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CERAMICS MONTHLY
focus business
M O N T H L Y
April 2006 $7.50 (Can$9, h6.50) www.ceramicsmonthly.org
focus workshops
APRIL 2006 $7.50 (Can$9, E6.50)
www.ceramicsmonthly.org
John Andruss and Donna Potter
E-mail: [email protected]
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Ceramics Monthly April 2006
1
M O N T H LY
www.ceramicsmonthly.org
Editorial
[email protected]
telephone: (614) 895-4213
fax: (614) 891-8960
editor Sherman Hall
assistant editor Renée Fairchild
assistant editor Jennifer Poellot
technical editor Phil Berneburg
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publisher Charles Spahr
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design Paula John
production Jami Flannelly
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Editorial Advisory Board
Linda Arbuckle; Professor, Ceramics, Univ. of Florida
Tom Coleman; Studio Potter, Nevada
Dick Lehman; Studio Potter, Indiana
Meira Mathison; Director, Metchosin Art School, Canada
Don Pilcher; Potter and Author, Illinois
Bernard Pucker; Director, Pucker Gallery, Boston
Phil Rogers; Potter and Author, Wales
Mark Shapiro; Worthington, Massachusetts
Susan York; Santa Fe, New Mexico
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2
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APRIL 2006 / Volume 54 Number 4
M O N T H L Y
focus workshops
32
Common Wealth: A Workshop in Jamaica by D Wood
Doug Casebeer and David Pinto have strong connections with
Jamaica. When they partnered to develop a workshop program there,
they made sure the endeavor would result in a symbiotic relationship
between the indigenous culture and workshop participants.
36
Summer Workshops 2006
Workshop opportunities in ceramics abound in the U.S. and abroad,
especially during the summer months. We’ve done our homework
and have put together a workshop listing with all the details needed
to plan an educational getaway.
features
40
Jan Schachter: Potter by Linda Mau
A California artist is committed to making well-crafted pots
that are unapologetically functional.
monthly methods Stamped Slab Plates by Jan Schachter
recipes Cone 10 Reduction Glazes
44
Musk Thistles and Sweet Gumballs
New Interpretations by Jess B enj amin by Kim Carpenter
46
Threads: Laura Peery by Ed Wargo
Playful forms connect materials from the past and present
to evoke childhood memories.
monthly methods Stitching it all Together by Laura Peery
50
Lynn Lais by Phyllis Blair Clark
A potter pursues the work he loves while educating the public
on traditional crafts in a unique artisan village.
monthly methods Glazing and B rushstrokes
recipes Cone 11 Glazes and Slips
cover: Storage jar, 9 in. (23 cm) thrown
stoneware with Black Oak Wood Ash
Glaze, fired to Cone 10 in reduction;
Square plate, 14 in. (36 cm), slumped,
impressed slab with Laura’s Turquoise
Glaze, by Jan Schachter, Portola Valley,
California; page 40. Photo: Richard Sargent.
44
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46
50
departments
10
letters from readers
14
upfront reviews, news and exhibitions
22
galleries in this issue
26
answers from the CM technical staff
30
suggestions from readers
30
78
Tip of the Month: Cone Sighting
call for entries
78
78
80
82
International E xhibitions
United States E xhibitions
Regional E xhibitions
Fairs and Festivals
84
new books
86
calendar
86
86
87
88
89
89
92
20
Conferences
Solo E xhibitions
Group Ceramics E xhibitions
Ceramics in Multimedia E xhibitions
Fairs, Festivals and Sales
Workshops
International E vents
94
classified advertising
95
index to advertisers
96
comment
Workshops: A Different K ind of Schooling
by Kelly Averill Savino
online www.ceramicsmonthly.org
current features, expanded features, archive articles, calendar, call for entries and classifieds
expanded exhibition reviews
Maurice Savoie: Playful Matter
E xpanded review and more images of Savoie’s work
special listings
Gallery Guide
Where to see ceramics in the U.S. and abroad
Residencies and Fellowships
Full listing of professional-development opportunities
E verything you need to plan an educational getaway
18
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20
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9
letters
Food and Pots
Handmade pottery could play a greater role
in American food culture if it was marketed
in such a way as to make it accessible to the
American public—through television. With
cable TV stations such as the Food Network, or HGTV (Home and Garden Television), there is an audience that desires to
be educated. Who can do this? I think
maybe gallery owners or the Potters Council might want to rethink marketing efforts
and perhaps collaborate to fund spots on
television shows that educate the public.
Why not follow an advertising formula that
convinces the public that our products will
enhance one’s lifestyle and status?
It may be hype, but that is what has
worked for so many products that are marketed in our society (from kitsch to great
inventions). It is difficult to compete with
mass-produced imported pottery that sells
for much lower prices. At a large store, I
noticed a price tag of 79¢ for a 6-inch soup
bowl that looked hand thrown. Two college
students were buying these bowls as I dis-
cussed with them how these prices hurt the
handmade pottery market. They replied
that, if they could make their own bowls,
they would!
We live in a culture of immediate gratification, fast food and a growing lack of
appreciation for the art of handmade objects (due to funding cuts in school art
programs and rising energy costs).
Perhaps education and marketing would
help those who create handmade pottery
become sought after instead of being considered producers of items that only the
wealthy and educated can afford. Perhaps
with exposure and education, those who
previously would not consider eating off of
a handmade plate might decide to purchase
and use our products.
Maybe through television, potters and
gallery owners could expose the public to
what it means to relax and enjoy a meal
served on a handmade piece. Perhaps there
would be fewer eating disorders?
Carol B. Eder, St. Louis, MO
Functional
The February cover is beautiful. Clean,
precise and exquisitely handcrafted pottery.
I also enjoyed the write up on Oregon
potter Ellen Currans who made the beautiful pots. It’s a nice change, thanks.
Ingeborg Foco, St. James City, FL
Rap is the Answer
I think much of the controversy and tension
caused by the Jack Troy article (“Still Life:
The Rarified Domain,” September 2005
CM) could be solved if we in the clay community would just start listening to more
rap music.
