telephone (713) 528-7687. Contemporary ceramics; 10 solo shows per year. San Angelo Museum of Fine Arts, 1 Love St., San Angelo TX 76903-3092; e-mail [email protected]; website www.samfa.org; telephone (325) 6533333; fax (325) 658-6800. Contemporary ceramics collection; 1-2 exhibitions per year. Works Gallery, 303 Cherry St., Philadelphia PA 19106-1803; e-mail [email protected]; website www.snyderman-works.com; telephone (215) 922-7775; fax (215) 238-9351. Contemporary ceramics, including works by over 12 artists; 10 exhibitions per year. Southwest School of Art and Craft, 300 Augusta, San Antonio TX 78505; e-mail [email protected]; website www.swschool.org; telephone (210) 2241848; fax (210) 224-9337. Contemporary ceramics; 2 exhibitions per year. The Clay Place, 5416 Walnut St., Pittsburgh PA 15232-2222; e-mail [email protected]; website www.clayplace.com; telephone (412) 6823737; fax (412) 682-3239. Contemporary ceramics; 8 exhibitions per year. Vermont Society for Contemporary Craft, 2100 Smallman St., Pittsburgh PA 15222; e-mail [email protected]; website www.contemporarycraft.org; telephone (412) 261-7003; fax (412) 261-1941. Contemporary ceramics collection, including works by Marek Cecula, Harris Deller, Martha Holt, Nancy Jurs, Gail Kendall, Howard Kottler and Michael Lamar. Bennington Museum Pottery Gallery, 75 Main St., Bennington VT 05201; e-mail [email protected]; website www.benningtonmuseum.com/potterygallery.html; telephone (802) 447-1571; fax (802) 442-8305. Permanent collection of pottery made in Bennington, including Norton Pottery and the United States Pottery Company. Ethel Sergeant Clark Smith Gallery, Wayne Art Center, 413 Maplewood Ave., Wayne PA 19087; e-mail [email protected]; website www.wayneart.org; telephone (610) 688-3553; fax (610) 995-0478. Contemporary ceramics; 3 exhibitions per year. Puerto Rico Galena Botello, 314 F. D. Roosevelt Ave., Hato Rey 00918 Puerto Rico; mailing address: P0 Box 360463, San Juan 00936-0463; e-mail [email protected]; website www.botello.com; telephone (787) 754-7430; fax (787) 250-8274. Contemporary ceramics, including works by Jorge Cancio, Aileen Castaneda, Susana Espinosa, Gretchen Haeussler, Toni Hambleton, Bernardo Hogan and Jaime Suarez; 3-4 exhibitions per year. South Carolina Charleston ClayWorks Studio & Gallery, 285 Meeting St., Charleston SC 29401; e-mail [email protected]; telephone (843) 853-3345; fax (843) 971-9105. Contemporary ceramics, including works by Tom Coleman, Jim Connell, Susan Filley, Matt Long and Lana Wilson; exhibitions concurrent with workshops. Tennessee Sandra J. Blain Gallery, Arrowmont School of Arts and Crafts, 556 Parkway, Gatlinburg TN 37738; e-mail [email protected]; website www.arrowmont.org; telephone (865) 436-5860; fax (865) 430-4101. Contemporary ceramics, including works by over 25 artists; 6-8 exhibitions per year. Frog Hollow Vermont State Craft Center, 85 Church St., Burlington VT 05401; e-mail [email protected]; website www.froghollow.org; telephone (802) 863-6458; fax (802) 863-6506. Contemporary ceramics by Vermont artists; multimedia shows including ceramics. Frog Hollow Vermont State Craft Center, Historic Rte. 7A, P0 Box 816, Manchester VT 05254; e-mail [email protected]; website www.froghollow.org; telephone (802) 362-3321; fax (802) 362-5295. Contemporary ceramics; several multimedia shows including ceramics. Frog Hollow Vermont State Craft Center, 1 Mill St., Middlebury VT 05753; e-mail [email protected]; website www.froghollow.org; telephone (802) 388-3177; fax (802) 388-5020. Contemporary and traditional ceramics by Vermont artists; multimedia shows including ceramics. Vermont Clay Studio, 2802 Waterbury-Stowe Rd., Waterbury Center VT 05677; e-mail [email protected]; website www.vermontclaystudio.org; telephone (802) 244-1126; fax (802) 244-8760. Works by 18 ceramists; 4-6 exhibitions per year. Virginia Scope Gallery at the Torpedo Factory, 105 N. Union St., Alexandria VA 22314; website www.torpedofactory.org/galleries/scope.htm; telephone (703) 548-6288. Works by members of the Ceramic Guild and the Kiln Club; 12 exhibitions per year. Ceramics Monthly October 2003 77 gallery guide 2003 Bennett Galleries, 5308 Kingston Pike, Knoxville TN 37919; e-mail [email protected]; website www.bennettgalleries.com; telephone (865) 584-6791; fax (865) 588-6130. Contemporary ceramics; 8-10 exhibitions per year. Racine Art Museum, 441 Main St., Racine Wl 53401-0187; e-mail [email protected]; website www.ramart.org; telephone (262) 638-8300; fax (262) 898-1045. Contemporary ceramics collection; 4-6 exhibitions per year. gallery guide 2003 Earth and Fire Pottery, 144 Church St., NW, Herndon VA 22180; e-mail [email protected]; website www.earthandfiregallery.com; telephone (703) 255-3107; fax (703) 255-3108. Contemporary functional ceramics, including works by over 15 artists; 6-8 exhibitions per year. Rendezvous Gallery, 5 Loudoun St., SE, Leesburg VA 20175; e-mail [email protected]; website www.rendezvousstyle.com; telephone (703) 669-9620; fax (703) 669-9621. Contemporary ceramics, including works by over 15 artists; 2 exhibitions per year. John Michael Kohler Arts Center, 608 New York Ave., Sheboygan Wl 530820489; e-mail [email protected]; website www.jmkac.org; telephone (920) 4586144; fax (920) 458-4473. Contemporary ceramics, including works by Ann Agee, Jill Bonovitz, Judy Fox, Sarah Lindley, Alex Schweder and Kukuli Velarde; 3 exhibitions per year. Wyoming Margo’s Pottery & Fine Crafts, 1 N. Main, Buffalo WY 82834; e-mail [email protected]; website www.margospottery.com; telephone (307) 684-9406; fax (307) 684-7715. Functional ware; 1-3 exhibitions per year. INTERNATIONAL Artisans Center of Virginia, 601 Shenandoah Village Dr., Waynesboro VA 22980; e-mail [email protected]; website www.artisanscenterofvirginia.org; telephone (540) 946-3294; fax (540) 946-3296. Contemporary ceramics by Virginia artists; 3 exhibitions per year, plus multimedia shows including ceramics. Australia Washington JamFactory Contemporary Craft and Design, 19 Morphett St., Adelaide, South Australia 5000 Australia; e-mail [email protected]; website www.jamfactory.com.au; telephone 61 8 8410 0727; fax 61 8 8231 0434. Contemporary ceramics by over 12 artists; 4 exhibitions per year. Penn Cove Pottery, 26184 State Rte. 20, Coupeville WA 98239; e-mail [email protected]; telephone/fax (360) 678-6464. Contemporary ceramics with emphasis on functional, including works by Kathryn Berd, James Brooke Ginny Conrow, Loren Lukens, Matthew Patton and Rick Stafford; 3-4 exhibitions per year. Beaver Galleries, 81 Denison St., Deakin, Canberra, Australian Capital Territory 2600 Australia; e-mail [email protected]; telephone 61 2 6282 5294; fax 61 2 6281 1315. Contemporary ceramics, including works by Sandra Black, Les Blakebrough, Pippin Drysdale, Jeff Mincham, Peter Rushforth and Kevin White; 3-4 exhibitions per year. Foster/White Gallery-Kirkland, 126 Central Way, Kirkland WA 98033; e-mail [email protected]; website www.fosterwhite.com; telephone (425) 822-2305; fax (425) 828-2270. Regional contemporary ceramics by established and emerging artists; 4-6 exhibitions per year. Foster/White Gallery-Pioneer Square, 123 S. Jackson St., Seattle WA 98104; e-mail [email protected]; website www.fosterwhite.com; telephone (206) 622-2833; fax (206) 622-7606. Contemporary ceramics, including works by Margaret Ford, Carol Gouthro, Jim Kraft and Jeanne Quinn; 4 exhibitions per year. Foster/White Gallery-Rainier Square, 1331 Fifth Ave.. Seattle WA 98101; e-mail [email protected]; website www.fosterwhite.com; telephone (206) 583-0100; fax (206) 583-7188. Regional contemporary ceramics by established and emerging artists; 4-6 exhibitions per year. KOBO Gallery, 814 E. Roy St., Seattle WA 98102; e-mail [email protected]; website www.koboseattle.com; telephone (206) 726-0704; fax (206) 860-0213. Contemporary ceramics, including works by over 15 artists; 6 exhibitions per year. Phoenix Rising Gallery, 2030 Western Ave., Seattle WA 98121; e-mail [email protected]; website www.prgallery.com; telephone (206) 728-2332; fax (206) 365-0162. Contemporary ceramics by over 10 artists; 2 exhibitions per year. The Creighton Gallery, 714 E. Sprague Ave., Spokane WA 99202; e-mail [email protected]; telephone (509) 747-6174; fax (509) 747-6177. Contemporary ceramics, including works by Daryl Baird, Christopher Kelsey and Mark Moore; 8 exhibitions per year. Wisconsin Higher Fire Clay Studio, 2132 Regent St., Madison Wl 53726; e-mail [email protected]; telephone (608) 233-3050; fax (608) 255-6549. Contemporary ceramics, including works by over 15 artists; 10 exhibitions per year. Lincoln Art Pottery, 636 N. Lincoln Ave., Milwaukee Wl 53215; e-mail [email protected]; telephone (414) 643-9398; fax (414) 643-1158. Works by 25 ceramists. Vase, 7½ inches (19 centimeters) in height, wood-fired stoneware, by Hiroyuki Wakimoto; at Touching Stone Gallery, Santa Fe, New Mexico. Murray Hill Pottery Works, 2458 N. Murray Ave., Milwaukee Wl 53211; website www.murrayhillpottery.com; telephone (414) 332-8828. Contemporary ceramics; 6 exhibitions per year. Charles A. Wustum Museum of Fine Art, 2519 Northwestern Ave., Racine Wl 53404-2299; e-mail [email protected]; website www.ramart.org; telephone (262) 636-9177; fax (262) 636-9231. Contemporary ceramics collection; 3 exhibitions per year. Ceramics Monthly October 2003 78 Skepsi on Swanston, 670 Swanston St., Carlton, Victoria 3053 Australia; e-mail [email protected]; website www.skepsionswanston.com.au; telephone 61 3 9348 2002; fax 61 3 9348 1877. Contemporary Australian ceramics by up to 80 artists; 11 exhibitions per year. Gallery of BC Ceramics, 1359 Cartwright St., Vancouver, Granville Island, British Columbia V6H 3R7 Canada; e-mail [email protected]; website www.bcpotters.com; telephone (604) 669-5645; fax (604) 669-5627. Works by over 100 ceramists on permanent display; 10 exhibitions per year. The Museum of Anthropology, the University of British Columbia, 6393 N.W. Marine Dr., Vancouver, British Columbia V6T 1Z2 Canada; e-mail [email protected]; website www.moa.ubc.ca; telephone (604) 822-5087; fax (604) 822-2974. Permanent worldwide collection of over 2000 pieces, including European ceramics from the 15th to the 19th centuries; 1-2 exhibitions per year. Fusions: Australian Network of Clay and Glass Artists, corner of Malt and Brunswick sts.. Fortitude Valley, Queensland 4006 Australia; e-mail [email protected]; telephone 61 7 3358 5122; fax 61 7 3358 4540. National and international ceramics; 12 exhibitions per year. Guildford Village Potters, 22 Meadow St., Guildford, Western Australia 6055 Australia; telephone 61 8 9279 9859; fax 61 8 9279 2931. Contemporary ceramics by over 24 artists; 6 exhibitions per year. Portfolio Gallery, 863 W. Hastings St., Vancouver, British Columbia V6C 3N9 Canada; e-mail [email protected]; website www.portfoliogallery.ca; telephone (604) 801-6928; fax (604) 801-6860. Contemporary Canadian ceramics, including works by Rachelle Chinnery, Walter Dexter, Mary Fox, Simon Ho, Denys James, Laura Wee Lay Laq, Jeannie Mah, Sally Michener, Laurie Rolland and Kathryn Youngs; 6 exhibitions per year. Gallows Gallery, 53 Glyde St., Mosman Park, Perth, Western Australia 6012 Australia; e-mail [email protected]; website www.gallowsgallery.com; telephone/fax 61 8 9286 4730. Permanent collection of Australian ceramics by over 20 artists; 2-3 exhibitions per year. Canadian Clay and Glass Gallery, 25 N. Caroline St., Waterloo, Ontario N2L 2Y5 Canada; e-mail [email protected]; website www.canadianclayandglass.ca; telephone (519) 746-1882; fax (519) 746-6396. Contemporary ceramics; 6-8 exhibitions per year. Shepparton Art Gallery, Eastbank Centre, 70 Welsford St., Shepparton, Victoria 3632 Australia; e-mail [email protected]; website www.shepparton.vic.gov.au/gallery; telephone 61 3 5832 9861; fax 61 3 5831 8480. Historical and contemporary Australian ceramics, and home of the “Sidney Myer Fund International Ceramics Award”; 2-3 exhibitions per year. Czech Republic Ceramic Art Gallery, 120 Glenmore Rd., Paddington, Sydney, New South Wales 2021 Australia; e-mail [email protected]; website www.ceramicart.com.au/gallery.htm; telephone 61 2 9361 5286; fax 61 2 9361 5402. International contemporary ceramics; 8 exhibitions per year. Inner City Clayworkers Gallery, corner St. Johns Rd. and Darghan St., Glebe, International Gallery of Ceramic Art and Gallery of Czech Culture, the Agency of Czech Ceramic Design, Prikra 246, Cesky' Krumlov 381 01 Czech Republic; e-mail [email protected]; website www.virtual-gallery.cz; telephone/fax 42 380 715 753. Contemporary ceramics; 5-10 exhibitions per year. Sydney, New South Wales 2037 Australia; e-mail [email protected]; website www.clayworkers.com.au; ceramics; 12 exhibitions per year. telephone/fax 61 2 9692 9717. Australian Quadrivium Gallery, 2-50 Gallery Level 2, South Queen Victoria Bldg., George St., Sydney, New South Wales 2000 Australia; e-mail [email protected]; website www.quadrivium.com.au; telephone 61 2 9264 8222; fax 61 2 9264 8700. Contemporary ceramics, including works by Sandra Black, Greg Daly, Pippin Drysdale, Neville French, Sony Manning, Ruth McMillan and Jeff Mincham; 1-2 exhibitions per year. Denmark Galleri Norby, Vestergade 8, Copenhagen DK-1456 Denmark; e-mail [email protected]; website www.galleri-noerby.dk; telephone 45 3315 1920; fax 45 3315 1963. Contemporary Danish ceramics, including works by Karen Bennicke, Gutte Eriksen, Michael Geertsen, Bente Hansen, Nina Hole, Steen Ipsen, Martin Bodilsen Kaldahl, Bodil Manz and Malene Mullertz; 8-9 exhibitions per year. Kunstindustimusset, the Danish Museum of Decorative Art, Bredgade 68, Copenhagen DK-1260 Denmark; e-mail [email protected]; Belgium Goed Werk, Moerbeekstraat 86, Zulte B-9870 Belgium; e-mail [email protected]; website www.centrumgoedwerk.be; telephone 32 56 60 98 05. Permanent collection, including works by over 15 ceramists. Canada Burlington Art Centre, 1333 Lakeshore Rd., Burlington, Ontario L7S 1A9 Canada; e-mail [email protected]; website www.burlingtonartcentre.on.ca; telephone (905) 632-7796; fax (905) 6320278. Contemporary Canadian ceramics; 7 exhibitions per year. website www.kunstindustrimuseet.dk; telephone 45 3318 5660; fax 45 3318 5666. Permanent collections of Chinese, Danish, Italian, Japanese and Scandinavian ceramics; 3-4 exhibitions per year. Keramikmuseet Grimmerhus, Kongebrovej 42, Middlefart DK-5500 Denmark; e-mail [email protected]; website www.grimmerhus.dk; telephone 45 6441 4798; fax 45 6441 4796. Scandinavian and international ceramics; 4-8 exhibitions per year. England Shire Pottery Gallery and Studios, Millers’ Yard, Prudhoe St., Alnwick, Northumberland NE66 1UW England; e-mail [email protected]; website www.porcelain-shirepottery.co.uk; telephone/fax 44 16 6560 2277. Contemporary ceramics, including studio porcelain by Ivar Mackay; 5 exhibitions per year. Gardiner Museum of Ceramic Art, 111 Queen’s Park, Toronto, Ontario M5S 2C7 Canada; e-mail [email protected]; website www.gardinermuseum.on.ca; telephone (416) 586-8080; fax (416) 586-8085. Permanent collections, including ceramics from Europe and the Americas, 15th- and 16th-century Italian maiolica, 17th-century delftware, 18th-century Meissen, blue-and-white Chinese porcelain, and English, French, German and Viennese porcelain, plus contemporary work; 2-3 exhibitions per year. The Candover Gallery, 22 West