Todd Holmberg, St. Paul, MN
Rascal Ware Foot Fetish
In response to Georgette Ore [advertisement, page 85, March CM], I wish to
address a number of concepts she put
forth. Without an example, I would still
bet that there have been a number of
women who have used seashells in their
clay work. While art may contain a masculine or feminine quality, that quality is
recognized by the time period, society and
prevailing prejudices. I would hope for the
day when art and aesthetics are judged
without a gender factor. I believe the
human condition is without a sexual identity at its core. In the end, we are human
beings, all on one team regardless of sex,
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10
“Pots seem to throw themselves on these wheels”
—Robin Hopper
Ask a potter who owns one.
Photo by Judi Dyelle
11
800-848-9565
letters
of making, the same as finger marks on the
side of a pot. This can be done analytically or
spontaneously and either approach can be
successful. Whatever aesthetic appears from
race or religion. If we stereotype, we expose the use of seashells can be the result of unpracticed circumstance without dependency
our bigotry.
on evolution or improvement. Let’s give
There may be cheap tricks, but there
cannot be stolen aesthetics. Aesthetics is like credit to the end result regardless of its origin.
The comparison of this approach to the
mercury; the moment you put your finger
on it, it runs off in a new direction. Aesthet- foot of a pot with men on the hunt could
just as easily be compared with women
ics is universal, without boundaries, and
picking berries. B oth have validity when
free for everyone’s use.
equated with a nonlogical scenario, but
Let’s not confuse aesthetics with techboth smack of prejudice.
nique. The use of seashells may be a mark
We must keep in mind how short our
lives are in the history of humankind. What
was practiced centuries ago is still brand
new to young people today. History must
not be thrown out for the sake of what we
think is originality. The final aesthetic
should come from honesty and its
infl uences irrelevant to the outcome.
Please realize that my intention for this
response is to voice my opinion. I appreciate opinions and hope they are accurate and
honest. Maybe I have played an educator’s
role and caused some thought about art
and aesthetics.
Tom Supensky, Aiken, SC
What Do You Think?
• To what extent, if any, does gender affect
aesthetics? To what extent does it affect technique? E-mail comments (with your full name
and address) to [email protected].
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Exhibition Coverage is a Hit
The U pfront section in your magazine is a
favorite with me. I especially enjoy reading
reviews of new and different exhibitions,
such as “Perspectives 2005” in the February
2006 issue. K eep up the excellent coverage.
Bob Marable, High Shoals, GA
Visual Inspiration
I guess I have finally reached that age where
I am starting to say things like, “I can remember when we were excited to find three
or four color examples of pottery in an
issue.” Well, y’all have outdone
yourselves! The articles are wonderfully
diverse as well as informative. The beautifully photographed examples of work add so
much to understanding the creative process
and infl uences. This is a visual craft, after
all, and I for one want to thank you for
such a beautiful and inspiring magazine.
Ann Currie, Sterlington, LA
Correction
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12
On page 22 of the March issue, it was
stated that works by J.D. Perkin were on
view at the Frost Art Center at Clark College in Portland Oregon. Clark College is
actually located in Vancouver, Washington.
We regret this mistake, and encourage
readers to visit www.clark.edu and click on
“Archer Gallery” to explore everything that
is happening in the college galleries.
Read more Letters online at www.ceramicsmonthly.org/letters.
Submit letters by e-mailing [email protected]. Include your full name and address. Editing for clarity or brevity may
take place. Letters also can be mailed to Ceramics Monthly, 735
Ceramic Pl., Suite 100, Westerville, OH 43081.
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13
upfront
reviews, news and exhibitions
14
Rose Cabat: Feelies
by Judy Seckler
Couturier Gallery, Los Angeles, California
16
by John Grande
Musé e des beaux-arts de Sherbrooke,
Sherbrooke, Q ué bec, Canada
16
Dirk Staschke
Wexler Gallery, Philadelphia, Pennsylvania
18
Fired Up
Shrine Temple, Macon, Georgia
18
Jane Perryman
Ronald Pile Gallery, E ly, E ngland
18
The Family of Clay
California College of the Arts,
Oliver Art Center, Oakland, California
20
Woody Hughes
Andrews University, Architecture Resource
Center, B errien Springs, Michigan
20
Potters Participate in ACC
Mentor Program
B altimore, Maryland
22
Mark Chatterley
Longstreth Goldberg Art, Naples, Florida
22
Great Pots
UB S Art Gallery, New York City
Top left: “Round/Turquoise,” 6 in. (15 cm) in height, 2005.
Top right: “Pear /Light Brown,” 4¹⁄₄ in. (11 cm) in height, 1960s.
Middle left: “Inverted Pear/Robin’s Egg,” 5¹⁄₄ in. (13 cm) in height, 2005.
Middle center: “Inverted Pear/Yellow,” 3¹⁄₄ in. (8 cm) in height, 2005.
Middle right: “Squat/Green,” 2³⁄₄ in. (7 cm) in height, 2005.
Bottom left: “Mineret/Onion Skin,” 3³⁄₄ in. (8 cm) in height, 2005.
Bottom right: “Squat/Cobalt,” 2³⁄₄ in. (7 cm) in height, 2005.
All pieces are thrown porcelain by Rose Cabat.
14
Rose Cabat’s “Round/Light Green,” 3¹⁄₂ in.
(9 cm) in height, thrown porcelain, 1960s;
at Couturier Gallery, Los Angeles, California.
review:
Rose Cabat: Feelies
By Judy Seckler
Patches of bright turquoise accent “Round/Turquoise,” a metallic
It wasn’t hard to spot Rose Cabat in the crowd that gathered at the
charcoal-colored sphere. The contrast of the turquoise, emerging
Couturier Gallery (www.couturiergallery.com) in Los Angeles for
from behind the framework of the cool, sophisticated metallic
the opening of “Feelies,” an exhibition that runs through April 1.
color seems positively sunny. By contrast, Cabat has used crystalThe 91-year-old artist’s rich purple pantsuit echoed the jewel tones
lized glaze for “Inverted Pear/Robin’s Egg,” which is similar in
frequently used in her fine porcelain ceramics. She was joined by
shape to a light bulb or a miniature hot-air balloon. The flecks of
98-year-old Otto Natzler, who, along with his wife Gertrud, left
turquoise dance across the lavender surhis own mark on the ceramic world.
face, which, in turn, glows.
The two artists hadn’t seen each other
Cabat’s glazes don’t just kiss a pot’s
in forty years.
surface. The color pools, drips, swirls
Set against the pristine white walls
and glows. There are random, contrastof the narrow gallery, Cabat’s feelies
ing bands of color on many of the pieces
have a sensual glow. The name (which
displayed, but there are also hints of an
the artist coined in the 1960s to deequally intriguing interior world. This
scribe her tiny-necked forms that reis an artist who handles color with the
semble odd-looking light bulbs, baby
same confidence as painters Georgia
squash, pieces of fruit and rounded
O’Keefe and Mark Rothko.
cylinders) while catchy seems almost
Several of Cabat’s forms are like stilltoo lightweight to do justice to her
life fruit; good enough to eat! A small
entire aesthetic. In most of the 52
vessel, about 2 inches in height, sits like
pieces in the show, Cabat has achieved
a flattened pomegranate covered in a
elegance based on the silky feel of the
luscious Granny-Smith-apple green acclay’s surface and its matt finish. Cabat
cented on top with splashes of crystalremains largely self-taught except for
lized lemon.
her luminous glazes, the product of
Cabat’s use of glazes is the product
University of Hawai’i coursework in
of hundreds of test strips. Her experideveloping glaze formulas.
“Pear/Lavender,” 4 in. (10 cm) in height,
menting went on for fifteen years, pourThe surfaces of her pieces are the
thrown porcelain, 2005.
ing over notes to figure out formulas,
first thing that catches the eye. “There’s
according to her daughter, June Cabat.
motion in the surface,” noted gallery
The artist modestly chalks up a lot of her results to chance.
director Darrel Couturier, who waited 21 years to mount a show
Although when asked about her firings, she would only say she
of Cabat’s work. Cabat’s pieces have to be experienced. Photografires up to Cone 12. She explained that there are other factors that
phy doesn’t capture the nuances present or the connection the eye
play into the final glazed piece. Oxides vary from company to
makes to the colors. From the smallest 2-inch-high piece to the
company producing variations among the glazes, and her kilns are
more robust 9-inch-high piece, all the work has an emotional
located outdoors so the weather affects the final outcome.
quality. Her use of color is brilliant and timeless.
If there is a downside to Cabat’s work, it is her choice of forms.
She avoids giving her pieces pompous titles, they are known
One can only wonder what she might have created if she had
simply by their dominant color or by their connection to nature.
15
upfront
gone beyond her limited universe. Some of her contemporaries like
Vivika and Otto Heino, and Harrison McIntosh were more expansive
when it came to creating a variety of objects. So, some viewers might be
bored by the repetition of her forms, while others see the beauty. B ut
Cabat’s answer is that porcelain is a material that lends itself to smaller
forms. B efore feelies, Cabat made lanterns, birdhouses, household
dishes and functional ware. Feelies were the shapes living inside her.
There is a series of photographs of Cabat’s studio at the entrance of
the gallery. A small, modest shed on the side of her Tucson home,
where she’s worked for some sixty years, adds an appreciation to her
artistry. While her pieces can be complex, the simplicity of her surroundings helps her achieve it.
Cabat’s routine involves four to five hours a day over an impressive
four-day work week, making small concessions to her process now that
she uses a wheelchair. She wedges her clay sitting down. A helper stacks
her kiln and washes the shelves clean of glaze, but otherwise she works
without assistants, as has been her habit throughout her working life.
Some of the pieces in the show were made as recently as two months
ago, according to Couturier.
When asked why many ceramics artists have such long and productive lives, Cabat didn’t hesitate, “We haven’t finished. We have to keep
going,” she said.
the author Judy Seckler is a contributor to Ceramics Monthly and a
Los Angeles-based freelancer who writes about art, architecture and design.
were an archaeological experience configuring these works. Many focus
on travel or transport, but do so with a childlike sense of play. Moving
into the paved terrain of today’s post-consumer culture, Savoie has put
together an SU V that is part Roman charioteer’s vehicle and part
child’s construction. A fish or snake head extends out of the side while a
miniature charioteer can be seen at the top of a series of steep steps in
back of the piece. The multicolored surface and variegated textural
effects are pure tactility, and as with other such works on view, they
acquire the character of an embossing that feels recycled and full of
fun. The message is that everything can potentially become something
else and could be reconfigured yet again. “Shang Y ang” (1 994 ) is even
more invented and has a reptilian frontal face emerging out of cloudlike
formations that are its main structure.
The distinction must be made between art and design, for Savoie is
as much an artist as he is a ceramist. Maurice Savoie: Playful Matter is a
fitting tribute to one of Q ué bec’s foremost ceramists.
For an expanded version of this review with more images of Maurice
Savoie’s work, see www.ceramicsmonthly.org.
Dirk Staschke
New sculpture by Vermont artist Dirk Staschke is being exhibited
through May 2 at the Wexler Gallery (www.wexlergallery.com) in
Philadelphia, Pennsylvania. A portion of the proceeds from this exhibition will be donated to the Clay Studio, also in Philadelphia.
by John Grande
A fl air for the surreal where myths are recreated, rephrased and combined, characterizes Maurice Savoie’s ceramic sculpture. Here is a
hybrid fantasy in a post-modern world if ever there was one. Each
original meaning has been reborn in a world where reference points
have shifted and encounter new and variegated infl uences. His forms are
fantastic and have some of
that playful genius of Paul
K lee’s drawings, but in
three dimensions. Savoie’s
work acquires its character
and is born out of the
artist’s imagination, as evidenced in the forty exMaurice Savoie’s “Shang Yang,” 17 in. (43 cm)
amples on view recently in
in length, 1994; at Musée des beaux-arts de
Sherbrooke, Sherbrooke, Québec, Canada.
“Maurice Savoie: Playful
Matter” at the Musé e des
beaux-arts de Sherbrooke (www.mbas.qc.ca) in Sherbrooke, Q ué bec,
Canada. More decorative than practical, they eschew a certain confidence
that comes with working in the ceramic medium for decades. In 2004 ,
he won Q ué bec’s prestigious Prix Paul-Emile B orduas award (the first
representative of a craft medium to win the prize), and the Saidye
B ronfman Award for excellence in fine crafts. Savoie also has gained
international recognition for his work, not only in Europe but also Asia.