St., Alresford, Hampshire S024 9AE England; e-mail [email protected]; telephone 44 19 6273 3200. Contemporary ceramics, including works by Michael Casson, Gordon Cooke, Paul Jackson, Walter Keeler, Peter Lane, David Leach, John Maltby, Duncan Ross and Antonia Salmon; 3 exhibitions per year. The Guild Shop, 118 Cumberland St., Toronto, Ontario M5R 1A6 Canada; e-mail [email protected]; website www.craft.com.ca; telephone (416) 921-1721; fax (416) 921-3688. Works by over 40 ceramists on permanent display, plus an annual invitational. Prime Gallery, 52 McCaul St., Toronto, Ontario M5T 1V9 Canada; e-mail [email protected]; website www.primegallery.ca; telephone (416) 5935750; fax (416) 593-0942. Contemporary Canadian ceramics; 4-6 exhibitions per year. Ceramics Monthly October 2003 79 gallery guide 2003 Royal Ontario Museum, 100 Queen’s Park, Toronto, Ontario M5S 2C6 Canada; e-mail [email protected]; website www.rom.on.ca; telephone (416) 586-8000; fax (416) 586-5863. Permanent collections of German stoneware, English, Dutch and French tin-glazed ware, slipware, Chinese export porcelain and Yixing ware, early European and English porcelain, and 20th-century studio pottery, including work by Hans Coper, W. Staite Murray and Lucie Rie. Bluestone Gallery, 8 Old Swan Yard, Devizes, Wiltshire SN10 1 AT England; e-mail [email protected]; website www.bluestonegallery.com; tele phone 44 13 8072 9589; fax 44 13 8072 8568. Contemporary British ceramics. gallery guide 2003 Stokoe House Ceramics Gallery, Market PI., Alston, Cumbria CA9 3HS England; e-mail [email protected]; telephone 44 14 3438 2137. Contemporary ceramics, including works by Syl and Ray Macro; 5 exhibitions per year. The Allen Gallery, 10-12 Church St., Alton, Hampshire GU34 2BW England; e-mail [email protected]; website www.hants.gov.uk/museum/allen; telephone 44 14 2082 802; fax 44 14 2082 227. National and international ceramics; 8 exhibitions per year. Beatrice Royal Gallery, Nightingale Ave., Eastleigh, Hampshire S050 9JJ England; e-mail [email protected]; website www.beatriceroyal.com; telephone 44 23 8061 0592; fax 44 23 8065 0566. Contemporary ceramics, including works by Lorraine Ditchburn, Jo-Anna Duncalf, Penny Fowler, Sally Hodkinson, Taves Jorgenson, Laurel Keeley and Rosalind Rosenblatt; 4-5 exhibitions per year. Oakwood Gallery, 4 Church St., Edwinstowe, Nottinghamshire NG21 9QA England; e-mail [email protected]; website www.oakwoodceramics.co.uk; telephone 44 16 2382 3665. Contemporary ceramics, including works by Richard Batterham, Chris Carter, Joanna Howells, Edward Hughes, Chris Keenan, Bruce Martin, Tony Moore, Nic Rees and Phil Rogers; 4 exhibitions per year. Woodbury Studio/Gallery, Greenway, Woodbury, Exeter, Devon EX5 1LW England; e-mail [email protected]; telephone/fax 44 13 9523 3475. Contemporary ceramics, including works by Tim Andrews, Svend Bayer, Ian Gregory, Peter Hayes, Roger Lewis, Will Levi Marshall, David Miller, Jeremy Steward and Sasha Wardell; 2 exhibitions per year. Beaux Arts Bath, 12/13 York St., Bath BA1 1NG England; e-mail [email protected]; website www.beauxartsbath.co.uk; telephone 44 12 2546 4850; fax 44 12 2542 2256. Contemporary ceramics; 8 exhibitions per year. St. James’s Gallery, 9B Margarets Buildings, Bath BA1 2LP England; website www.bathshopping.co.uk/stjamessgallery.htm; telephone 44 12 2531 9197. Contemporary British ceramics, including works by Richard Batterham, John Dunn, David Frith, Tobias Harrison, Walter Keeler, Nigel Lambert, John Leach, Elspeth Owen, John Pollex and David White; 2-3 exhibitions per year. Devon Guild of Craftsmen, Riverside Mill, Bovey Tracey, Devon TQ13 9AF England; e-mail [email protected]; website www.crafts.org.uk; telephone 44 16 2683 2223; fax 44 16 2683 4220. Permanent collection representing nearly 70 ceramics artists; 6 exhibitions per year. The Old Bakehouse Contemporary Ceramics & Craft Gallery, Main Rd. (A259), Fishbourne, nr. Chichester, West Sussex P018 8BD England; e-mail [email protected]; website www.oldbakehouse.co.uk; telephone/fax 44 12 4357 3263. Contemporary British ceramics, including Blandine Anderson, Peter Beard, David Frith, Carolyn Genders, Peter Hayes, Jane Hollidge, Peter Lane, Nick Mackman, Elaine Peto and Alan Wallwork; 5 exhibitions per year. The Potteries Museum & Art Gallery, Bethesda St., Hanley, Stoke-on-Trent ST1 3DW England; e-mail [email protected]; website www.stoke.gov.uk/museums; telephone 44 17 8223 2323; fax 44 17 8223 2500. Historical and contemporary ceramics, including permanent collection of over 5000 pieces. Blaze, 84 Colston St., Bristol, Avon BS1 5AZ England; website www.blazestudio.co.uk; telephone 44 11 7904 7067. Contemporary British ceramics, including works by Emily Burton, Mo Jupp, Walter Keeler, Belinda Lawson, Carol Reynolds, Hanne Rysgaard, Paul Sandammeer, Asne Solheim and Ros Wilton; 4 exhibitions per year. Made, Contemporary Crafts & Interiors, Clifton Arcade, 1A Boyces Ave., Clifton, Bristol, Avon BS8 4AA England; telephone 44 11 7973 9448. Contemporary British ceramics, including works by Duncan Ayscough, Sue Binns, Victoria and Michael Eden, Virginia Graham, Catrin Howell and Daniel Smith; 3-4 exhibitions per year. Derby Museum & Art Gallery, The Strand, Derby, Derbyshire DE1 1BS England; e-mail [email protected]; website www.derby.gov.uk/museums; telephone 44 13 3271 6659; fax 44 13 3271 6670. Collections of Derby porcelain from 1750 to present, plus Derbyshire pottery from Langley Mill, Woodville, Denby and the Chesterfield area, including 20th-century studio pottery. Bowie & Hulbert, 5 Market St., Hay-on-Wye, Hereford HR3 5BQ England; e-mail [email protected]; website www.hayclay.co.uk; telephone 44 14 9782 1026; fax 44 14 9782 1801. Contemporary British ceramics, including works by Jane Hamlyn, Kerry Jameson, Walter Keeler and David Miller; 2-3 exhibitions per year. Brook Street Pottery, Brook St., Hay-on-Wye, Hereford HR3 5BQ England; e-mail [email protected]; website www.hayclay.co.uk; telephone 44 14 9782 1070; fax 44 14 9782 1801. Contemporary British terra cotta for home and garden, including works by Clive Bowen, Simon Hulbert and Phil Rogers; 2 exhibitions per year. Castle Barn Gallery, Paradise Ln., Hazlewood nr. Tadcaster, North Yorkshire LS24 9NJ England; e-mail [email protected]; website www.castlebarn.com; telephone 44 79 6808 9122; fax 44 19 3753 0421. Contemporary ceramics by over 20 artists. Peter Scott Gallery, Lancaster University, Lancaster, Lancashire LA1 4YW England; e-mail [email protected]; website www.peterscottgallery.com; telephone 44 15 2459 3057; fax 44 15 2459 2603. Collection of over 160 pieces of Royal Lancastrian Pottery, including lusterware, produced by Pilkingtons Tile and Pottery Company 1891-1938. The Craft Centre & Design Gallery, City Art Gallery, The Headrow, Leeds, West Yorkshire LS1 3AB England; e-mail [email protected]; website www.craftcentreleeds.co.uk; telephone 44 11 3247 8241; fax 44 11 3244 9689. Contemporary ceramics, including works by Sheila Boyce, Bryony Burn, Jessie Higginson, John Maltby, Elisabeth Ryan, Joanna Sancha, Hortense Suleyman and David White; 4 exhibitions per year. The City Gallery, 90 Granby St., Leicester LE1 1DJ England; e-mail [email protected]; website www.leicester.gov.uk/citygallery; telephone 44 11 6254 0595; fax 44 11 6254 0593. Contemporary British ceramics, representing works by Nicholas Arroyave-Portela, Claire Curneen, Walter Keeler and Carol McNicholl; 3-4 exhibitions per year. Vessel, 17 centimeters (7 inches) in height, earthenware, with burnished terra sigillata, by Duncan Ross; at Bluecoat Display Centre, Liverpool, England. Ceramics Monthly October 2003 80 Vessel, 114 Kensington Park Rd., London W11 2PW England; e-mail [email protected]; website www.vesselgallery.com; telephone 44 20 7727 8001; fax 44 20 7727 8661. Contemporary tableware, including works by Jonathan Adler, Manfred Braun, Isabel Hamm and Rina Menardi; 2 exhibitions per year. Bluecoat Display Centre, Bluecoat Chambers, School Ln., Liverpool, Merseyside L1 3BX England; e-mail [email protected]; website www.bluecoatdisplaycentre.com; telephone 44 15 1709 4014; fax 44 15 1707 8106. Contemporary ceramics by over 90 artists; 6-8 exhibitions per year. Barrett Marsden Gallery, 17-18 Great Sutton St., London EC1V ODN England; e-mail [email protected]; telephone 44 20 7336 6396; fax 44 20 7336 6391. Contemporary ceramics, including works by Gordon Baldwin, Alison Britton, Ken Eastman, Philip Eglin, Chun Liao, Sara Radstone, Nicholas Rena, Richard Slee and Martin Smith; 5 exhibitions per year. British Museum, Great Russell St., London WC1B 3DG England; e-mail [email protected]; website www.thebritishmuseum.ac.uk; telephone 44 20 7323 8000; fax 44 20 7323 8616. Ceramics collection spanning world cultures; 1-2 exhibitions per year. Peter’s Barn Gallery (open April through October), South Ambersham, Midhurst, West Sussex GU29 OBX England; e-mail [email protected]; website www.petersbarngallery.co.uk; telephone 44 17 9886 1388; fax 44 17 9886 1581. Contemporary ceramics by established and emerging artists; 3-4 exhibitions per year. Fenny Lodge Gallery, 76 Simpson Rd., Bletchley, Milton Keynes, Buckinghamshire MK1 1BA England; e-mail [email protected]; website www.fennylodge.co.uk; telephone 44 19 0863 9494; fax 44 19 0864 8431. Contemporary ceramics by over 50 artists; 2 exhibitions per year. Cecilia Colman Gallery, 67 St. Johns Wood High St., London NW8 7NL England; e-mail [email protected]; website www.ceciliacolmangallery.com; telephone/fax 44 20 7722 0686. Contemporary ceramics, including works by over 12 artists; 5-6 exhibitions per year. Contemporary Applied Arts, 2 Percy St., London W1T 1DD England; e-mail [email protected]; website www.caa.org.uk; telephone 44 20 7436 2344; fax 44 20 7436 2446. Contemporary ceramics with artists featured monthly in downstairs gallery; 2-4 exhibitions upstairs per year. Contemporary Ceramics, The Craft Potters Shop and Gallery, 7 Marshall St., London W1V 1LP England; e-mail [email protected]; website www.cpaceramics.com; telephone/fax 44 20 7437 7605. Contemporary British ceramics, including works by Clive Bowen, Sandy Brown, Mike Dodd, Jane Hamlyn, Walter Keeler, Aki Moriuchi, Jane Perryman, Phil Rogers, Duncan Ross and Antonia Salmon; 6-8 exhibitions per year. Crafts Council Gallery, 44A Pentonville Rd., Islington, London N1 9BY England; website www.craftscouncil.org.uk/exhib.htm; telephone 44 20 7278 7700; fax 44 20 7837 6891. Rufford Gallery & Ceramic Centre, Rufford Country Park nr. Ollerton. Newark, Nottinghamshire NG22 9DF England; e-mail [email protected]; websitewww.ruffordceramiccentre.org.uk; telephone 44 16 2382 2944; fax 44 16 2382 4702. Collection including 20th-century British studio pottery; 3-5 exhibitions per year. The Ashmolean, Beaumont St., Oxford OX1 2PH England; e-mail [email protected]; website www.ashmol.ox.ac.uk; telephone 44 18 6527 8000; fax 44 18 6527 8018. Permanent collection of ceramics from China, Europe and Japan. Mid-Cornwall Galleries, St. Blazey Gate, Par, Cornwall PL24 2EG England; e-mail [email protected]; website www.mid-cornwall-galleries.co.uk; telephone 44 17 2681 2131; fax 44 17 2681 4943. Contemporary British ceramicse by over 40 artists; 1 exhibition per year, plus 6 multimedia shows including ceramics. Yew Tree Gallery, Keigwin, Morvah, Penzance, Cornwall TR19 7TS England; e-mail [email protected]; website www.yewtreegallery.com; telephone 44 17 3678 6425. Contemporary ceramics, including works by Lorna Graves, Nigel Lambert, John Maltby, Bob Rogers and Judith Rowe; 3-4 exhibitions per year. Crafts Council Shop at the V&A, Victoria & Albert Museum, S. Kensington, London SW7 2RL England; e-mail [email protected]; website www.craftscouncil.org.uk; telephone 44 20 7589 5070; fax 44 20 7581 2128. Contemporary ceramics by over 10 artists; 2-3 exhibitions per year. Galerie Besson, 15 Royal Arcade, 28 Old Bond St., London W1S 4SP England; e-mail [email protected]; website www.galeriebesson.co.uk; telephone 44 20 7491 1706; fax 44 20 7495 3203. Contemporary ceramics, including works by Claudi Casanovas, Hans Coper, Ryojie Koie, Jennifer Lee, Lucie Rie and Vladimir Tsivin; 10 exhibitions per year. Harlequin Gallery, 68 Greenwich High Rd., London SE10 8LF England; e-mail [email protected]; website www.studio-pots.com; telephone 44 20 8692 7170. Contemporary ceramics with an emphasis on wood fire, including works by Richard Batterham, Nic Collins, Mike Dodd, Chris Lewis, Ursula Mommens, Phil Rogers and Alan Wallwork; 8 exhibitions per year. Wellbeloved Gallery, 28 Easton St., Portland, Dorset DT5 1BT England, e-mail [email protected]; website www.wellbelovedgallery.co.uk; telephone/fax 44 13 0582 4302. Contemporary ceramics, including works by Michael Casson, Peter Hayes, Carenza Hayhoe, Tim Hum, Paul Jackson, John Leach, Christine McCrary, Elaine Peto and Nick Rees; 8 exhibitions per year. Artizana, The Village, Prestbury, Cheshire SK10 4DG England; e-mail [email protected]; website www.artizana.co.uk; telephone/fax 44 16 2582 7582. Contemporary British ceramics; 2 exhibitions per year. Hart Gallery, 113 Upper St., Islington, London N1 1QN England; e-mail [email protected]; website www.hartgallery.co.uk; telephone 44 20 7704 1131; fax 44 20 7288 2922. Contemporary ceramics, including works by Charles Bound, Gisele Buthod-Gargon, Chris Carter, Elspeth Owen, Colin Pearson, David Roberts, Antonia Salmon, Sutton Taylor and Tina Vlassopulos; 6 exhibitions per year. Joanna Bird Pottery, 19 Grove Terrace, Chiswick, London W4 3QE England; e-mail [email protected]; website www.joannabirdpottery.com; telephone 44 20 8995 9960; fax 44 20 8742 7752. Contemporary ceramics with emphasis on function and form, including works by Hans Coper, Shoji Hamada, Bernard Leach and Lucie Rie; 4 exhibitions per year. Paul Rice Gallery, 3 Tring Ave., London W5 3QA England; e-mail [email protected]; telephone 44 20 8992 4186. Twentieth-century British studio ceramics, including works by Michael Cardew, Hans Coper and Lucie Rie; 4 exhibitions per year. Derek Topp Gallery, Chatsworth Rd., Rowsley, Matlock, Derbyshire DE4 2EH England; e-mail [email protected]; website www.derektoppgallery.com; telephone 44 16 2973 5580. Contemporary British ceramics, including works by Joanna Howells, Jeremy James, Walter Keeler, Nick Mackman, John Maltby, Elspeth Owen, Antonia Salmon and Takeshi Yasuda; 2-4 exhibitions per year. Betties Gallery, 80 Christchurch Rd., Ringwood, Hampshire BH24 1DR England; telephone 44 14 2547 0410. Contemporary British studio ceramics; 8 exhibitions per year. St. Ives Ceramics, 1 Lower Fish St., St. Ives, Cornwall TR26 1LT England; e-mail [email protected]; website www.st-ives-ceramic.co.uk; telephone 44 17 3679 4930; fax 44 17 3679 6324. Permanent collection, including works by Hans Coper, Shoji Hamada, Bernard Leach, David Leach, John Leach, Warren MacKenzie and Lucie Rie; 2 exhibitions per year. Alpha House Gallery, South St., Sherborne, Dorset DT9 3LU England; e-mail [email protected]; website www.dorsetartweek.com/alphahouse; telephone 44 19 3581 4944; fax 44 19 3586 3932. National and international ceramics; 8 exhibitions per year. Ceramics Monthly October 2003 81 gallery guide 2003 Percival David Foundation of Chinese Art, 53 Gordon Sq., London WC1H OPD England; e-mail [email protected]; website www.pdfmuseum.org.uk; telephone 44 20 7387 3909; fax 44 20 7383 5163. Permanent collection of over 1700 items