Savoie will actually recycle studio cast aways and fragments from
earlier experiments, and they bring a special quality to his work, as if it
Dirk Staschke’s “Cornucopia,” 22 in. (56 cm) in height,
handbuilt stoneware, with underglaze and glaze, fired to
Cone 6; at the Wexler Gallery, Philadelphia, Pennsylvania.
“B eing a child of postmodernism, I feel somewhat confl icted by the
opposing notions of beauty,” stated Staschke. “My thoughts about
ornament oscillate between that of a sumptuous sanctity of beauty and
superfl uous crap. My skepticism of manmade beauty stems from the
daily bombardment of images and objects that have been studied and
16
STEVE TOBIN
exploded earth
april 8 to july 1
catalog ava i l able
340 S. Garey Avenue • Pomona • CA 91766
tel 909.865.3146 • www.ceramicmuseum.org
wed. - sat. • 12
17
- 5 pm (second saturd ay of each month until 9 pm)
upfront
refined to fit my specific demographic and price point. At times it
seems beauty is only a formula for enticing consumption.
“Unlike public sculpture, my work incorporates ornament and the
figure by reconfiguring and distorting them in order to build sculptures
that convey an irrationality of form without regard for setting or
context. Figures are often shorn off unexpectedly or joined in a strange
and grotesque manner. It is this overlay of the rational and irrational,
the beautiful and the grotesque that most interests me.”
Fired Up
“Fired up,” a regional ceramics exhibition sponsored by Macon Arts
(www.maconarts.org), is on view through April 9 at the former Shrine
Temple in Macon, Georgia. The invitational show and sale will include
both functional ceramics and sculpture.
Bogart, Georgia, artist Cheri W ranosky, who was featured as an
emerging artist in the May 2005 CM, is one of the artists included in
the exhibition. “My conceptual and narrative work reflects my view of
the human condition as we react and interact with our surrounding
environment,” W ranosky said. “I quite often combine my roughly
textured coil and slab handbuilt pieces with found and recycled objects. The object can influence the outcome, which is sometimes
surprising and sometimes disturbing.”
Jane Perryman
W orks by Hundon, England, artist Jane Perryman will be exhibited in
a collaborative exhibition with photographer Graham Murrell through
April 16 at the Ronald Pile Gallery in Ely, England. Jane Perryman and
Graham Murrell have worked together for some years and, for the first
time, this exhibition will show the results of their increasingly
close collaboration.
Perryman explained that her recent sculptural work has partly
evolved through relationships of form, which have been revealed through
Jane Perryman’s “Balancing Vessels,” 27 cm (11 in.) in height, handbuilt and
burnished porcelain/stoneware mix, inlaid with lime, smoke fired in a saggar
with sawdust, then polished with beeswax; at Ronald Pile Gallery, Ely, England.
the process of photography. “These composite pieces are concerned
with ambiguity, tension and balance,” she said. “There is a point of
tension where the lines and curves of the two forms meet, and an
element of ambiguity in their perceived weight or internal spaces. The
tactile quality of the burnished surface invites touching and handling
so that the bowl can be repositioned, challenging the convention that a
pot has a single stance.”
The Family of Clay
Cheri Wranosky’s “Missing Peace,” 16 in. (41 cm) in height,
handbuilt terra cotta, with underglazes and stains, wood;
at the former Shrine Temple, Macon, Georgia.
“The Family of Clay: CCA Ceramics 1950– 2005,” an exhibition of
works by alumni of the California College of the Arts (CCA), was on
view recently at the Oliver Art Center on the Oakland campus of CCA
(www.cca.edu). The exhibition surveyed work by graduates of both the
B.F.A. and M.F.A. programs in ceramics, along with work by faculty
Continued
and technicians.
18
19
upfront
In addition to the work of Robert Arneson ’56 (193 0– 92), V iola
Frey ’56 (193 3 – 2004 ) and Peter V oulkos ’52 (1924 – 2002), the exhibition also featured the work of more recent graduates. Now living in
London, England, Edith Garcia received an M.F.A. from CCA in
2004 . Garcia says her recent pieces fuse her work in both sculptural
Woody Hughes’ Jar, 9 in. (23 cm) in height, thrown and altered terra cotta,
with slips and glazes; at Andrews University, Berrien Springs, Michigan.
piece to work aesthetically. Balance, gesture and rhythm all function
within the structure of the work.”
Potters Participate in ACC Mentor Program
Edith Garcia’s “Amados” (from the Hack-er Series), 7 in. (17 cm)
in height, slip-cast stoneware, underglazes, cast silicone, 2005, $400;
at Oliver Art Center, California College of the Arts, Oakland, California.
and two-dimensional media. She sometimes creates custom decals that
she combines with her drawing and painting to mingle over the surface
of her sculptures. Garcia reinterprets the image of the figure in her
work— features are erased, limbs are missing and the scale is expanded.
Three pairs of potters were recently selected to participate in the
American Craft Council’s (ACC) 2006 Mentor Program
(www.craftcouncil.org). Anne D. Elliot (Shrewsbury, MA) will mentor
Anne Dickinson (W orcester, MA); W . Mitch Y ung (Branson, MO) will
mentor Nathan Lekan (Kansas City, MO); Brad Johnson (Havertown,
PA) will mentor Ryan Greenheck (Philadelphia, PA). The ACC’s
Mentor Program, part of the Baltimore W holesale Show, is a two-year
Woody Hughes
A solo exhibition of works by Bethel, Maine, artist W oody Hughes was
on view recently at the Architecture Resource Center at Andrews
University (www.andrews.edu) in Berrien Springs, Michigan.
“My work derives its inspiration from historical references and
reinterpreting these influences is my passion,” said Hughes. “These
influences, while based in clay, draw upon many observations from
architecture to Baroque armor. More recently the work has taken on its
own order; a formal structure more unique and in response to itself
than purely derivative of any particular historical period.”
“I work in terra cotta for the freedom it allows when the pieces are
being created as well as for the diversity of color and surface that lower
firing temperatures permit,” he continued. “Most of the elements of
the form are wheel thrown, then assembled when leather hard. This
enables me to work with fluid thrown forms, altering and assembling
them while instilling a quiet geometric structure in the final piece. I am
particularly interested in the formal aspects of creating; in getting each
Left: Anne D. Elliot’s plates, each 8 in. (20 cm) square, handbuilt stoneware.
Right: Anne Dickinson’s lamp, 26 in. (66 cm) in height, stoneware and wood.
Dickinson will be mentored by Elliot.
program designed specifically to guide artists with no prior wholesale
experience through their first wholesale show by working closely with a
veteran ACC wholesale exhibitor. Candidates for this program must
apply as a team; the New Artist, who has never participated in any
wholesale show and the Mentor, an experienced American Craft Council
20
The Ninth Annual
International Exposition
of Sculpture Objects
& Functional Art
S O FA
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21
Tall Porcelain Pinch Pot
Daniel Fisher
Opening Night Gala
Wednesday, May 31
A benefit for the
Museum of Arts & Design
New York City
represented by Joanna Bird Pottery
June 1-4
Seventh Regiment Armory
upfront
exhibitor who is already acquainted with the New Artist candidate and
who agrees to sponsor him or her.
Mark Chatterley
“Heroic V isions,” an exhibition of ceramic sculpture by W illiamston,
Michigan, artist Mark Chatterley, was on display through March 8 at
Longstreth Goldberg Art (www.plgart.com) in Naples, Florida.
will be on display through May 19 at the UBS Art Gallery
(www.ubs.com) in New Y ork City. The exhibition will include 164
works by 14 3 well-known ceramics artists.
Great Pots is divided into three conceptual categories: Beautiful,
Useful and W ise. The Beautiful Pots category will focus on surface
decoration and the essential beauty of sculptural and painterly forms,
while Useful Pots will address functional works of ceramic art including bowls, vases and teapots. W ise Pots will highlight works imbued
with wit, humor, spirituality or rebelliousness, as well as fantastical pots
that defy function.
Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’
statements and images in conjunction with exhibitions or other events of interest for publication. Images
should be high-resolution digital on CD, or original (not duplicate) slides or transparencies. Mail to
Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081.
galleries in this issue
American M useum of Ceramic Arts, Pomona, California
www.ceramicmuseum.org
Andrews U niv ersity, Architecture Resource Center,
Berrien Springs, M ichigan
www.andrews.edu
Asian Art M useum, San F rancisco, California
www.asianart.org
California College of the Arts, Oliv er Arts Center,
Oakland, California
www.cca.edu
Mark Chatterley’s “Child Pose,” 47 in. (119 cm) in height, handbuilt stoneware,
with crater glaze, fired to Cone 6; at Longstreth Goldberg Art, Naples, Florida.
“In the large piece ‘ Child Pose’ . . . five figures are stacked one upon
another,” commented Eldon V an Liere, professor emeritus in Art
History at Michigan State University. “One might read it as child’s play
or an echo of a rugby match if one was totally unaware of contemporary events, but these figures make reference to photographs of the
humiliations of prisoners at Abu Ghraib prison. Chatterley has ritualized these contemporary horrors so that, as time passes, the specific
reference, so indelible today, will not be necessary to appreciate what he
has done.”
Great Pots
“Great Pots: The V essel as Art, 1900– 2000,” an international exibition
of twentieth-century ceramics from the Newark Museum collection,
Clay Art Center, Port Chester, N ew Y ork
www.clayartcenter.org
Clay Studio of M issoula, M issoula, M ontana
www.theclaystudioofmissoula.org
Couturier Gallery, Los Angeles, California
www.couturiergallery.com
K alamazoo I nstitute of Arts, K alamazoo, M ichigan
www.kiarts.org
Longstreth Goldberg Art, N aples, F lorida
www.plgart.com
M ain Line Art Center, H av erford, Pennsylv ania
www.mainlineart.org
M usé e des beaux - arts de Sherbrooke, Sherbooke,
Q ué bec, Canada
www.mbas.qc.ca
Pottery N orthwest, Seattle, Washington
www.potterynorthwest.org
Ronald Pile Gallery, E ly, E ngland
U BS Art Gallery, N ew Y ork City
www.ubs.com
V. Breier, San F rancisco, California
www.vbreier.com
Village Pottery, I ntercourse, Pennsylv ania
www.villagepottery.cc
Wex ler Gallery, Philadelphia, Pennsylv ania
www.wexlergallery.com
Worcester Center for Crafts, Worcester, M assachusetts
www.worcestercraftcenter.org
Left: Hamada Shoji’s plate with painted decoration, 13¹⁄₂ in. (34 cm) in diameter,
thrown stoneware with temmoku glaze, 1940–50. Right: Ruth Erickson’s (Grueby
Pottery Company) vase, 10¹⁄₂ in. (27 cm) in height, thrown earthenware with
applied decoration, 1905–10; at UBS Art Gallery, New York City.
Works Gallery, Philadelphia, Pennsylv ania
www.snyderman-works.com
22
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answers
From the CM Technical Staff
Q
I have been using the following glaze (clear
to opaque white where it is thick) for many
years, but have realized that it bleaches anything with iron oxide in it (such as tan or brown
underglazes and iron oxide wash). The iron
turns gray with very little brown color.
Clear/White Glaze
(Cone 6)
Gerstley Borate ......................................... 15.7 %
Talc ............................................................. 8.6
Whiting ...................................................... 12.0
Custer Feldspar ......................................... 43.0
EPK Kaolin ................................................. 8.6
Silica ........................................................... 12.1
100.0 %
Add: Zircopax ............................................ 8.5 %
I’m using a variety of colors with the glaze
above, including commercial underglazes and
glazes. I always dip the piece in the white glaze
first, clean the bottom, then apply the underglaze or glaze colors on top of the glaze; these
colors usually turn out to be the color I’m expecting. I fire to Cone 6 in an electric computercontrolled kiln. I hope you can tell me what is
happening and give me some solutions.—P.R.
All of the other colors that you mention come
from commercial stains, whereas the iron oxide is
a pure metal oxide. As colored powders, they seem
very similar, but they can behave very differently
during firing.
One way to classify colorants is as either solution
colors or suspension colors. In a fired glaze, suspension colorants exist as discrete particles embedded
in the glass. They may have never melted, or they
may have precipitated during cooling (for the
purposes of this discussion, I will just talk about the
ones that never melted). Suspension colorants
opacify glazes (make them less transparent) because they scatter the light so it can’t pass though
the glaze. Solution colorants melt and become part
of the glass; they will leave a transparent glaze
transparent. Solution colorants can give much
more variable colors because of their many possible
interactions with various glaze compositions.