of Chinese ceramics, mainly from the 10th—18th centuries; 2 exhibitions per year. Musee Magnelli, Musee de la Ceramique, Place de Liberation, Vallauris 06220 France; e-mail [email protected]; telephone 33 4 93 64 16 05; fax 33 4 93 64 50 32. Permanent collection; 2-3 exhibitions per year. gallery guide 2003 Germany Keramikum, Untere Muhlstrasse 26, Darmstadt 64291 Germany; e-mail [email protected]; website www.keramikum.de; telephone/fax 49 61 513 7886. Contemporary ceramics, including works by Eric Astoul, Nani Champy, Maria Geszler, Martin Mohwald, John Mullin, Renee Reichenbach and Antje Scharfe; 4-5 exhibitions per year. Hetjens-Museum Deutsches Keramikmuseum, Schulstrasse 4, Dusseldorf D-40213 Germany; e-mail [email protected]; website www.duesseldorf.de/hetjens; telephone 49 21 189 94210; fax 49 21 189 29166. Permanent display of over 8000 years of ceramics throughout the world; 4-6 exhibitions per year. Museum fur Kunst und Gewerbe Hamburg, Steintorplatz, Hamburg D-20099 Germany; e-mail [email protected]; website www.mkg-hamburg.de; telephone 49 40 428 542732; fax 49 40 428 542734. Permanent collection of ceramics from the 17th—19th centuries, Middle East and East Asia. Galerie Marianne Heller, Friedrich-Ebert-Anlage 2, Heidelberg D-69117 Germany; e-mail [email protected]; website www.galerie-heller.de; telephone 49 62 216 19090. Contemporary international ceramics; 6 exhibitions per year. Deutsches Porzellanmuseum, Freundschaft 3, Hohenberg 95100 Germany; e-mail [email protected]; telephone 49 92 337 7220; fax 49 92 337 72230. German porcelain from the 18th century to present; 2 exhibitions per year. Keramikmuseum Westerwald, LindenstraBe, Hohr-Grenzhausen 56203 Germany; e-mail [email protected]; website www.keramikmuseum.de; telephone 49 26 249 46010; fax 49 26 249 460120. Permanent display of historical and contemporary international ceramics; 10 exhibitions per year. Untitled, 17 inches (43 centimeters) in height, by Glenn Puckett; at Goldesberry Gallery, Houston, Texas. Hub Centre for Craft Design and Making, Navigation Wharf, Carre St., Sleaford, Lincolnshire NG34 7TW England; e-mail [email protected]; website www.thehubcentre.co.uk; telephone 44 15 2930 8710; fax 44 15 2930 8711. Contemporary ceramics, including works by Jane Hamlyn and Jonathan Keep; 6 exhibitions per year. Wessex Fine Art and Ceramics, 14B North St., Wareham, Dorset BH20 4AG England; e-mail [email protected]; website www.thedorsetgallery.co.uk; telephone 44 19 2955 5331. Contemporary British studio ceramics; 6-8 exhibitions per year. Eton Applied Arts, 81 High St., Eton, Windsor, Berkshire SL4 6AF England; e-mail [email protected]; website www.etonappliedarts.co.uk; telephone 44 17 5362 2333; fax 44 17 5362 2292. Contemporary British ceramics, including works by James Campbell, Clare Conrad, Richard Dewar, Jane Hamlyn, Kerry Jameson, Emily Myers, Laurance Simone, Zoe Whitehead and Peter Wills; 5 exhibitions per year. Laburnum Ceramics Gallery, Yanwath nr. Penrith, Cumbria CA10 2LF England; e-mail [email protected]; website www.laburnumceramics.co.uk; telephone/fax 44 17 6886 4842. Contemporary ceramics from Cumbria, Britain and Europe; 6+ exhibitions per year. France Maison de la Terre, Parc de la Baume, Dieulefit 26220 France; e-mail [email protected]; telephone 33 4 75 90 61 80; fax 33 4 75 90 63 04. Contemporary ceramics; 3 exhibitions per year. Galerie Capazza, Grenier de Villatre, Nangay 18330 France; e-mail [email protected]; website www.capazza-galerie.com; telephone 33 2 48 51 80 22; fax 33 2 48 51 83 27. Contemporary European ceramics by over 25 artists; 3 exhibitions per year. Terra Viva Galerie, rue de la Fontaine, Saint Quentin la Poterie F-30700 France; e-mail [email protected]; website www.galerie-terraviva.com; telephone/fax 33 4 66 22 48 78. Contemporary ceramics, including works by Claude Champy, Christine Fabre, JeanFrangois Fouilhoux and Dany Jung; 7-8 exhibitions per year. Galerie Handwerk Koblenz, RizzastraBe 24-26, Koblenz 56068 Germany; e-mail [email protected]; website www.galerie-handwerk-koblenz.de; telephone 49 26 139 8277; fax 49 26 139 8993. Galerie B15 Neue Keramik, Baaderstrasse 15, Munich D-80469 Germany; e-mail [email protected]; website www.b15-wunderle.com; telephone 49 89 202 1010; fax 49 89 642 1445. International contemporary ceramics; 8 exhibitions per year. Europaisches Industriemuseum fiir Porzellan, Banhofstr. 3, Selb-PloBberg 95100 Germany; e-mail [email protected]; website www.eimpk.de; telephone 49 92 879 18000; fax 49 92 879 180030. German porcelain from the 18th century to present; 6 exhibitions per year. Hungary Herend Porcelain Museum, Kossuth ut. 140, Herend 8440 Hungary; e-mail [email protected]; website www.museum.herend.com; telephone 36 88 523 197; fax 36 88 523 247. Contemporary Hungarian ceramics, including works by Karoly Csapvary, Jeno Fischer, Mor Fischer, Kata Gacser, Istvan Lorincz, Elek Lux, Janos Horvay, Imre Schrammel, Zsigmond Kisfauldy Strobl and Gyorgy Vastagh; 4 exhibitions per year. MUSEION, Museum of the International Ceramics Studio Kecskemet, Kapolna str. 13, Kecskemet H-6000 Hungary; e-mail [email protected]; website www.icshu.org; telephone 36 76 486 867; fax 36 76 482 223. Contemporary ceramics, including works by Michael Flynn, Maria Geszler, Yasuo Hayashi, Sergei Isupov, Sandor Kecskemeti, Janet Mansfield, Gustavo Perez, Vladimir Tsivin and Ulla Viotti; 20 exhibitions per year. Israel Cadim Ceramics Gallery, 75 Yoel Salomon St., Nachalat Shiva, Jerusalem 94633 Israel; e-mail [email protected]; website www.cadimceramicsgallery.com; telephone 972 2 623 4869; fax 972 2 624 5791. Contemporary Israeli ceramics; 10 exhibitions per year. Musee de la Faience, 15 rue Poincare, Sarreguemines 57200 France; e-mail [email protected]; website www.sarreguemines-museum.com; telephone 33 3 87 98 93 50. Faience ceramics from the 19th and 20th centuries; 3 exhibitions per year. Ceramics Monthly October 2003 82 Terra Keramiek Gallery, Nieuwstraat 7, Delft 2611 HK Netherlands; e-mail [email protected]; website www.terra-delft.nl; telephone/fax 31 15 214 70 72. Contemporary national and international ceramics, including works by Wouter Dam, Vincent de Ryk, Tjok Dessauvage, Ross Emerson, Mieke Everaet, Cathy Fleckstein, Peter Lane, Hein Severijns, Susanne Silvertant and Henk Wolvers; 12 exhibitions per year. Italy Museo Internazionale delle Ceramiche (Faenza), Via Campidori 2, Faenza 48018 Italy; e-mail [email protected]; website www.micfaenza.com; telephone 39 546 697311; fax 39 546 27141. Collection of historical and contemporary ceramics. Loes & Reinier International Ceramics, Korte Assenstraat 15, Deventer 7411 JN Netherlands; e-mail [email protected]; website www.loes-reinier.com; telephone 31 57 061 30 04. Contemporary ceramics; 8 exhibitions per year. Museo della Ceramica, Palazzo de Fabris, Nove 36055 (VI) Italy; e-mail [email protected]; website www.ceramics.it/museo.nove; telephone/ fax 39 424 829807. Permanent ceramics collection of approximately 500 pieces from the 16th—20th centuries. Japan Fukui Prefectural Museum of Ceramics, 120-61 Ozohara Miyazaki Village, Nyuu-gun Fukui 916-0273 Japan; e-mail [email protected]; website www.pref.fukui.jp; telephone 81 77 832 2174; fax 81 77 832 2279. Collections of Echizen ware; 1 exhibition per year. Ibaraki Ceramic Art Museum, 2345 Kasama, Kasama-shi, Ibaraki 309-1611 Japan; e-mail [email protected]; website www.edu.pref.ibaraki.jp/tougei; telephone 81 29 670 0011; fax 81 29 670 0012. Contemporary Japanese ceramics, including works by Toyozo Arakawa, Shoji Hamada, Hazan Itaya, Kosei Matsui and Kenkichi Tomimoto, collection of Kasama ware and Ibaraki ceramic art; 4 exhibitions per year. Princessehof Leeuwarden, National Museum of Ceramics, Grote Kerkstraat 1, Leeuwarden 8911 DZ Netherlands; e-mail [email protected]; website www.princessehof.nl; telephone/fax 31 58 294 89 58. Contemporary ceram ics and permanent collections of Asian, pre-Columbian, Persian and European ceramics, including Dutch and Middle Eastern tilework; 15 exhibitions per year. St. Joseph Gallery, Frederik Ruyschstraat 10, Leeuwarden 8921 VT Netherlands; e-mail [email protected]; website www.sjgalerie.nl; telephone 31 58 266 63 56; fax 31 58 266 82 35. Contemporary national and international ceramics; 5-6 exhibitions per year. New Zealand Green Gallery, 20 Cory Rd., Palm Beach, Waiheke Island, Auckland New Zealand; e-mail [email protected]; website www.greengallery.co.nz; telephone/fax 64 9 372 2891. Contemporary ceramics by over 10 artists; 9-10 exhibitions per year. International Art Salon Kogen, 47-153 Takigawa-cho, Showa-ku, Nagoya Aichi 466-0826 Japan; website www.kogenweb.com; telephone 81 52 839 1877; fax 81 52 839 1870. Contemporary ceramics, including works by Shoji Kamoda, Handeishi Kawakita, Rosanjin Kitaoji, Ryoji Koie, Takahiro Kondo, Mineo Okabe, Koichi Uchida and Kazuo Yagi; 24 exhibitions per year. Norway The Museum of Oriental Ceramics, Osaka, 1-1-26 Nakanoshima, Kita-ku, Osaka 530-0005 Japan; e-mail [email protected]; website www.moco.or.jp; telephone 81 66 223 0055; fax 81 66 223 0057. Chinese, Japanese and Korean ceramics; 4-5 exhibitions per year. RAM Galleri, Kongensgt. 3, 0153 Oslo Norway; e-mail [email protected]; telephone 47 22 33 5992; fax 47 22 42 8199. Contemporary ceramics; 2-3 exhibitions per year. Shigaraki Ceramic Cultural Park, The Museum of Contemporary Ceramic Art, 2188-7 Chokushi, Shigaraki-cho, Koka-gun, Shiga-ken 529-1804 Japan; e-mail [email protected]; website www.sccp.or.jp; telephone 81 74 883 0909; fax 81 74 883 1193. National and international ceramics; 4 exhibitions per year. Aoyama Green Gallery, 5-10-12 Minami-Aoyama, Minato-ku, Tokyo 107-0050 Japan; telephone/fax 81 33 407 0050. Contemporary ceramics by over 12 artists; 10-12 exhibitions per year. Gallery Mukyo, Annex Fukujin, Bldg. 5F, 1-6-17 Ginza, Chuo-ku, Tokyo 104-0061 Japan; e-mail [email protected]; website www.mukyo.com; telephone/fax 81 33 564 0256. Contemporary ceramics, including works by Tadashi Itoh, Shoji Kamoda, Rosanjin Kitaoji, Taizo Kuroda and Mineo Okabe; 4-5 exhibitions per year. Gallery St. Ives, 3-5-13 Fukasawa, Setagaya-ku, Tokyo 158-0081 Japan; e-mail [email protected]; website www.gallery-st-ives.co.jp; telephone/fax 81 33 705 3050. Contemporary British ceramics, including works by Clive Bowen, Jack Doherty, Bridget Drakeford, Lisa Hammond, Joanna Howells, Jill Fanshawe Kato, Walter Keeler, Phil Rogers, Josie Walter and Philip Wood; 4-5 exhibitions per year. Netherlands Galerie Carla Koch, Prinsengracht 510 sous, Amsterdam 1017 KH Netherlands; e-mail [email protected]; website www.carlakoch.nl; telephone/ fax 31 20 639 01 98. National and international ceramics with emphasis on functional work; 6 exhibitions per year. Box, 5½ inches (14 centimeters) in height, wood-fired stoneware, by Byron Temple; at W.D.O., Charlotte, North Carolina. Galerie de Witte Voet, Kerkstraat 135, Amsterdam 1017 GE Netherlands; website www.galeries.nl; telephone/fax 31 20 625 84 12. Solo exhibitions of ceramics by artists from Belgium. France, Great Britain, Japan, Netherlands and Spain; 8 exhibitions per year. Rijksmuseum Amsterdam, Stadhouderskade 42, Amsterdam 1071 ZD Netherlands; e-mail [email protected]; website www.rijksmuseum.nl; telephone 31 20 674 70 47; fax 31 20 674 70 01. Dutch porcelain and delftware, Meissen porcelain, Italian majolica, and German stoneware. Ceramics Monthly October 2003 83 gallery guide 2003 Galerie Keramaikos, Oranjestraat 121, Arnhem 6812 CN Netherlands; e-mail [email protected]; website www.galerie-keramaikos.nl; telephone/fax 31 26 446 05 95. Contemporary Dutch ceramics, including works by Jeroen Bechtold, Wil Broekema, Simone Couderc, Mieke Everaet, Jean Fontaine, Anita Manshanden, Ivo Nijs, Soundie Sexe and Patrick van Craenenbroeck; 5 exhibitions per year. Wales gallery guide 2003 ^ Aberystwyth Arts Centre, Penglais, Aberystwyth, Ceredigion SY23 3DE Wales; e-mail [email protected]; website www.aber.ac.uk/artscentre; telephone 44 1970 622 882; fax 44 1970 622 883. Contemporary and historical Welsh ceramics; 2 exhibitions per year. Craft in the Bay, Makers Guild in Wales, The Flourish, Lloyd George Ave., Cardiff CF10 4ES Wales; e-mail [email protected]; website www.makersguildinwales.org.uk; telephone 44 2920 484 611; fax 44 2920 491 136. Contemporary ceramics by over 21 Welsh artists; 2-3 exhibitions per year. Republic of China Taipei County Yingge Ceramics Museum, 200 Wenhua Rd., Yingge Jen, Taipei 239 Taiwan; e-mail [email protected]; website www.ceramics.tpc.gov.tw; telephone 886 2 8677 2727; fax 886 2 8677 4104. Historical and contemporary ceramics; 4-5 exhibitions per year. Scotland The Strathearn Gallery, 32 W. High St., Crieff Perthshire PH7 4DL Scotland; e-mail [email protected]; website www.strathearn-gallery.com; telephone 44 176 465 6100. Contemporary Scottish ceramics, including works by Walter Awlson, Fiona Duckett, Tom Elliott, Lorna Fraser, Mark Haillay, Helen Kemp, John Maguire, Will Levi Marshall, Philomena Pretsell and Andrew Weatherhead; 8 multimedia exhibitions per year. Open Eye Gallery, 34 Abercromby PI., Edinburgh EH3 6QE Scotland; e-mail [email protected]; website www.openeyegallery.co.uk; telephone/fax 44 131 557 1020. Contemporary ceramics, including works by Kate Allsop, Ali Drew, Alison Gautrey, Jeremy James, John Maltby, Rachel Urbicki and Andrea Walsh; 14-16 exhibitions per year. National Museum & Gallery Cardiff, Cathays Park, Cardiff CF1 3NP Wales; e-mail [email protected]; website www.nmgw.ac.uk/nmgcl; telephone 44 2920 397 951; fax 44 2920 373 219. European ceramics from the 16th through the 20th centuries, in particular, Welsh pottery and porcelain from Swansea and Nantgarw; 1-2 exhibitions per year. Porticus, No. 1 Middleton St., Llandrindod Wells, Powys LD1 5ET Wales; e-mail [email protected]; www.porticus.co.uk; telephone 44 1597 823 989. Contemporary British ceramics, including works by Michael Casson, Bennett Cooper, Michael Eden, David Frith, Robert Goldsmith, Lisa Hammond, Steve Harrison, Walter Keeler, Colin Kellam and Phil Rogers; 5 exhibitions per year. The Gallery, Ruthin Craft Centre, Park Rd., Ruthin, Denbighshire LL15 1BB Wales; e-mail [email protected]; telephone 44 1824 704 774; fax 44 1824 702 060. Contemporary British ceramics, including works by Daniel Allen, Emmanuel Cooper, Claire Curneen and Catrin Howell. Royal Museum of Scotland, Chamber St.. Edinburgh EH1 1JF Scotland; e-mail [email protected]; website www.nms.ac.uk/royal; telephone 44 131 247 4422; fax 44 131 220 4810. Permanent collection of British and Continental pottery and porcelain, including Italian maiolica, tin-glazed earthenware, German stoneware, Wemyss ware, and studio ceramics. Scottish Gallery, 16 Dundas St., Edinburgh EH3 6HZ Scotland; e-mail [email protected]; website www.scottish-gallery.co.uk; telephone 44 131 558 1200; fax 44 131 558 1300. Contemporary ceramics, including works by Edmund de Waal, Ken Eastman, Will Levi Marshall, Craig Mitchell, Frances Priest, David Roberts, Duncan Ross, Sarah Jane Selwood, Rupert Spira and Janice Tchalenko; 12 exhibitions per year. Crawford Arts Centre, 93 North St., St. Andrews, Fife KY16 9AD Scotland; e-mail [email protected]; website www.crawfordarts.free-online.co.uk; telephone 44 133 447 4610; fax 44 133 447 9880. Contemporary ceramics; 3-4 exhibitions per year. Roger Billcliffe Gallery, 130 Blythswood St., Glasgow G2 4EL Scotland; e-mail [email protected]; website www.billcliffegallery.com; telephone 44 141 332 4027; fax 44 141 332 6573. Contemporary British ceramics, including works by Chris Carter, Judith Gilmour and Gareth Mason; 10 exhibitions per year. Spain Museu de Cantir D’Argentona, Plaga de I’esglesia 9, Argentona (Barcelona) 08310 Spain; e-mail [email protected]; website www.museucantir.org; telephone 44 93 797 2152; fax 44 93 797 0800. Permanent collections from the 19th and 20th centuries, the Bronze Age in Greece, Medieval times, Baroque and Art Deco, also jugs from all over the world; 8 exhibitions per year. Alfar y Galena Azul, San Cibrian de Ardon, Leon 24232 Spain; e-mail [email protected]; website www.alfargaleriaazul.com; telephone/ fax 34 98 730 4693. Contemporary ceramics, including works by Eduardo Andaluz, Claudi Casanovas, Michael Casson, Sheila Casson, Angel Garazza, David Leach, John Leach and Jose Antonio Sarmiento; 4 exhibitions per year. Museu de Ceramica de Manises, carrer Sagrario 22, Manises 46940 Spain; e-mail [email protected]; website www.manises-bienal.com; telephone 34 96 152 1044; fax 34 96 153 4048. Permanent collection of over 3500 pieces from the 14th century to present day; 1-2 exhibitions per year. Vase, soft-paste Sevres porcelain, 1766-1770; at the Gardiner Museum of Ceramic Art, Toronto, Ontario, Canada. Switzerland Musee Ariana, 10, Ave. de la Paix, Geneva 1202 Switzerland; e-mail [email protected]; website http://mah.ville-ge.ch/ariana/ariana.html; telephone 41 22 418 54 50; fax 41 22 418 54 51. Ten centuries of ceramics history in Europe, the Middle East and the Far East; 2-3 exhibitions per year. Ceramics Monthly October 2003 84 Ceramics Monthly October 2003 85 Ceramics Monthly October 2003 86 Ceramics Monthly October 2003 87 call for entries Application Deadlines for Exhibitions, Fairs, Festivals and Sales International Exhibitions 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 performance, by artists 21 years and older, no student work. 