Commercial stains are prefired ceramic particles that are composed of metal oxide colorants,
color modifiers and color stabilizers including refractory materials. These stains are designed not to
melt, to remain unchanged through the firing, and,
therefore, to give predictable (suspension) colors.
W hen you lose the intended color of a stain due to
overfiring, reduction firing or mixing with an
incompatible glaze ingredient, you no longer have
the intended stain, but rather the color from its
constituent metal oxides; praseodymium yellow
stain, for example, gives a weak green color when it
breaks down.
Pure metal oxide colorants— such as copper,
chrome, cobalt, manganese and iron oxides— can
be suspension or solution colorants. This depends
upon which oxide is used, the quantity, the rest of
the glaze composition, the firing temperature and
the atmosphere in the kiln. These variables also will
determine if the colorant is strong or weak. Some
amount of the oxide always goes into solution
during the firing, but any amount present in excess
of that will give a predictable suspension color. The
solution color is still there, but the suspension color
usually dominates because the suspended oxide
opacifies the glaze and blocks viewing of the solution color. This difference between suspension and
solution coloration explains why oxides can give
completely different colors when used in small or
large amounts. It also means that colors from larger
amounts are more predictable.
In your particular case, you are getting the
solution color of iron, but you are expecting the
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John Britt and the cone 10 Paragon Dragon kiln. Interior: 24” wide x 24” deep x 27” high. UL Listed to U.S. and Canadian safety standards. Goldstone vase, electric oxidation, fired with extended cooling. “The Dragon is very dependable,” John said. With popular options, the Dragon is priced at around $5,000.
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The first Paragon Dragon we made went to
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time, John Britt ran Penland’s pottery department and used the Dragon to formulate some
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“I loved the consistency and accuracy of the
Dragon,” said John. “It was real easy to program soaking cycles. The kiln is very fast. I
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“The Dragon is very dependable. It is an excellent kiln.” You can find John’s glaze recipes
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answers
suspension colors that you see in the raw slips and
glazes. Certain glazes, particularly low and midrange glazes, can dissolve a very large amount of
iron oxide, sometimes over 10% of their recipe
weight. To get the colors you want, try increasing
the iron oxide content of your over- and underglazes in progressive 2% increments until you
surpass the capacity of your glaze to dissolve the
iron. Y ou could also use tan and brown stains
instead of the iron oxide. Although they will look
the same going into the kiln, they should be very
different after the firing.
David Pier
Studio Potter/Ceramics Consultant
Palo Alto, California
Q
I have a small, fiber-lined, commercial gas
kiln in my backyard that I fire using propane. I’m
not getting uniform temperatures in the kiln
based on the appearance of some of the glazes
in different parts of the kiln. What can I do to
improve the firings?
Small kilns are often more difficult to fire
evenly than large ones. Also, fiber-insulated kilns
are notorious for cooling rapidly and, in some
circumstances, not allowing sufficient time for
crystals to develop in matt glazes [ see W ord of the
Month below] . Uniform temperatures in gas-fired
kilns are achieved through turbulence (mixing and
circulation of the hot gasses) and having sufficient
spacing between the pots. Here are some general
things you can do to analyze your specific problem:
1. If the exit flue (exhaust) opening is larger
than 4 0 square inches in area, place a brick across
the opening to reduce its size. This will increase the
turbulence and heat circulation in the kiln. For
most downdraft kilns of any size, I recommend a
flue opening of approximately 3 5 square inches.
2. If there is a discernible difference in temperature in different parts of the kiln (cooler on the
bottom, for instance), adjust the loading by reducing the mass of pots where it is cooler, which
provides more space between pots for the hot gases
to circulate. Conversely, if the region is too hot,
load the pots closer together.
3 . W ith a fiber-lined kiln and its propensity for
rapid cooling, you may want to try slowing the
cooling by “firing down.” To accomplish this, keep
the burner on for a while after reaching maturity,
but in a candling mode or slightly stronger. This
will tend to even out the problem areas.
Nils Lou
Professor of Art, Linfield College
McMinnville, Oregon
Word of the Month
Fiber Insulation
There are a number of high-temperature
insulation products today that are made of
ceramic fibers and available in different forms
such as soft, flexible blanket, thin “paper,”
and thick, rigid boards. The ceramic fibers
used are not the same as the glass fibers used
in ordinary fiberglass; they are special ceramic compositions designed to operate at
elevated temperatures without melting or
losing strength. For the same thickness, fiber
insulation products are generally much more
efficient heat insulators than refractory bricks.
They are, however, fairly expensive, and
much weaker (they are generally used only as
kiln linings) and more easily damaged than
refractory bricks.
If you have a question about this or any other ceramics topic, ask
the CM experts at [email protected]. You also
can mail questions to Ceramics Monthly , 735 Ceramic Pl., Suite
100, Westerville, OH 43081; or fax to (614) 891-8960.
28
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Mini-Slab Roller
$100 OFF
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SALE price:
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shipment in
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For complete details on ALL of these sale items go to:
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29
suggestions
Texture, Texture Everywhere
To create a textured paddle or large textured
surface, use wood glue to attach porous material
to a piece of wood (plywood and mediumdensity fiberboard work well). You can use
wooden, bisque or bamboo beads in a regular or
random pattern. Twigs, nuts, string, cloth—
almost anything—will work.
The only warning is to not soak the paddle or
board in water. Wood glue can become weak
when waterlogged. To avoid this difficulty, and
for less porous items, simply substitute marinegrade or plumbing epoxy for the wood glue.—
Kim Hohlmayer, Mechanicsburg, OH
Shaking Glaze
I use commercial glazes in containers up to a
gallon. I have noticed that part of the glaze settles
to the bottom and shaking does not usually
dislodge all of the settled glaze material. I have
started putting small clean pebbles of granite or
quartz (both inert) into the containers. The
pebbles really help to loosen the settled material,
and can be retrieved and used again when the
glaze is gone.—Jean Mitchell, Plant City, FL
Tip of the Month
Ceramics in the Environment
An International Review by Janet Mansfield
Ornamental, architectural and large-scale ceramic
works have always appeared on buildings and in
the landscape since the beginnings of ceramics in
civilization. This book looks at the vast array of
ceramics being produced today around the world
in this context. Beautifully designed and illustrated
with over 200 color images, the works of more
than 100 ceramicists are featured, showing finished work as well as discussing issues surrounding the construction of these ambitious and monumental projects. The book is a fantastic review of
the applications of ceramics today both on buildings and in the natural environment by many of
the world’s most prominent ceramicists in the field.