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: $1600, plus 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. November 15 entry deadline Indianapolis, Indiana "Clay Mechanics" (March 1720, 2004), open to ceramics artists using mechani cal or industrial imagery. In conjunction with NCECA. Juried from slides. Jurors: Charlie Cummings and Gerard Justin Ferrari. Fee: $30 for up to 3 entries, up to 2 views for each entry. Awards: $1000. For prospectus, send SASE to Charlie Cummings Clay Studio, 4130 S. Clinton St., Fort Wayne, IN 46806; e-mail [email protected]; see website www.claylink.com; or telephone (260) 458-9160. Baltimore, Maryland Call for NCECA 2005 Exhibition Proposals (March 2005). Baltimore Clayworks is calling for proposals from artists and curators for exhibitions to be on view during NCECA. All proposals will undergo a curatorial review, after which accepted exhibitions will be sited at participating galleries and venues. For a proposal form, contact Leigh Taylor Mickelson: e-mail [email protected]; see website www.baltimoreclayworks.org; or tele phone (410) 578-1919 ext. 18. 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 59802; e-mail [email protected]; or telephone (406) 543-0509. December 5 entry deadline 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 October 3 entry deadline 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%. 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 Forms 2003" (December 5, 2003-January 23, 2004), open to works in all media. 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 exhibitions. For pro spectus, send SASE to the Wayne Art Center, 413 Maplewood Ave., Wayne 19087; see website www.wayneart.org. Denton, Texas "Materials: Hard and Soft" (Janu ary 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, WisCeramics Monthly October 2003 88 Ceramics Monthly Uctober 2003 89 call for entries consin. Awards: $5000. For application, send legal ize SASE to Greater Denton Arts Council, 207 S. Bell, Denton 76201; see website www.dentonarts.com; or telephone (940) 382-2787. October 4 entry deadline Coburg, Oregon "LAPETITEXI" (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. October 7 entry deadline 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 dag2001 [email protected]. October 15 entry deadline 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. October 24 entry deadline 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. October 30 entry deadline 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; e-mail [email protected]; or telephone (619) 644-7299 November 1 entry deadline La Crosse, Wisconsin Juried one-person ceramic show and demonstration: Viterbo University (Janu ary 14-February 11, 2004). Juried from 10-20 slides. Jurors: Gerard Justin Ferrari and Viterbo University Faculty. Fee: $ 15. Responsibilities include installation, attendance at opening, removal of show, and 1- to 2-day workshop. Awards: $1000 honorarium. Contact Gerard Justin Ferrari: e-mail [email protected]; or telephone (608) 796-3757. November 15 entry deadline Englewood, Colorado "Englewood Cultural Arts 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. November 30 entry deadline 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. December 10 entry deadline 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) 753-101 1. Ceramics Monthly October 2003 90 January 9, 2004, entry deadline Rockport, Texas "Vitrified Clay National: Form and Content" (February 11-March 14, 2004). Juried from slides (with SASE). Jurors: Juan Granados and Von Venhuizen. Fee: $20 for 3 entries; $5 for each additional entry. Contact Mary Beth Orrison, Rockport Center for the Arts, 902 Navigation Cir., Rockport 78382; e-mail [email protected]; see website www.rockportartcenter.org; telephone (361) 729-5519; or fax (361) 729-3551. January 15, 2004, entry deadline Lancaster, Pennsylvania "The 12th Annual Strictly Functional Pottery National" (April 24-May 31, 2004). Juried from slides. Juror: Susan Peterson. For prospectus, send business-size SASE to Market House Craft Center/SFPN, PO Box 204, E. Peters burg, PA 17520; or download application from www.art-craftpa.com/sfpnapp.html. January 23, 2004, entry deadline Cambridge, Massachusetts "Cambridge Art As sociation National Prize Show" (May 3-June 24, 2004). Juried from slides. Juror: Bob Fitzpatrick, director, Museum of Contemporary 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; telephone (617) 876-0246. February 1, 2004, entry deadline Chicago, Illinois "15th Annual Teapot Show: On the Road Again" (April 4-May 16, 2004), open to functional, fun or funky teapots in all media. Juried from up to 2 slides per work (with SASE); up to 2 works. Fee: $25. Contact Joan Houlehen, A. Houberbocken, Inc., PO Box 196, Cudahy, Wl 53110; or telephone/fax (414) 481-4000. February 14, 2004, entry deadline Lincoln, California "Feats of Clay XVII" (April 24May 23, 2004). Juried from slides. Juror: Richard Notkin. Fee: $15 for 1 entry; $25 for two; $30 for 3. Awards: $16,000. For prospectus, send SASE to Lincoln Arts, 540 F St., Lincoln 95648; see website www.lincolnarts.org. March 20, 2004, entry deadline Waynesboro, Virginia "Primary Colors: A Survey of Contemporary Craft in Red, Yellow and Blue" (May 20—July 1, 2004), open to crafts using any or all of the primary colors in construction or design. Juried from slides. Fee: $20. Commission: 60%. Cash awards. For prospectus, send SASE to Arti sans Center of Virginia, 601 Shenandoah Village Dr., Waynesboro 22980; download from website www.artisanscenterofvirginia.org; or telephone (540) 946-3294. Regional Exhibitions October 15 entry deadline Kettering, Ohio "Earth in Balance 2003," a regional clay competition (November 3-December 12), open to ceramists residing in Indiana, Kentucky, Michi gan and Ohio. Juried from slides. Juror: Marty Shuter, ceramics artist/instructor. 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 www.ketteringoh.org/gallery; or tele phone (937) 296-0294. January 13, 2004, entry deadline Lexington, Massachusetts "The State of Clay, 4th Biennial Exhibition" (May 2-30, 2004), open to current and former residents of Massachusetts. Juried from slides. Juror: Peter Beasecker. Cash awards. For prospectus, send #10 SASE to Ceram ics Guild of the Lexington Arts & Crafts Society, 130 Waltham St., Lexington 02421; or download from website www.lexingtonma.org/LACS. Fairs, Festivals and Sales October 10 entry deadline Boston, Massachusetts "CRAFTBOSTON 2004" (May 20-23, 2004). Juried from 5 slides. Fee: $30. Contact Bonnie Gordon, CRAFTBOSTON Show Director, 175 Newbury St., Boston 02116; call for entries e-mail [email protected]; see www.craftboston.org; telephone (617) 232-7000. website October 25 entry deadline Inverness, Florida "32nd Festival of the Arts" (No vember 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]; ortelephone (352) 527-8795. November 1 entry deadline Winder, Georgia "Harvest of Arts Festival (No vember 15-16). Juried from up to 3 slides. Fee: $30. Commission: 80%. To register, e-mail [email protected]; ortelephone (770) 788-9267. 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; ortelephone (210) 224-1848. November 3 entry deadline Carefree, Arizona "Carefree Fine Art and Wine Festival" (March 5-7, 2004). 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. January 5, 2004, entry deadline 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. Contact Artrider, PO Box 28, Woodstock, NY 12498; see website www.artrider.com; telephone (845) 331-7900. March 1, 2004, entry deadline Saiina, Kansas "Smoky Hill River Festival, Four Rivers Craft Market Show" (June 11-13, 2004). Juried from 6 slides. Entry fee: $15. Booth fee: $150 for a 10x10-foot space, plus 10% on sales over $ 1000. Awards: $ 1800. Contact Karla Prickett, Visual Arts Coordinator, PO Box 2181, Saiina 67402-2181; e-mail [email protected]; see website www.riverfestival.org; telephone (785) 309-5770; or fax (785) 826-7444. Saiina, Kansas "Smoky Hill River Festival, Fine Art/Fine Craft Show" (June 12-13, 2004). Juried from 6 slides. Entry fee: $15. Booth fee: $250 for a 10x10-foot space. No commission. Awards: $7400. Contact Karla Prickett, Visual Arts Coordinator, PO Box 2181, Saiina 674022181; e-mail [email protected]; see website www.riverfestival.org; telephone (785) 309-5770; or fax (785) 826-7444. 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 PI., Westerville, OH 43081; e-mail to [email protected]; or fax to (614) 891-8960. Ceramics Monthly October 2003 92 suggestions From Readers pitcher, the glaze level rose, giving a nice even coat. When the glaze reached the rim of the pitcher, the excess gently rolled over the lip of the pitcher and back into the bucket, not wasting a drop.—Micah Cain, Rome, GA A Pinch of Ingenuity Instead of using a sponge-on-a-stick, pinch a throwing sponge in a set of double-ended cali Banding Wheel You can make a banding wheel out of old car parts. A flex plate, which is found between a motor and transmission, can be used for the top part. Use a gear out of the same transmission for the base. If you go to any auto wrecker or mechanic shop in your area, you can usually find these things for a couple of dollars each. Bolt a bat pers used for measuring lids and lips of pots. This to the flex plate, using the holes already in the allows you to use a larger sponge area to get the plate. This makes a very sturdy, very inexpensive water out of the bottom of a tall narrow vessel.— banding wheel. Different gears can be used for different heights.—NataliePrevost-Mero, Elmira, Corey Carver, Atlanta, GA ON, Canada Stable Stance Construct handbuilt forms that have legs on pieces of broken bisque shelves. This pro vides two advantages over constructing the forms on a table or on a throwing bat. Since the shelf can be put into the kiln, it prevents the chance of one of the legs snapping off as the work is loaded. In addition, with the work on a piece of shelf, it can be easily moved in the kiln. All you need to do is slide the broken kiln shelf to move your work over a few inches. This way, you won’t risk wearing down one of the legs by sliding it around and causing your piece to lean.—Tony Merino, Lewisville, TX The Pen Is Mighty When many potters make their own tools, they use dowels or bamboo for handles. I didn’t want to take the time to saw and drill, so I came up with some cheap alternatives. Take the guts out of old pens and markers and use the barrels for handles. Make a loop out of piano wire, or fashion whatever tool you need, and set it in the end of the pen with a wad of Bead Beach I have found that pushing an aluminum mesh “gutter guard” into a 1-quart paint can, filled halfway with sand, makes an excellent bead-drying support. Placing the glazed beads on bamboo skewers, then pushing the skewers through the holes in the mesh and into the sand, allows the beads to dry undisturbed. The cans can be moved easily and are reasonably com pact.—Andi Fasimpaur, Dayton, OH Bead Hole Consistency epoxy. You can also get semirigid polyethylene tubing at the hardware store for about 12 cents per foot. You can cut it with scissors and attach tool ends the same way as with the pen barrels. You can also add cushioned pen/pencil grips to these tools for added comfort and ease of use. —Kim Hohlmayer, Mechanicsburg, OH A foolproof method for making a hole in a Green Thumb, Round Lip Gardening and pottery are my two pas bead that will be clean and consistent in diameter is to use raw pasta noodles to pierce the newly sions. To achieve a very round, smooth lip on formed bead. The pasta will burn out and leave thrown forms, use 1 -inch gardener’s tie tape. It is usually green, comes on a roll, and is sold in only a bit of ash.—Robert Brown, Miami, FL most garden centers. The weight and elasticity Pitcher This are perfect for a quick finished edge.—Denise Recently, I found myself with one last piece Severini, Nipomo, CA to glaze out of a batch of bisqueware. To my Share your ideas with others. Previously un dismay, there was not enough glaze left in the published suggestions are welcome individu five-gallon bucket in which to dip the piece. Not ally or in quantity. Ceramics Monthly will pay wanting to brush on the two coats I needed, I $10 for each one published. Include a drawing or photograph to illustrate your idea and we found a plastic pitcher that I had purchased at will add $10 to the payment. Mail to Ceramics the dollar store that was slightly larger than the Monthly, 735 Ceramic PI., Westerville, OH 43081, piece to be glazed. I filled the pitcher up approxi e-mail to [email protected] or fax to (614) 891-8960. mately halfway. As I dipped the piece into the Ceramics Monthly October 2003 94 Ceramics Monthly October 2003 calendar Events to Attend—Conferences, Exhibitions, Workshops, Fairs Conferences Indiana, Indianapolis March 17-20, 2004 "INvestigations, INspirations: The Alchemy of Art and Science," NCECA's 38th annual conference. See web site www.nceca.net; or telephone (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 or4747604; 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.comltheclayconnection; or telephone (540) 636-6016. Hungary, Kecskemet April 5-26, 2004 "Sound of the Clay, Ceramic Musical Instrument Symposium." Ceramics Monthly October 2003 96 Contact Steve Mattison, International Ceramics Stu dio, Kapolna Str. 13, Kecskemet H-6000; see website www.icshu.org; or telephone 36 76 486 867. Solo Exhibitions Alabama, Fairhope October 3-27 Steven Hill, "Sensuous Slip/Single Firing"; at Eastern Shore Art Center, 401 Oak St. Arizona, Scottsdale November 4-30 "Virginia Scotchie's Childhood Memories"; at Gallery Materia, 4222 N. Marshall Way. Arizona, Tempe October 3-February 7, 2004 Luo Xiaoping, "Time Square Series"; at Nelson Fine Arts Center, Arizona State University Art Museum. California, Sacramento October 9-November 1 Gary Dinnen; at Solomon Dubnick Gallery, 2131 Northrop Ave. California, San Francisco October 18-November 28 Christa Assad, "Form Feeds Function"; at Verdigris Clay Studio and Gallery, the Cannery, 2801 Leavenworth St. California, Santa Monica through October 11 Betty Woodman; at Frank Lloyd Gallery, 2525 Michi gan Ave., B5b. Florida, Miami through November 9 Rebecca Hutchinson, "Connected"; at the Lowe Art Museum, University of Miami, 1301 Stanford Dr. Georgia, Atlanta through October25 Mark Hewitt, "Iced Tea and Big Pots"; at the Signature Shop & Gallery, 3267 Roswell Rd., NW. October2-27MarkIssenberg, "Lookout Mountain Ash Glazes"; at MudFire Pottery, 1441 Dresden Dr., Ste. 250. Illinois, Chicago October 17-November 15 Jeff Mongrain. November 22-December 27 Jack Earl; at Perimeter Gallery, 210 W. Superior St. Illinois, Geneva October 1-31 Merrilee Batten, "Dancing Bottles"; at Down to Earth Pottery, 217½ S. Third St. Kentucky, Louisville through October25 "Master Makers: Byron Temple"; at the Kentucky Museum of Arts + Design, 715 W. Main St. Louisiana, Covington through October 8 Patricia Watkins, "Connected Layers"; at Fort Isabel Gallery, 401 N. Columbia St. Louisiana, New Orleans October 1-31 Jean Cappadonna-Nichols, "Art for Art Sake"; at Carol Robinson Gallery, 840 Napolean Ave. Massachusetts, Boston through October 14 Brother Thomas, "Creator of Luminaries"; at Pucker Gallery, 171 Newbury St. Massachusetts, Concord November 15-December 3 Ron Hand; at Lacoste Gallery, 25 Main St. Massachusetts, Lenox through October26 Jason Walker; at Ferrin Gallery, 56 Housatonic St. Michigan, Detroit through November 1 Jun Kaneko. 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 through October26 Josh Blanc, "Cosmic Clouds"; Clay Squared to Infinity, 2913 Central Ave., NE through November2 Wendy Olson; at the Northern Clay Center, 2424 Franklin Ave., E. Mississippi, Biloxi through October 31 Toshiko Takaezu; at the Ohr-O'Keefe Museum, 136 G. E. Ohr St. New Jersey, Surf City through October 6 Matt Burton, "Fagade and Fortification: A Framework," stoneware sculpture. October 11-December 1 Marv Levitt retrospective; at m. t. burton gallery, 1819 Long Beach Blvd. New Mexico, Santa Fe through October 15 Hiroyuki Wakimoto, "Myth and Legacy"; at Touching Stone, 539 Old Santa Fe Trail. through October25 Shoichi Ida; at Bellas Artes, 653 Canyon Rd. New York, Alfred through December 19 Irvin Tepper, "When Cups Speak/Life With the Cup: A 25- Year Survey"; at the Schein-Joseph International Mu seum of Ceramic Art, New York State College of Ceramics at Alfred University. New York, Garrison through October 5 Edith A. Ehrlich, "Lives: order, disorder"; at Garrison Art Cen ter, 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 through November 8 Shinman Yamada. November 8-December 13 Nobuhiro Mizuma; at Capeluto Arts, 147 Reade St. October 7-November 7 Roe Kyung-Joe; atTong-in Gallery New York, 16W. 32nd St., Ste. 503. New York, Port Chester October 3-26 Tracy Shell, "Inquiring Beauty." November 2-22 Judith Leire, "Musings"; at the Clay Art Center, 40 Beech St. North Carolina, Chapel Hill through October 24 Mark Chatterley, recent work; at Somerhill Gallery, 3 Eastgate, E. Franklin St. through November 22 Molly Pasca, "Out of the Ordinary." November 24-February 24, 2004 Doug Dacey, "Colorful Elegance"; at Green Tara Gallery, 1800 E. Franklin St., # 18b Eastgate. North Carolina, Charlotte through October 7 7 Karen Karnes; at W.D.O., Hearst Plaza, Ste. 1, 214 N. Tryon St. Ohio, Kent October28-November22 Eva Kwong, "Love Between the Atoms"; at Gallery 138, 138 E. Main St. Pennsylvania, Philadelphia through October 5 Sam Chung, recent work. Julie York, "objectsymbolanguage"; at the Clay Studio, 139 N. Second St. through October 5 Marilyn Simon, "Inside • Outside • Upside Down—Works in Majolica • Figures and Tiles"; at the Artforms Gallery Manayunk, 106 Levering St. through December 31 Yoon Kwang-cho, "Moun tain Dreams: Contemporary Ceramics"; at the Phila delphia Museum of Art, Benjamin Franklin Pkwy. at 26th St. November 1-29 Fong Choo, teapots; at the Works Gallery, 303 Cherry St. Pennsylvania, Pittsburgh through October 8 Betty Hedman; at the Clay Place, 5416 Walnut St. Texas, Austin October 4-24 Diana Seidel, "Feast of Pots"; at Clayways Pottery Studio & Gallery; 5442 Burnet Rd. Texas, Dallas October 24-November 29 Marla Ziegler, new works; at Craighead-Green Gallery, 2404 Cedar Springs, Ste. 700. Texas, Houston October 31-December 11 Nick Joerling; at North Harris College, 2700 W.W. Thorne Dr. Wisconsin, Racine through November 2 Marek Cecula, "The Last Supper"; Racine Art Museum, 441 Main St. Group Ceramics Exhibitions Arizona, Scottsdale October 1-November30 "Ex hibition of Ceramics"; at Udinotti Gallery, 4215 N. Marshall Way. Arizona, Tempe October3-February 1, 2004 "Be yond Boundaries: The Yixing Influence on Contempo rary American Ceramics"; 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, Los Angeles through December 28 "Ceramic Trees of Life: Popular Art from Mexico"; at the UCLA Fowler Museum of Cultural History, North Campus. through January25,2004 "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 Legacy of Its Founders: Soetsu Yanagi, Shoji Hamada and Kanjiro Kawai"; at the Mingei International Mu seum, Balboa Park, Plaza de Panama. California, Santa Ana October 9-November 8 "Community College Clay"; at SAC Arts Gallery, Santora Bldg., Artists Village, 207 N. Broadway. November 1-December 14 "Chinese Ceramics To day"; at Orange County Center for Contemporary Art, 117 N. Sycamore. California, Santa Barbara October3-31 "Clearly Black and White"; at Tierra Solida: a clay art gallery, 1221 State St., #8. California, Tarzana October 4-29 "Visions Over the Top," works by Ellen Rundle and Linda Smith; at Orlando Gallery, 18376 Ventura Blvd. Colorado, Lakewood through October 12 "From Inside the Clay Studio"; at the Lakewood Cultural Center, 470 S. Allison Pkwy. Florida, Miami through November 9 "A Ceramic Continuum: Fifty Years of the Archie Bray Influence"; at the Lowe Art Museum, University of Miami, 1301 Stanford Dr. Florida, St. Petersburg November 14-December 20 "St. Petersburg Clay National 2003"; at St. Peters burg Clay Company, 420 22nd St., S. Illinois, Chicago October 11-November 3 New work by David Crane and Jason Walker. "Anderson Group Show," featuring the work of 17 former and current Anderson Ranch artists-in-residence. Novem ber 15-December 15 Charlie Jahn and Mie Kongo; 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 through October27 "HandBuilt"; at Spring Street Gallery, 601 S. Prospect St. Illinois, Westmont through October31 "The Mud Show"; atTLD Design Center & Gallery, 26 E. Quincy St. Indiana, Ft. Wayne November22-January 9,2004 "Cup: The Intimate Object II"; at Charlie Cummings Clay Studio, 4130 S. Clinton St. Indiana, Goshen through November4 "A Ceramic Legacy"; at Goshen College, Hershberger Art Gallery, Music Bldg. Indiana, Notre Dame through October 12 "Notre Dame Anagama Kiln," Don Reitz, Paul Soldner, Peter Voulkos, and Bill Kremer and his graduate students; at the Snite Museum of Art, Milly and Fritz Kaeser Mestrovic Studio Gallery, University of Notre Dame. Iowa, Iowa City October4-23 Jeff Shapiro and Tim Rowan, wood-fired ceramics. November 1-20 "Sur faces," works by Kathryn Finnerty, Suze Lindsay, Eliza beth Lurie, Lisa Naples and Sandi Pierantozzi; at AKAR, 4 S. Linn St. Maryland, Baltimore through October 11 "Cel ebrate Clay: A Member Artists Exhibition." October 18-November 15 "Clayand..." November22-December 24 "Winterfest 2003"; at Baltimore Clayworks, 5707 Smith Ave. through November30 "Taste and Table: A Century of Ceramics in Early Maryland"; at Homewood House Museum, 3400 N. Charles St. Massachusetts, Concord October 18-November 5 "Salon Exhibition 2003," works by Randy Johnston, Mark Pharis, Mark Shapiro, Diana Thomas and Jack Troy; at Lacoste Gallery, 25 Main St. Massachusetts, Lenox November 28-December 28 "Studio Pottery Invitational 2003"; at Ferrin Gal lery, 69 Church St. Michigan, Detroit October 11 "Pewabic Pottery from the Charles Lang Collection." November 15December 31 "Holiday Invitational"; at Pewabic Pot tery, 10125 E. Jefferson. Michigan, East Lansing October 5-November30 "Tiles from Two Cities," Parran Colleryand Deb FleckStabley; at Mackerel Sky, 217 Ann St. Continued Ceramics Monthly October 2003 97 calendar 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 November 2 "In Other Words...," works by Takako Araki, 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 October 31-November 29 "Northern Utility"; at Red Star Studios Ceramic Cen ter, 821 W. 17th St. Missouri, St. Louis through October 19 "North Carolina Folk Art Pottery and Burgess Dulaney"; at Craft Alliance Gallery, 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 Mexico, Roswell through October 12 "CLAY: Making Connections," juried exhibition; atthe Roswell Museum and Art Center, 100 W. 11th St. New Mexico, Santa Fe through October24 "Archie Bray Foundation 2003 Summer Residents." October 31-November 22 "Three-Person Exhibition—Gina Bobrowski, Ted Saupe, Bonnie Seeman"; at Santa Fe Clay, 1615 Paseo de Peralta. New York, Garrison November 1-December 7 "Passionate Fire 2003: Wood-Fired Ceramics," works by Roger Baumann, Joy Brown, Chrissy Callas, Peter Callas, Paul Chaleff, Tony Moore, Tim Rowan and Jeff Shapiro; at Germaine Keller Gallery, 17A Garrison's Landing. New York, New York October 7-25 "Oribe Exhi bition"; at Dai Ichi Gallery, 249 E. 48th St. North Carolina, Asheville October 20-December 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. November 6-January 3, 2004 "Functional Ceramics Invitational," with Hank Goodman, Silvie Granatelli, Nick Joerling, Leah Leitson, Suze Lindsay, Linda McFarling, Donald Penny, Mark Peters, Sara Roland and Tom Spleth; 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. Ohio, Kettering November2-December 12 "Earth in Balance," a regional clay competition; at Rosewood Gallery, 2655 Olson Dr. Oklahoma, Shawnee through November 16" PreColumbian and Contemporary Whistling Pots"; atthe Mabee-Gerrer Museum of Art, St. Gregory's Univer sity, 1900 W. MacArthur St. Oregon, Eugene through October 18 "Major Works in Clay: 12 Artists"; at Karin Clarke Gallery, 760 Willamette St. Oregon, Portland October 2-November 1 Threeperson exhibition, with works by Rhue Bruggeman, Kirk Mangus and Stephen Mickey; at Fifth Element Gallery, 404 N.W. Tenth Ave. Pennsylvania, Erie through February8, 2004 "Art Nouveau Tiles"; at the Erie Art Museum, 411 State St. Pennsylvania, Philadelphia through October 5 "Tea For Two/Table For Two," works by over 50 func tional potters. October 31-November 16 "Mastery in Clay"; atthe Clay Studio, 139 N. Second St. October 1-31 Functional objects by Jeff Oestreich and Marlene Jack; at the Works Gallery, 303 Cherry St. Ceramics Monthly October 2003 98 November 15-February 8, 2004 "Elegant Innova tions: American Rookwood Pottery, 1880-1960"; at the Philadelphia Museum of Art, Benjamin Franklin Pkwy. at 26th St. Pennsylvania, Pittsburgh November 12-March 20, 2004 "Elizabeth R. Raphael Founder's Prize"; at the Society for Contemporary Craft, 2100 Smallman St. Texas, Denton October 26-November 22 "Ce ramics USA 2003"; at University of North Texas Art Gallery, Art Bldg., Mulberry at Welch. Texas, Houston through October 18 Shirli Marcantel and Glenn Puckett; at Goldesberry Gallery, 2625 Colquitt. October4-31 "All Things Clay"; at Foelber Gallery, 706 Richmond Ave. October 4-31 "You Can Never Have Too Many Vases," works by Marie Burger and Marcia L. Landers; at the Houston Potter's Guild Shop & Gallery, 2433 Rice Blvd. Utah, Logan through December 6 "Clay West: 2003 Intermountain Invitational"; at Nora Eccles Harrison Museum of Art, Utah State University, 650 N. 1100 East. 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 through January 4, 2004 "Clay Body," works by Claudia Fitch, Patti Warashina and Akio Takamori; at the Bellevue Art Museum, 510 Bellevue Way, NE. Washington, Seattle October 3-26 and Novem ber 7-29 "New Expressions in Ceramics," works from the Pacific Rim; at Bryan Ohno Gallery, 155 S. Main St. Wisconsin, Racine through January 4, 2004 "The Donna Moog Teapot Collection." November 9-January 4, 2004 "From the Kilns of Denmark: Contempo rary Danish Ceramics"; atthe 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 January 4, 2004 "Mexi can Folk Art in Context"; at Arizona State University Art Museum, Nelson Fine Arts Center. Arizona, Tucson through November 1 Fall exhibi tion, including ceramic vessels by Randy O'Brien; at Obsidian Gallery, St. Phillip's Plaza, 4320 N. Campbell, Ste. 130. California, Burbank November 7-28 "AMERI CANA"; at Burbank Municipal Gallery/Creative Arts Center, 1100 W. Clark St. California, Claremont through October 19" Drag ons, Beasts, Butterflies; Asian Art from the Scripps Collection"; at Ruth Chandler Williamson Gallery, Scripps College, 11th and Columbia sts. California, La Quinta November 7-December 31 "The Figurative"; atthe Figurative, Gallery of Contem porary Art, 78225 Calle Fortuna. California, Lincoln October21 -November21 "Lost in America," two-person exhibition including ceramic sculpture by Miriam Morris; at Lincoln Arts, 540 F St. 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 October 4-31 "Global ArtLook"; at MatrixArts, 1518 Del Paso Blvd. November 8-January 19, 2004 "Icons or Portraits? Images of Jesus and Mary from the Collection of Michael Hall"; at the Crocker Art Museum, 216 0 St. 