Cone Sighting
Since the peephole on my test kiln is
small, I have difficulty in seeing when the
Janet Mansfield has been a potter for more than 40 years. She has exhibited her work
internationally, is represented in major collections in Australia, and her work has
appeared in publications throughout the world. She has written a number of books on
ceramics and is also publisher/editor of the journals Ceramics: Art and Perception and
Ceramics TECHNICAL.
cone has bent. I now put stripes on the cone
with a brush, using a mixture of red iron
oxide and water. Visibility is much improved.
Price: $59.95
Congratulations to Robert Brown of
Miami, Florida. Your subscription has
been extended by one year!
Order Code: CA51
2005 • Hardcover • 224 Pages • 243 Color Images
Co-published by The American Ceramic Society and A&C Black (London)
ISBN: 1-57498-270-2
Get it online at: www.ceramics.org/publications
or call us at (614) 794-5890
30
Share your ideas with others. Previously unpublished suggestions are welcome. Ceramics Monthly will pay $10 for each one
published. Include a drawing or photograph to illustrate your
idea and we will add another $10 to the payment. E-mail to
e d i t o r i a l @ c e r a m i c s m o n t h l y . o r g ; ma i l t o C e r a m i c s
Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081; or fax
to (614) 891-8960
Think Bailey for the Best
in Downdraft Design
Bailey Gas Kilns just keep getting better. Our innovative
forced-air downdraft designs are used extensively by universities and potters
throughout the US and Canada. You can depend on a Bailey to deliver reliable
firings with extremely low energy costs.
We are always improving our kilns. Over the years we have
continued to develop ways to refine the firing process. For instance, we
developed an air-manifold to precisely control air flow to the burner. We
have also worked at prolonging the useful life of the kiln. Recently we started
building spyholes encased in a hard ceramic liner to prevent wear from
years of removing the spyplugs. We also moved the downdraft chimney 5” off
the back of the kiln on our Deluxe & PRO models to further ventilate the frame
and protect it from heat corrosion. We use more stainless steel in the
areas of higher heat. And Bailey is famous for innovating the completely
ventilated frame and dry stacked mechanically anchored brick construction
which allows the easiest possible way to replace individual bricks should they
become damaged or worn out.
Bailey is all about innovation and customer satisfaction.
Whether you are purchasing your first gas kiln for a small studio or outfitting an
entire university, we are here to help you. Bailey Kilns are inexpensive to fire
and a dream to operate. Our expert staff is always there to provide
valuable technical support. That’s what makes Bailey the number one
choice of colleges and studio potteries.
Think Blaauw Kilns for the
Ultimate in AUTOMATED FIRING.
When you are ready for the ultimate in precision automated firing, then go
for the best. You won’t find a safer more reliable computerized kiln than
Blaauw. Blaauw Products, based in Amsterdam, has been building
advanced combustion systems for over 20 years to supply potteries,
universities and industry.
What makes Blaauw unique? Precision. They spent years developing their
own computer system for the ultimate in heat and atmosphere control.
The Blaauw is not limited to 4 or 5 ramp schedules, and you have many
more options in firing schedules and glaze effects.
Cranbrook Academy of Art
The Blaauw computer controls a North American High-Velocity Forced Air
sealed burner system. High velocity yields the ultimate in control. The heat
energy does a superior job penetrating the load. This means you can
program faster firing schedules which will save energy and time. Not
only can you fire the kiln up, you can also fire it down. That’s something
venturi burners can never provide, fast turn around. But then again,
that’s why the ceramic industry relies on high velocity systems and not
venturi burners.
The Blaauw computer monitors the heat at two levels via two
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Want to know more? Give Bailey a call. Join the growing
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31
Professionals Know
the Difference.
COMMON
WEALTH
A Workshop in Jamaica
by D Wood
The Counting House, with Georgian architecture dating back to the mid-eighteenth century, contains the art
& craft gallery and is just one of the houses at Good Hope in Kingston, Jamaica.
W hen a word is spoken repeatedly by different sources, it moves to
the forefront of your thinking. It begins to resonate as more people
pronounce it and you seek evidence of its truth. Gradually the word
comes to epitomize a person or event. The word that pervades Anderson Ranch Art Center’s annual workshops in Jamaica is community.
Community derives from the Latin communitas, meaning fellowship. Undoubtedly, the notions of companionship and mutual shar-
ing are part of any ceramics gathering. But the unique character of
the Jamaican workshops comes from the other source of the word
which is communis, common. Common is defined, in part, as relating to the community at large; basic, simple, equal. In modern
W estern society, it is increasingly difficult to connect with commonality or grass roots. Y et Doug Casebeer and David Pinto have conceived of ceramics workshops that capture these elusive fundamentals.
32
f o c u s workshopss
Casebeer, who has been the program director for ceramics at the
respect and trust.” The fact that he recounts this with pride is
Ranch since 1985, began his career as a ceramist in Jamaica. W hile
testimony to his gratitude to these unexpected teachers.
still on the premises of New Y ork State College of Ceramics at Alfred
W hile some of the people he worked alongside in Jamaica were
University shortly after acquiring his M.F.A., he saw an advertisecontent, others had no sense of direction and lived in despair. In the
ment for a ceramics technician with the United Nations Industrial
course of striving to bring these disparate factors together, Casebeer
Development Organization. The joint UN/Jamaican government
adopted the role of facilitator, generating a dynamic that focused the
project, called “Things Jamaican,” aimed to develop ceramic prodgroup on a common goal. It was a role that suited him and one he
ucts that could eventually be
divested to the private sector.
Two weeks after seeing the
ad, he was in Kingston, in
charge of 10,000 square feet
of space, 4 8 people, one
potter’s wheel and two tables.
Although Casebeer phoned
his wife within days of arrival
to say “I’m not staying and
you’re not coming,” his original contract for three months
extended to three years.