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"; atthe Mingei International Museum, Balboa Park, Plaza de Panama. Colorado, Denver through October 5 "Art, Iden tity and Community." through December 7 "Chinese Art of the Tang Dynasty from the Sze Hong Collec tion." October 16-January23,2005 "Tiwanaku: Riches and Rituals of the Ancient Andes"; at the Denver Art Museum, 100 W. 14th Ave. Pkwy. Connecticut, New Haven through 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, St. Petersburg November 7-December 31 "A Season of Giving"; at the Florida Craftsmen Gallery, 501 Central Ave. Florida, Tampa through October 19 "Voces y Visiones: Highlights from El Museo del Barrio's Perma nent Collection," ceramics, paintings, wood carvings, prints, metals, textiles, etc.; at the Tampa Museum of Art, 600 N. Ashley Dr. Florida, Tarpon Springs through November 2 "Florida Craftsmen's 50th Anniversary Exhibition"; at the Leepa-Rattner Museum of Art, 600 Klosterman Rd. Georgia, Athens through November 2 "Masters of Their Craft: Highlights from the Smithsonian Ameri can Art Museum"; at Georgia Museum of Art, the University of Georgia, 90 Carlton St. Hawai'i, Honolulu through November 9 "Cross ings 2003: KorealHawai'i"; at the Honolulu Academy of Arts, 900 S. Beretania St. Illinois, Chicago through November 15 "A Tribute to Craft"; at Sawbridge Studios, 153 W. Ohio St. October 10-November 4 "Vessels, Boxes and Bas kets 2003," including works by Patrick Dragon, Tho mas Hoadley, Stephen Merritt, Garry Price and James Spiroff. October 10-December 27 "2 A Tea," includ ing works by Fong Choo, Stephen Fabrico, Stephen Hansen, Jared Jaffe, Joe Klingler and Bonnie Seeman. November 14-December 27 "Presence Presents"; at Function + Art, 1046 W. Fulton Market. Kansas, Wichita through October 26 "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. Maine, Gorham through October 18 "Objects of Influence: USM Art Faculty"; at University of Southern Maine, Gorham Gallery, 37 College Ave. Maryland, Baltimore through January 4, 2004 "Eternal Egypt: Masterworks of Ancient Art from the British Museum"; at the Walters Art Gallery, 5 W. Mt. Vernon PI. Maryland, Cockeysville October 3-26 "Mother Paints, Daughter Pots III," two-person exhibition in cluding ceramics by Mary Ellen McLewee; at Clay Orbit, 10918 York Rd. Massachusetts, Boston through October 26 "Words • Text • Stories," crafts with text; at the Society of Arts and Crafts, 175 Newbury St. Massachusetts, Brockton through January4,2004 "Craft Transformed, Boston University's Program in Artisanry 1975-1985"; at the Fuller Museum of Art, 455 Oak 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. October 9-30 "Tri-City Art Show," with work by Jill J. Burns; at ARTSWorcester, 660 Main St. at the Aurora. Michigan, Royal Oak November 8-December 8 "Steeped in Tradition," 17th annual teapot exhibition; at Ariana Gallery, 119 S. Main St. Mississippi, Biloxi November 7-December 31 "George E. Ohr National Arts Challenge"; at the OhrO'Keefe Museum, 136 G. E. Ohr St. Missouri, Louisiana through October 12 "Home and Garden Show." October 23-November 9 "TriState Creations." November27-December 14 "Holiday Magic"; at the Old School, Dixon Gallery, 515 Jackson. Missouri, St. November 7-December 24 Exhibition"; at Craft Alliance Louis "39th Annual Holiday Gallery, 6640 Delmar. Montana, Helena through October26 "ANA 32, National Juried Exhibition"; at the Holter Museum of Art, 12 E. Lawrence. New Hampshire, Concord October 3-December 12 "Lighten Up"; at Gallery 205, 205 N. Main St. 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, Millville October 25-December 24 "The Handcrafted Gift"; at the Gallery of Fine Craft, Wheaton Village, 1501 Glasstown Rd. 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 Mexico, Silver City October 10-December 15 "Dominant Sense," two-person exhibition includ ing ceramics by Todd Shelby; at the Blue Dome Gallery, 307 N. Texas St. New York, Endicott November 1-28 "Second Annual National Small Works Competition"; at Av enue Art Gallery, 114 Washington Ave. New York, New York October 16-January 18 "Hunt for Paradise: Court Arts of Iran, 1501-1576"; at the Asia Society, 725 Park Ave. 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 works by members of Artist-Craftsmen of New York; at New Century Artists Gallery, 530 W. 25th St., Ste. 406. North Carolina, Asheville November 6-January 3, 2004 "Still Life Invitational," including ceramics by Steven Forbes deSoule and Virginia Scotchie; at Blue Spiral 1, 38 Biltmore Ave. Ohio, Athens October 7-November 9 "The Best of 2003," juried exhibition of works by Ohio Designer Craftsmen members; at the Dairy Barn Cultural Arts Center, 8000 Dairy Lane Ohio, Columbus October 6-December 7 "Com mon Ground World Project," includes works created from the 188 United Nations' member countries; at the Columbus College of Art & Design, Canzani Center Gallery, corner of Cleveland Ave. and Gay St. Pennsylvania, Philadelphia November 1-8 "2003 Juried Art Show"; at the William Penn Charter School, 3000 W. School House Ln. Pennsylvania, Pittsburgh through November 1 "Homelland: Artists, Immigration and Identity"; at the Society for Contemporary Craft, 2100 Smallman St. October 24-November 14 "School of Art Faculty Exhibition"; Carnegie Mellon University, Regina Gouger Miller Gallery. Rhode Island, Providence through October 17 Two-person exhibition including ceramic sculptures by Jeff Margolin; at BERT Gallery, 540 S. Water 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. Virginia, Leesburg through November 2 "Ele ments: Earth, Fire and Water," including ceramics by David Camden; at Rendezvous Gallery, 5 Loudoun St., SE. Wisconsin, Racine through November 30 "Plant ing, Potting and Pruning: Artists and the Cultivated Landscape"; at the Wustum Museum, 2519 North western Ave. Wisconsin, Sheboygan through October 19 "Dog Show," including ceramics by Tre Arenz and Jack Earl; at John Michael Kohler Arts Center, 608 New York Ave. Fairs, Festivals and Sales Carefree October31-November2 "Care free Fine Art and Wine Festival"; downtown, Easy and Ho Hum sts. Continued Arizona, Ceramics Monthly October 2003 99 calendar Arizona, Prescott November 22-23 and 28-29 "Arizona Designer Craftsmen: Open Studio Tour." For further information, contact Rowena Tank: e-mail [email protected]; telephone (928) 776-9839. California, Berkeley November 29-30 "Berkeley Artisans Holiday Open Studios." For information and locations, send SASE to Berkeley Artisans Map, 2547 Eighth St., #24A, Berkeley 94710; see website www.berkeleyartisans.com; telephone (510) 845-2612. California, Sacramento November 22-23 "Holi day Arts and Crafts Gift Show"; at the Crocker Art Museum, 216 0 St. California, San Diego November 8-9 Biannual sale of works by 40 members of the San Diego Potters' Guild; at Balboa Park's Spanish Village, 1770 Village PI. California, San Francisco November 15-16 "San Francisco Clay and Glass Festival"; at Ft. Mason Center's Festival Pavilion, Buchanan St. and Marina Blvd. California, Santa Monica October31-November 2 "Contemporary Crafts Market"; at the Santa Monica Civic Auditorium, 1855 Main St. (corner of Pico Blvd.) Connecticut, Brookfield November 8-December 31 "28th Annual Holiday Exhibition and Sale"; at Brookfield Craft Center, Rte. 25. Connecticut, Middletown November29-December 13 "The Wesleyan Potters 48th Annual Exhibition and Sale"; at Wesleyan Potters, Inc., 350 S. Main St. D.C., Washington November21-23 "Washington Craft Show"; at the Washington Convention Center, 801 Mt. Vernon PI. Florida, Gainesville November 15-16 "22nd An nual Downtown Festival and Art Show"; on S.E. First St., downtown. Georgia, Jasper October4-5 "23rd Annual Geor gia Marble Festival Fine Arts Exhibit and Competition"; on the Festival grounds. Illinois, Chicago October 17-19 "SOFA Chi cago, the tenth Annual International Exposition of Sculpture Objects and Functional Art"; at Navy Pier. For further information, e-mail [email protected]; see website www.sofaexpo.com; or telephone (312) 654-0870. Illinois, Evanston November 74-76 "The Midwest Clay Guild's 31st Annual Holiday Exhibition and Sale"; at Midwest Clay Guild, 1236 Sherman Ave. Illinois, Winnetka November 8-9 "The Modern ism Show: An Exposition and Sale of 20th Century Design"; at the Winnetka Community House, 620 Lincoln Ave. Indiana, Ft. Wayne November 6-8 "Holiday Art Fair"; at the Ft. Wayne Museum of Art, 311 E. Main St. 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. Louisiana, New Orleans October 18-19 "Fourth Annual New Orleans Fresh Art Festival"; in the 700 block of St. Joseph St. 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. Massachusetts, Marlborough November 21-23 "Paradise City Arts Festival"; at the Royal Plaza Trade Center, Rte 20 W. Massachusetts, Northampton October 11-13 "Paradise City Arts Festival"; at the 3-County Fair grounds on Rte. 9. Massachusetts, Worcester November 28-30 "21st Annual Festival of Crafts"; at Worcester Center for Crafts, 25 Sagamore Rd. Michigan, East Lansing November 13-15 "Greater Lansing Potter's Guild Fall 2003 Show and Sale"; at All Saints Episcopal Church, 800 Abbott Rd. Michigan, Farmington H\\\sNovember 1-2 "Holi day Art Fair"; at Oakland Community College, 27055 Orchard Lake Rd. Michigan, Novi October 24-26 "Sugarloaf Art Fair"; at the Novi Expo Center, 43700 Expo Center Dr. Minnesota, Minneapolis November 16-December30 "2003 Holiday Exhibition and Sale"; at North ern Clay Center, 2424 Franklin Ave., E. Minnesota, Red Wing October 11-12 "Fall Festi val of the Arts"; downtown. For further information, e-mail [email protected]. Mississippi, Biloxi October4-5" 11 th Annual George E. Ohr Fall Festival of the Arts"; on the Town Green. Missouri, Clarksville, Louisiana and Hannibal November 1-2 "50 Miles of Art," fourth biennial show of open studios and galleries. Contact the Old School, Dixon Gallery, 515 Jackson, Louisiana 63353; tele phone (573) 754-5540. 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. November29-30 "Annual Fall Student/Faculty Craft Sale"; at the Craft Alliance, 6640 Delmar Blvd. Montana, Gallatin October 25 "Montana State University School of Art's 2nd Annual Mountain West Contemporary Art Auction"; at Gallatin Gateway Inn, 76405 Gallatin Rd. (Highway 191). Telephone (406) 994-4501. New Jersey, Millville October 4-5 "Festival of Fine Crafts Show and Sale"; at Wheaton Village, 1501 Glasstown Rd. New Jersey, Somerset October 31-November 2 "Sugarloaf Crafts Festival"; at the Garden State Exhi bition Center, 50 Atrium Dr. New York, Jeffersonville October 11 "First An nual Pottery Festival," presented by the Potters of Sullivan County; along Main St. Ceramics Monthly October 2003 100 New York, White Plains October 17-19 "The Westchester Craft Show"; at Westchester County Center, 198 Central Ave. (Route 119 at Central Ave.) North Carolina, Asheville October 16-19 "The Craft Fair of the Southern Highlands"; at the Asheville Civic Center, 87 Haywood St. North Carolina, Wake Forest October 4-5 "2003 Wake Forest Area Artists' Tour"; Wake Forest area and surrounding communities. For a brochure with map, telephone the Sunflower Studio, (919) 5700765 or the Wake Forest Chamber of Commerce, (919) 556-1519. North Carolina, Winston-Salem November 1416 "40th Annual Piedmont Crafts Fair"; at the M. C. Convention Center, Fifth and Cherry sts. Ohio, Columbus November 16-December 23 "Gifts of the Craftsmen Holiday Exhibition and Sale"; at the Ohio Craft Museum, 1665 W. Fifth Ave. Ohio, Toledo October 24-26 "Artworks Toledo 2003"; at the Seagate Convention Center, 401 Jefferson Ave., downtown. Oregon, Eugene October 11-12 "Clayfest"; at the Lane County Fairgrounds, 796 W. 13th Ave. Oregon, Portland October 11-12and 18-19" Port land Open Studios 2003," nearly 100 studios in met ropolitan 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, Lancaster November29-30 "Holi day State Craft Fair"; at Franklin and Marshall College. Pennsylvania, Philadelphia November 13-16 "27th Annual Craft Show"; at the Philadelphia Mu seum of Art, Benjamin Franklin Pkwy. at 26th St. November 14-16 "Mastery in Clay Auction," ben efit weekend and auction of works by over 200 artists. Contact the Clay Studio, 139 N. Second St., Philadel phia 19106; see website www.theclaystudio.org; or telephone (215) 925-3453. Pennsylvania, Richboro October 17-19" Fall State Craft Festival"; at Tyler State Park. Texas, Gruene (New Braunfels) October 25-26 "11th Annual Texas Clay Festival"; on the grounds of Buck Pottery, Gruene Historical District. Texas, Houston October 11-12 "Bayou City Art Festival"; downtown. For further information, see website www.bayoucityartfestival.com; or call (713) 521-0133. Virginia, Richmond November 7-9 "Craft and Design Show"; at Hand Workshop Art Center, 1812 W. Main St. Washington, Spokane November 7-9 "Inland Crafts"; at the Spokane Convention Center, 334 W. Spokane Falls Blvd. 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 perry/[email protected]; tele phone (870) 585-2308. California, Menifee October 25 Demonstration and slide lecture with Kevin A. Myers, throwing, alter ing, manipulating and handbuilding. Fee: $45; mem bers of Mt. San Jacinto College, $40. Contact the Fine Art Gallery, (909) 487-6752, ext. 1531 Colorado, Boulder February 21-22, 2004 Work shop with Matt Long. Fee: $100. All skill levels. Contact the Boulder Potters Guild, PO Box 19676, Boulder 80308; e-mail [email protected]; telephone (303) 447-0310 or (303) 444-0802. Connecticut, Brookfield October 11-13 "Throw ing on the Wheel" with Chris Alexiades. October 1719 "Myths and Legends in Clay" with Anna Siok; or 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://asuartmuseum.asu.edu; or telephone (480) 965-2787. Arkansas, Fayetteville October 25-26 "Printing Processes on Clay" with Kelley Wilks. Fee: $145; after October 4, $165. November 8-9 "Paper Clay" with Rosette Gault. Fee: $195; after October 18, $205. Contact Flat Rock Studio Clay Supplies, PO Box 1642, Fayetteville 72702; see website www.flatrockclay.com; or telephone (479) 521-3181. 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 Ceramics Monthly October 2003 101 "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) 7754526, ext. 102; or fax (203) 740-7815. Connecticut, Canton 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: $275. November 15-16 "Animal Sculptures" with Patricia Simons. Fee: $220. Novem ber 2 and 23 "Crystalline Glazes" with Tim Scull. Fee: $195. Contact Canton Clay Works Ik: website www.cantonclayworks.com; telephone (860) 693-1000. Connecticut, Stamford October 17-19 "Func tional Stoneware/Single Firing" with Steven Hill. Fee: $285. Limit of 15 participants. Contact Morty Bachar, Lakeside Pottery, 543 Newfield Ave., Stamford 06905; calendar e-mail [email protected]; or see website www.lakesidepottery.com; telephone (203) 323-2222. Florida, Sanford October 18 "Firing Your Electric Kiln." Fee: $35. For further information, contact Florida Clay Art Company, 1645 Hangar Rd., Sanford 32773; see website www.flclay.com; e-mail [email protected]; or telephone (407) 330-1116. Illinois, Chicago October 18 Workshop with Jason Walker. Fee: $60, includes lunch. October 26 and November 2 " Mosaic Workshop," bring an object (no larger than 14x14 inches) to be transformed by tile shards. Fee: $75. Contact Lillstreet Art Center, 4401 N. Ravenswood, Chicago 60640; see website www.lillstreet.com; or telephone (773) 769-4226. 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, Lake Forest October 11 "Pit Fire" with Chris Plummer. Fee: $55; nonresidents, $65. November 8 Lecture and demonstration with Xiaosheng Bi. Fee: $65; nonresidents, $75. Contact Chris Plummer, Ce ramic Studio Coordinator: e-mail [email protected]; or telephone (847) 615-7840. Illinois, Oak Park January 10-11 Workshop with Linda Christianson. Fee: $125. ContactTerra 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 tele phone (888) 822-1982. Kansas, Leavenworth October4-5 Workshop with ConnorBurnsatSt. MaryCollege. Contact Susan Nelson: [email protected]; telephone (913) 758-6151. Kansas, Wichita January 8, 2004 "Wood Firing" with Chris Arensdorf and Peg Malloy. Participants should bring 10-20 small to medium bisqued pieces. January 10-11, 2004 Workshop and lecture with Peg Malloy. Wood firing and workshop fee: $125; mem bers, $115. Workshop only fee: $75; members, $65. Lecture is free. Contact the Wichita Center for the Arts, 9112 E. Central, Wichita 67206; telephone (316) 6342787; or fax (316) 634-0539. Maine, Portland October4 "Creating with Cone 6 Porcelain" with Klara Borbas. October 11 "Sculptural Concerns" with Tacha Vosburgh. October 18 "Design ing 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 October 18-19 "Clay in Combination" with Lynn Duryea, large-scale slab construction. Fee: $160; members, $140. November 1-2 "Sensual Materials," hands-on porcelain work shop with Geoffrey Wheeler. Fee: $180; members, $160. January 12-16, 2004 "Working Wet" handson workshop with Gay Smith. Fee: $300; members, $280. Contact Leigh Taylor Mickelson, Baltimore Ceramics Monthly October 2003 102 Ceramics Monthly October 2003 103 calendar 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. Maryland, St. Michaels October 13-17 "55mph, No Wheels" with Julia Galloway. Fee: $1000, includes lodging. Contact Leigh Taylor Mickelson, Baltimore Clayworks, 5707 Smith Ave., Baltimore, MD 21209; [email protected]; see e-mail website www.baltimoreclayworks.org; telephone (410) 578-1919, ext. 18; or fax (410) 578-0058. Massachusetts, Somerville October 2 Visiting artist workshop with Michael Kline. Fee: $150; mem bers, $75. October 77 Slide presentation with Monica Ripley. Free. November 1-2 Visiting artist workshop with Malcolm Wright. Fee: $250; members, $125. 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 October 11-12 "Working with Extruders in the Search for Form" with Malcolm Wright. Fee: $190, includes materials. No vembers "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 October 11-13 "Ceramics Glazing: Techniques and Chemistry" with Sharon Pollock Deluzio. October 13-19 "Ceramic Tile Making: From Trivets to Floors" with Amy Schusser. October 19-25 "Painting with Fire: Primi tive 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 November8-9 "Poly chrome Cast Tile" with Frank Bosco. Fee: $225; mem bers, $200; includes materials. Contact the Worcester Center for Crafts, 25 Sagamore Rd., Worcester 01605; see website www.worcestercraftcenter.org; telephone (508) 753-8183; or (508) 797-5626. Michigan, Detroit October 11 "Freer and Pewabic: The Connection," lecture by Dr. Thomas W. Brunk. Free. November 1 Workshop with Marie Woo. Fee: $50; Pewabic & MCAA members, $40; students, $20. Contact Pewabic Pottery, 10125 E. Jefferson, Detroit 48214; see website www.pewabic.com; telephone (313) 822-0954; or fax (313) 822-6266. Minnesota, Minneapolis October 15 Slide lecture with Kirk Mangus. Free. October25-26 "Clay and Spirit," hands-on workshop with Tom Kerrigan. Fee: $160; mem bers, $150. November 7-10 "Wood-Fire Workshop: An English Influence" with Svend Bayer. Intermediate to advanced skill levels. Fee: $340; members, $320. Contact Northern Clay Center, 2424 Franklin Ave., E, Minneapolis 55406; e-mail [email protected]; see website www.northernclaycenter.org; telephone (612) 339-8007; fax (612) 339-0592. Minnesota, New London October 25-26 "Raku Rendezvous," raku firing with 6 different kilns and styles. Fee: $175; Minnnesota Craft Council and NLAC members, $125; students, $75; glazes included. Con tact New London Art Center, PO Box C, New London 56273; e-mail [email protected]; see website www.newlondonartcenter.org; or telephone (320) 354-1710. Missouri, Kansas City November 1-2 Workshop with Robert Briscoe. February 7-8, 2004 Workshop with Randy Johnston and Jan McKeachie Johnston. Fee: $120; members, $108. Contact Allison Zimmer, Red Star Studios: e-mail [email protected]; or telephone (816) 474-7316 Missouri, St. Louis October 11 "Content: What it Means to Be Present in Your Work" with Jeri Au. Fee: Ceramics Monthly October 2003 104 Ceramics Monthly October 2003 105 calendar $60; members, $45. November 8 and 15 "Making Molds for Clay" with Susan Bostwick. Fee: $95; mem bers, $80; includes materials. November 22 "Clay Whistles" with Michelle Katz-Reichlin. Fee: $45; mem bers, $35. December 13 "Ceramic Beads" with Mary Henderson. Fee: $64; members, $49; includes materi als. Contact Craft Alliance, 6640 Delmar Blvd., St. Louis 63130; e-mail [email protected]; see website www.craftalliance.org; telephone (314) 725-1177. 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 Mexico, Santa Fe October 4-5 "Functional Pottery: Exploring the Domestic Landscape" with Alleghany Meadows. Fee: $160, includes lab fee. Contact Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe 87501; see website www.santafeclay.com; or tele phone (505) 984-1122 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 [email protected]; telephone (212) 875-4129. October 4-5 "Handbuilding: Tricks of the Trade" with Vince Pitelka. Contact the Mudpit: see website www.mudpitnyc.com; or telephone (718) 218-9424. October 17-19, November 14-16 or December 57 "PMC Connection Artisan Certificate." Fee: $450, includes materials, tools and firing. October 18-19, November 15-16 or December 6-7 "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]; website www.silverclay.com;telephone (212) 947-6879. November 1-2 "Chinese Brush Making with Callig raphy and Decoration" with Jiansheng Li. Fee: $255; members, $230; materials included. November 7 "Jingdezhen: 1000-Year Celebration of Porcelain," lecture with Jiansheng Li. Fee: $8; members, $5. November8-9 "Yixing Teapot" with HeJian and Jiansheng Li. Fee: 255; members, $210. Contact Craft Students League, YWCAof the City of New York, 610 Lexington Ave., New York 10022; see website www.ywcanyc.org; or telephone (212) 735-9804. New York, Port Chester October 18-19 "History, Context and Contemporary Practice" with Walter Ostrom. Fee: $150. November 8-9 "What's Love Got To Do With It?" with Takeshi Yasuda. Fee: $150. December 10 "Dry Throwing" with Ayumi Horie. Fee: $75. December 11 "Zoomorphic Forms: Porcelain and Beyond" with Bernadette Curran. Fee: $75. Contact the Clay Art Center, 40 Beech St., Port Chester 10573; or telephone (914) 937-2047. New York, E. Setauket October 18-19 "Pouring Vessels," hands-on workshop with Susan Beecher. See website www.handsonclay.com; telephone (631)7510011; or fax (631) 751-9133. New York, White Plains November 12 "Narrative Clay Sculpture," hands-on workshop with Marlene Ferrell Parillo. "Traditional Wheel Throwing Tech niques" with Steven Rodriguez. Fee: $55; WCC stu dents, $35. Contact the Westchester Art Workshop, Westchester County Center, 196 Central Ave., White Plains 10604; telephone (914) 684-0094. 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, Bailey November 1-2 "Clay: An Ceramics Monthly October 2003 106 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, Summerf ield October 17-19" Kiln Building/Kiln Conversion," hands-on workshop with Mel Jacobson. Fee: $165, includes lunch. See website www.living-tree.netlschedule.htm; or telephone (336) 644-1032 North Carolina, Wentworth November 8-9 "Thrown and Altered Porcelain Pots" with Susan Filley. Fee: $100. Contact Carolina Clay Guild: [email protected]; or telephone (336) 275-1202. 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. 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, various raku techniques and experimental Cone 10 firings. Fee: $150. See website www.rakurhodyo.org; or contact Kate Champa: e-mail [email protected]; telephone (401) 351-1683. Or contact Kris Pedersen: e-mail [email protected]; telephone (401) 461-2069. Tennessee, Gatlinburg October 5-11 "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 "Mosaic 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, Austin October 18-19 "Bodacious Raku" with Randy Brodnax. Fee: $150, includes Saturday lunch and dinner. Contact Clayways Pottery Studio & [email protected]; see website Gallery: e-mail www.clayways.com; or telephone (12) 459-6445. Texas, Houston November 1-2 "A Session with Nick Joerling." Fee: $50. Contact Roy Hanscom, Art Dept., North Harris College, 2700 W. W. Thorne Dr., Houston 77073; or telephone (281) 618-5609. 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. 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 October 16-18 "Pots with Per sonality" with Suze Lindsay. Fee: $165. October 25-26 Workshop with Stephen Fabrico. Fee: $145. Contact Darlene Tsukamoto, Lee Arts Center, 5722 Lee Hwy., Ceramics Monthly October 2003 107 calendar Arlington 22207; e-mail [email protected]; see website www.erols.comlleearts; telephone (703) 2280558 or 228-0560. Washington, Bellevue November24-26 "Sculpt ing: The Clay Figurine" with Timea Tihanyi. Fee: $150; members, $135. January 15-16, 2004 "Memory and the Clay Figure," lecture and demonstration with Akio Takamori. Fee: $125; members, $112. Contact Bellevue Art Museum, 510 Bellevue Way, NE, Bellevue 98004; e-mail [email protected]; see website www.bellevueart.org; or telephone (425) 519-0745; or fax (425) 637-1799. Washington, Seattle October 17-19 Throwing demonstration with Chris Staley. Fee: $125. All skill levels. For further information, 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) 7226342; or fax (206) 723-2185. October 31 -November 1 Hands-on workshop with Gail and Robert Piepenburg. Fee: $165, includes lunch and raku firing. Contact Seattle Pottery Supply at (800) 522-1975. Washington, Suquamish October 18-19 "Thrown and Altered Vessels" with Ellen Shankin. Fee: $150. For further information, 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 October 30-November 1 "Story Platters and Bowls" with Renee Schwaller. Fee: $ 120, includes supplies. Contact Peninsula Art School, PO Box 304, 3906 County Hwy. F, Fish Creek 54212; e-mail [email protected]; see website www.peninsulaartschool.com; telephone (920) 8683455; or fax (920) 868-9965. International Events 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.comlworkshops. Belgium, Bellegem-Kortrijk October 12-December2 Herman Muys and Monique Muylaert; at Gallery Harmagedon, Sasboslaan 7. Belgium, Brasschaat (near Antwerp) November 15-16 "Ceramic Decoration Techniques" with Nettie Janssens. Fee: US$110, materials included. For further information, contact Patty Wouters, Atelier Cirkel, Miksebaan 272, B-2930 Brasschaat (near Antwerp); e-mail [email protected]; see website http:!!users.pandora.belatelier.cirkel; telephonelfax (32) 36 33 05 89. 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 October 2425 "Handmade Tableware," with Katrina Chaytor. Contact Shadbolt Centre for the Arts, 6450 Deer Lake Ave., Burnaby V5G 2J3; telephone (604) 291-6864. Canada, Ontario, Burlington through October 26 "Fireworks 2001," the biennial exhibition of FU SION: The Ontario Clay & Glass Association, through December21 " Recent Acquisitions," a selection of new work highlighting the donations to the permanent collection in 2002. October5-November2 "Burlington Potters Guild Annual Juried Exhibition"; atthe Burlington Art Centre, 1333 Lakeshore Rd. Canada, Ontario, Elora-Fergus October 4-5" 17th Annual Elora-Fergus Studio Tour," 37 studios in the Anguilla, Ceramics Monthly October 2003 108 Ceramics Monthly October 2003 109 calendar 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 January 4, 2004 "Art Deco 1910-1939"; at the Royal Ontario Museum, 100 Queen's Park. 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. October 15-18 "The 7th Annual Pottery and Glass Sale"; at the Barbara Frum Atrium, CBC Broadcasting Centre, 250 Front St., W. November 4-30 "New Work by Groundwork," works by Eriko Kakiuchi, Michelene Lewis, Wendy Mitchell-Burke, Cathleen Nicholson, Joanne Noordhuis and Sarah Raymond; at Distill Gallery, the Distillery District, 55 Mill St., Bldg., #56. Canada, Quebec, Montreal through October 25 Audrey Killoran; at the Canadian Guild of Crafts, 1460 rue Sherbrooke Quest. Czech Republic, Cesky' Krumlov through Octo ber 31 "Tenth Annual International Exhibition of Con temporary Ceramic Art"; at the Agency of Czech Ceramic Design, Prikra 246. Denmark, S kae I skor October 25 "Sculpture, Installa tion, Design" with MarekCecula. Fee: DKr 350 (approxi mately US$52); students, DKr 100 (approximately US$ 15); includes lunch. Registration deadline: October 10. Con tact Museum of International Ceramic Art-Denmark, Guldegaard, Heilmannsvej 31 A, 4230 Skaelskor; e-mail [email protected]; see website www.ceramic.dk; telephone (45) 5819 0016; or fax (45) 5819 0037. England, Alresford (near Winchester) October 625 "Drinking Vessels"; at Candover Gallery, 22 West St. England, Bath through October 11 Emily Myers, new high-fired terra cotta. October 20-November 15 Takeshi Yasuda, porcelain and creamware. November 24-December23 John Maltby, new ceramic figures; at Beaux Arts-Bath, 12/13 York St. England, Bovey Tracey through November5"Size Matters." October 30 Lecture with Blandine Ander son. November 15-December 31 "Surface Tension." November22 "Tile Decorating Workshop" with Penny Simpson. December 6 and 13 "Christmas Fair"; at the Devon Guild of Craftsmen, Riverside Mill. England, Edwinstowe through October 18 Phil Rogers; at the Oakwood Gallery, 4 Church St. England, Exeter through October 12 "Contempo rary Ceramics Exhibition"; at Woodbury Studio/Gal lery, Greenway, Woodbury. England, Leeds November 1-January 17, 2004 Jennie Hale, raku animal forms; at the Craft Centre & Design Gallery, City Art Gallery, The Headrow. 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 November 1 Edmund de Waal. Elspeth Owen. November 7-December 24 "Home for Christmas." Anthony Theakston; at Con temporary Applied Arts, 2 Percy St. October 1-31 "The Wonderful Marcel Wanders"; at Vessel, 114 Kensington Park Rd. October2-January 10, 2004 "The Human Figure"; at Cecilia Colman Gallery, 67 St. Johns Wood High St. October 7 6-25 Susan Disley. November 5-15 Sandy Brown; at Contemporary Ceramics, 7 Marshall St. November 5-28 Jennifer Lee; at Galerie Besson, 15 Royal Arcade, 28 Old Bond St. November 6-29 "Song: Chinese Ceramics, 10th to 13th Century"; at Eskenzani Limited, 10 Clifford St. Ceramics Monthly October 2003 110 England, Sherborne through October 11 Earthen ware by Paul Jackson; at Alpha House Gallery, South St. England, S. Ambersham near Midhurst through October 31 Exhibition including ceramics; at Peter's Barn Gallery, Beck House. England, Stoke-on-Trent through October 79 "Small but Perfectly Formed," selections from the Spode Museum Archive of Chelsea and Derby porcelain 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, through January 10, 2004 "Cats," functional and sculptural cats, lions and tigers; at Laburnum Ceramics Gallery. France, Nanqay October 2-December 19 Threeperson exhibition including ceramics by Gordon Baldwin. October 4-December 74 Three-person exhi bition including ceramic sculpture by Axel Cassel; at Galerie Capazza, Grenier de Villatre. France, Saint Quentin la Poterie through No vember 16 "Figures," including ceramics by Teresa Girones; at Terra Viva Galerie, rue de la Fontaine. France, Thionville November 28-December 17 "Terre Contemporaine Belgium and France," includ ing ceramic sculpture by Monique Muylaert and Herman Muys; at Centre Culturel Jacques Brel, 7, Place de la Gare, Square Jean Moulin. Guatemala, Antigua February 17-26, 2004 "Ceramics/Porcelain with a Mayan Touch" with Melinda Collins. Fee: $1850, includes airfare, tuition, lodging, breakfasts, ground transportation and field trips. Contact Melinda: [email protected] or [email protected]; see website www.artguat.org; tele phone (612) 825-0747; or fax (612) 825-6637. Hungary, Kecskemet October 2-13 Edit Nacsa and Szabolcs Zeke; at the Museum of the International Ceramics Studio, Kapolna 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. Contact Jim Danisch or Oma Judith Chase: e-mail [email protected]; see website www.jandjtrips.com; or telephone (707) 629-3335. Italy, Albisola through November 9 "Attese: Biennale of Ceramics in Contemporary Art (2nd Edi tion)"; at Ceramics Museum Manlio Trucco. Italy, Certaldo October 13-24 "Majolica Work shop" with Ron Meyers. May30-June 12, 2004 "Pots and People—Making Connections" with Chris Staley. Contact Lynne Burke: [email protected]; see website www.potteryabroad.com. Italy, Faenza through October 26 "The Golden Age of Maiolica: Italian Ceramics from the XV to the 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 through November 9 "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. See website www.denysjames.com/excursions/italy. Italy, Vado Ligure through November 9 "Attese: Biennale of Ceramics in Contemporary Art (2nd Edi tion)"; at Villa Groppallo. Korea, Cheongju City October 2-19 "3rd Cheongju International Craft Bienniale 2003"; at Cheongju Arts Center. Korea, Icheon through October30 "The 2nd World Ceramic Biennale 2003 Korea"; at Icheon World Ce ramic Center, Gwango-dong, San 69-1. Mexico, Oaxaca February 22-29, 2004 "Oaxacan ClayWorkshop" with Eric Mindling. Fee: $1050-$1300. Contact Oaxacan Clay: e-mail [email protected]; or see website www.manos-de-oaxaca.com. Netherlands, Amsterdam through October 15Yasuhisa Kohyama; at Galerie De Witte Voet, Kerkstraat 135. Netherlands, Arnhem through October 12 Raku by Patrick Jadot and Frangois Marechal; at Galerie Keramaikos, Oranjestraat 121. Continued Ceramics Monthly October 2003 111 calendar Netherlands, Delft through October 5 Ceramics by Canonne and Trevalinet. October 5 "Ceramics in Delft 2003," one-day demonstration, through Octo ber 25 Daphne Corregan. October 11 -November 22 Peter Lane. November 1-December 13 Michael Cleff; at Terra Keramiek, Nieuwstraat 7. Netherlands, Deventer through October 4 An drew Walford. October 12-November 8 Nicholas Homoky, Gustavo Perez and Johan van Loon. Novem ber 16-December 27 Nathalie Montarou, Brigitte Penicaud and Claude Varlan; at Loes and Reinier, Korte Assenstraat 15. Netherlands, Laren November 2-December 15 Barbara Nanning, "Evolution"; atthe Singer Museum, Oude Drift 1. Netherlands, Leeuwarden October 25-December28 "White Porcelain"; at St. Joseph Gallery, Frederik Ruyschstraat 10. Netherlands, 's-Hertogenbosch October 18-19 "Glaze Workshop" with Ian Currie; at the European Ceramic Work Centre, Zuid-Willemsvaart 215. Con tact NVK, Rob Muylaert, Bontebrug 6, NL 7064LK Silvolde; e-mail [email protected]; telephone 31 315 631913; or fax 31 315 640518. 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. Republic of China, Taiwan through January 5, 2004 "The Third Taipei Ceramics Award Exhibition"; at Taipei County Yingge Ceramics Museum, 200 Wenhua Rd., Yingge Jen. November 15-December 74 Three-person ceramics exhibition—Ching-Yuan Chang, Keith Ekstam, Howard Koerth; at Ghu-Yun Art Gallery, Yingge Village, Taipei. Scotland, Edinburgh October 6-29 "The New Wave," 12 makers from Scotland and Wales, including ceramics by Lowri Davies, Sophie Lowe and Will Levi Marshall. November 3-26 Jane Hamlyn. November 29-December 24 Craig Mitchell; at the Scottish Gal lery, 16 Dundas St. Scotland, Fife through October 19 "Applied Art with a Japanese Aesthetic," including works by Peter Jones and Maggie Zerafa; at Crawford Arts Centre, 93 North St., St. Andrews. South Africa, Cape Town, Foreshore October 518 "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 through October 11 Angel Garazza; at Aramburu Palace, Plaza Santa Mari 1. Switzerland, Carouge through November23 " Prix de la Ville Carouge: La Cuillere Ceramique"; at the Musee de Carouge, Place de Sardaigne 2. Switzerland, Kirchberg November 1-December 14 "augenblicken," sculpture exhibition including ce ramics by Herman Muys; at Kunstforum Kirchberg, Eystrasse 66. Wales, Ruthin through November 2 Christine Jones, new ceramics; at the Gallery, Ruthin Craft Centre, Park Rd. 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. Ceramics Monthly October 2003 112 questions Answered by the CM Technical Staff Q I have been making large sculptural pieces, using sculpture clay with grog and Kyanite added for strength. I bisque fire the pieces to Cone 04, then apply various washes, as well as a thin coat of glaze in certain small areas. I then refire to Cone 04 again. The pieces are then sawdust fired outdoors in a metal container that has small holes made in the wall for air circulation. The pieces are removed from the container when cool. Unfortunately, I have production of large forms. Grog is frequently added for texture, increased working strength and Uniformity of drying and the relief of internal decreased dry shrinkage. Most grogs will not stresses are the primary benefits of mixing particusignificantly lower thermal expansion, because they late tempers into clay bodies. These materials mayare simply a fired clay. Grogs do aid slightly in be added in percentages of up to about 40% of thepreventing cracks, because internal stresses in the total batch. Your personal forms, the other clay fired clay can be relieved around the space between materials in your clay body and your construction the clay matrix and the grog particle. From your description of your work, I am style will dictate the amount you choose to use. Grog, which is crushed and fired clay, and assuming that the individual pieces are larger than Kyanite, which is a sillimanite 2, both decrease dry1 foot in every direction and have a wall thickness and fired shrinkage in clay bodies. Kyanite also hasof more than ½ inch. If this is correct, and you are low thermal expansion. This makes it an ideal subjecting this ware to the stresses of smoke firing, additive for raku clay bodies and for pit firing or where the surface temperature may reach 1500°F smoke firing. Kyanite may also be added to a clay (800°C) in a very narrow band around the work, body to give texture and some tooth for easier you must realize that the thermal expansion be tween the heated and unheated areas of the pieces is significant. You must also understand that the internal portions of the piece will not be subject to the same temperatures as the exterior, which is closest to the relatively small heating area of a smoke firing. With both of these situations of thermal expansion taken into consideration, the forces you are placing on your clay are tremendous. Replacing all of your grog with Kyanite will relieve some of the thermal stress problems you are facing. A second remedy to the differential expansion and contraction of your sculpture is to devise a method of heating and cooling the entire piece evenly. If your work is small enough to fit into a lidded steel drum or container, you can get even smoking more easily. You can also construct a large stainless-steel container for your large pieces. Place the object in the container with a small amount of combustible material (about an inch on the bot tom of the container), such as sawdust, wood chips or grain, and place the container in a kiln. Then raise the temperature of the kiln, over a period of a few hours, to low red heat—between 1000-1200°F (570-650°C). This technique will thoroughly smoke the object without adding undue thermal stress, because you heat the object relatively evenly. Due to the heavy smoke emitted from the con tainer, it is advisable to do this in an outdoor kiln. Another technique that many potters use is to place the warmed sculpture in a wire basket, sur round it with lightly packed newspaper and light the paper. It will burn rapidly, and carbon from the burning paper will leave a beautifully figured pat tern on the surface. Because the work is not overly heated, cracking can be kept to a minimum. You can also add nonflammable resists, such as alumi num foil or damp paper, to the outside of the work to prevent the smoke from reaching specific areas. In a nutshell, the key to smoke firing objects larger than 8 inches in any direction is very even heating, or preheating the ware evenly to a tem perature above 500°F (275 °C). cracking of the pieces occur during the sawdust firing. What can I do to reduce cracking?—R.W. had considerable W. Lowell Baker The University of Alabama Tuscaloosa, Alabama 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 PL, Westerville, OH 43081, e-mail to [email protected] or fax to (614) 891-8960. Ceramics Monthly October 2003 114 Ceramics Monthly October 2003 115 Ceramics Monthly October 2003 116 Ceramics Monthly October 2003 117 Comment I that would be just ridiculous, don't you think? The other day, two people came into my studio. It turned out to be a mother and son. The mother was in her late 70s or early 80s. The son was well into his 50s. Both were rather poorly dressed. The mother wore a Goodwill skirt and blouse. The son was wearing very thick, old glasses, which were scratched and smudged. His t-shirt did not cover about 4 inches of his pendulous midriff. I greeted both of them, as I always do, remembering that everyone can appreciate pottery, even if they may not be able to pur chase it. We exchanged some pleasant con versation, and I learned that it was their first time in the studio. While I did not expect them to be customers, I spent four or five minutes giving them the “lay of the land”: showing them our line of production work in the showroom and describing some of the one-of-a-kind works in the gallery. They thanked me and made a beeline straight for the gallery. After only a few moments, the mother came back to where I was working, holding one of my finer wood-fired pieces, a flattened bottle that sits on three feet. It was priced at $295. “This is remarkable,” she said. “I must have this. This is a special process, isn’t it? Do you have anything to describe this pro cess? Something written?” (She obviously had a well-developed sense of visual literacy.) I told her that I did have something written, and that I would get it for her. As I walked into my office, I “clunked” myself on the head, reminding myself again how important it is to avoid making quick judgments based on appearance, how unnec essary and hurtful it can be to wear an elitist attitude on one’s sleeve, and what a remark able experience it is to have one’s stereotypes rearranged. And I would have to admit, if I were to be forthcoming, that for a moment I think I offered myself a smug and unde served pat on the back for not having en tirely overlooked these customers. As I returned to the sales counter and was beginning to package the pot, the mother said, “You know, this is for one of my daugh Ceramics Monthly October 2003 118 Dick Lehman ters. I have a second daughter who might like one of those vases that hang on the wall. Let me go look at those again.” She walked back into the gallery and, with hardly a moment’s hesitation, went straight to what I considered to be the finest wood-fired wall vase in my collection. “This is perfect. I’ll take it!” Back at the check-out counter, I was busy taking price tags off and gathering the fabric draw-string bags, in which I put my best work, before packaging. At this point, the mother asked a thoughtful and sensitive ques tion. “You know, I can pay you with traveler’s checks or a credit card. Which do you pre fer?” I told her that I paid less commission on the traveler’s checks and thanked her for the kind offer. She pulled out the checks and began to fill in the date. It was at this point that I noticed she only had two $50 traveler’s checks on the counter (and she had $600 worth of pots sitting next to them). Knowing that once a traveler’s check is filled out it must be used, I interrupted her in a rather abrupt way. “You know, this is going to be rather awkward for me, but I must bring this to your attention. I am no ticing that you have only two $50 traveler’s checks there.” “Yes?” she wondered. “Well,” I said, “you have two pots here that are both two-ninety-five.” “Two-ninety-five,” she repeated, “and?” “Two hundred and ninety-five dollars— each,” I said. There was a huge pause as she drew in a great breath of air. “Two hundred and ninetyfive dollars, each!?’ she asked incredulously. “Why—why that would be just—just ridicu lous! Just ridiculous!! Don’t you think? Don’t you think?” At this point, I made what was perhaps a well-tempered retailer’s knee-jerk response (not taking offense at the implication of her question, not losing control, but perhaps, also, not directly addressing her question). I tried to sidestep the issue by automatically responding with a compliment. “Well, you know, I was so delighted that you selected Ceramics Monthly October 2003 119 comment two of my finest pieces. You obviously have a well-developed visual literacy and you appre ciate. . S h e was having nothing of the com pliment. Before I could finish my sentence, she leaned over the counter, getting a little closer to my face, and with eyes squinted and intensity in her quiet voice, asked again: “It would be ridiculous, don’t you think? Why, if I paid $300 each for these two pots, my dead husband would come back from his grave and pay me a visit!” If there is anything that I pride myself on, it is in maintaining some semblance of pro priety in difficult situations, not getting too ruffled, and maintaining a sense of humor. But, at that moment, a kind of magical and uncontrollable transformation occurred in me. It was as if I could see myself leaving my own body, drifting away to a safe distance. Then, I was absolutely shocked (and a little horrified) as I heard myself say, “Well gee, if you could get your dead husband back for only $600, that would be a hell of a deal, don’t you think!?” I cannot describe the deafening silence that next occurred, nor the absolute unread ability of her face. I wanted desperately to disappear, or to conjure myself back in time to negate this horrible faux pas. There was a gasp and, for a moment, I didn’t know if she was going to have a heart attack or if she was going to slap me. Then she cocked her head, some of the intensity draining from her face, and she sighed out a laugh, saying, “Well, that would all depend on what kind of a mood he was in!” I did my best to recover my senses and to regain a little dignity. I said, “Well, I suppose you and I will both have good stories on each other. I’ll just put the price tags back on these pots and return them to the gallery.” I did so, fully expecting to see that these two had already made tracks out of my studio. But instead, I overheard the mother saying to the son, “I still think we can find some thing, don’t you?” Then, spying the brie bakers in the production-pottery portion of our showroom, the mother looked at me and pointed to the bakers. “That pot’s kinda small. What does that price tag say?” It was at this point that I realized neither mother nor son could see well enough to read anything, let alone the small printing on my price tags! “The brie bakers are eigh teen-ninety-five,” I said. The mother squinted her eyes again and walked over to me, gently touched my elbow and, grinning, said in a low tone, “Now honey, are you saying eighteen-hundred and ninety-five dollars, or eigh teen ninety-five?” I laughed. We all laughed. I assured her that they were each priced at less than twenty dollars and that she could buy one for each of her daughters for less than the amount of one of her traveler’s checks—and she did! I remain grateful, each day, for the lessons offered by regular contact and relationships with the retail public. The author Dick Lehman operates a production and retail studio and gallery in Goshen, Indiana. index to advertisers A.R.T. 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