At the height of its production, Things Jamaican
processed a ton of clay per
day, which in finished terms
meant there were between
50,000 and 7 0,000 handmade objects in the factory
at one time. But more important than the production
statistics was the development
All of the workshops are held in David Pinto’s studio, which is within walking distance of the Great House.
of Casebeer’s self. He began The studio and anagama were both designed and built by Pinto.
his Jamaican tenure when he
was 25 and describes the next three years as being some of the most
now emphasizes amongst the many— artist, educator, fundraiser,
formative of his life. He says that he learned about “values, cultural
ceramics ambassador— that he plays.
and economic disparities, and what constitutes happiness and self
W hen Casebeer moved on to Anderson Ranch, it was not only
worth” from people who lived in a shantytown of Kingston.
the technical skills honed in Trenchtown that were employed immeCasebeer tells an anecdote about one of these lessons. He arrived
diately. He put the Ranch’s facilities in order, built kilns, and estabat the factory one morning, not long after becoming “the boss.”
lished ceramics and sculpture programs. As it grew during the ’80s
Everyone was sitting idle. He approached one of the supervisors,
and ’90s, his knowledge of building eventually determined that he
Mrs. Brown, and questioned her about the lazy workforce. W ithout
act as construction manager for renovation of existing structures and
looking up from her coffee, Mrs. Brown said, “Y ou do bad mornthe advent of new ones. He was instrumental in Anderson Ranch as
ings.” Casebeer replied, “Excuse me? ” Mrs. Brown repeated, “Y ou
it exists today.
do bad mornings” and went on to say, “I don’t care who you are or
But, more than the physical manifestation of his efforts, Casebeer
where you’re coming from, you need to go out there and acknowlrelished the facilitating he’d had a taste of in Jamaica and readily
edge everyone who’s here on a daily basis for you.” She then took
undertook the organization of workshops. He admits that he is not
Casebeer by the hand and led him to each employee to say “good
naturally extroverted so the workshops forced him to reach out— to
morning, good morning, good morning . . .” Casebeer acknowlrespected ceramists, indigenous potters, aspiring makers, schools,
edges, “That was a pretty clear lesson that I needed to pay attention
and the local and global community. He says: “If I do my job right,
to the people around me and what they needed as well. It was about
there’s a lot of candor, laughter, honesty and give-and-take in the
33
studio. That’s my intrinsic reward.” His adeptness at engineering
symbiotic experiences for all participants is epitomized in the Ranch’s
annual excursions to Jamaica.
Scheduled in April and November, to take advantage of off-peak
rates, the sessions are held at Good Hope Plantation, twenty minutes inland from Falmouth. The inspiration to bring artists and
acolytes to this idyllic location belongs to David Pinto. Pinto was
born in Jamaica. His mother traces her ancestry through eight
Street Y . W hen it came time to make a decision as to whether he
should stay in New Y ork doing product design and ceramics or make
a commitment to being a full-time ceramics artist, he chose the
latter. The physical and financial considerations that were a consequence of this choice precipitated the return to his homeland.
Pinto recognized that although Jamaica would afford him the
luxury of space and the ability to establish a more extensive facility,
he was a little worried about being on his own in the middle of
nowhere. He also recognized the potential of workshops: they would benefit
registrants, keep his own work current,
and bring employment and vitality to
the countryside where they were held.
His friends in New Y ork advised that
of the organizations in the United
States offering workshops, he should
consider collaborating with Anderson
Ranch. Pinto went to the Ranch and
met the ceramics director.
Casebeer’s love of Jamaica made
the meeting a synchronistic one and
several years later the first joint workshop took place. Casebeer says, “W hen
I found out the name of the place
was Good Hope, I thought it was a
perfect thing to be involved in. It
was the story unfolding as much as
the involvement of David and his family. It was like someone saying to me,
here is your opportunity to reciprocate the gift given to you as a young
adult by the people in the ghettos of
Kingston.” In April 1996, Casebeer
returned to Jamaica.
Good Hope is a 2000-acre former
sugar plantation. The Great House, dating from 17 4 4 , looks out on the dawn
Many traditional crafts are practiced at Good Hope. Here, Brand New, the eldest of ten children, who was named for
mists of the Q ueen of Spain valley. It
the new clothes he wore before they were handed down to his siblings, weaves a fishtrap from bamboo to sell to tourists.
contains authentic Jamaican period furgenerations. After studying industrial design at the Rhode Island
nishings, with historical maps and paintings hanging alongside work
School of Design and working in the field, he decided that he didn’t
by contemporary Caribbean artists. Gourmet meals, paying homage
want to just draw objects that someone else made. He remembers
to traditional recipes, are served in the formal dining room and on
the proverbial lightbulb going on in his office in New Y ork: “W e
the garden patio. Doctor birds, hummingbirds wearing tail coats,
were designing enamel stacking bowls for Dansk International that
sip their sustenance while diners sample smoked marlin salsa on
were going to be made in Portugal. I was in the midst of working on
fried plantain, fresh produce, local fish, jerk chicken and the acdrawings and I thought, wait a second, I want to be making stuff!”
claimed coconut flan.
Pinto’s love of clay, which began while attending boarding school in
First-class accommodation is provided in a variety of picturesque
England, resurfaced as a means of crafting objects. He sought ways
buildings within walking distance of the studio. The Georgian arto improve his ceramics skills by first renting space in a studio and
chitecture and the scenic ruins of the sugar enterprise— lime kiln,
then talking himself into the role of studio assistant at the 92nd
stone aqueducts, water wheel— are an inspirational setting for a
34
week of creativity. “Being” is the motto of Good Hope and it
hearkens back to the word common.
“There is a wonderful primal sense of everyday grounding,” said
Jan McKeachie who, with her husband Randy Johnston, was a guest
instructor at the session I attended. She was referring not only to the
personnel at the plantation but to the folks you pass on their
bicycles in the early morning, heading to pick citrus, tend horses or
cut sugar cane. She added, “People here hold a certain essence of life
from the past. W e don’t understand this as Americans.” In order to
facilitate a greater understanding of this essence, the workshops
include contact with craftswomen and men who continue to practice traditional skills. Brand New (the name comes from the new
clothes he wore as a toddler, which were later handed down to his
nine siblings), whose day job is groomer in the Good Hope stables,
makes fish traps from bamboo. Tourists buy them as beautiful forms
but Brand New uses his when it comes time for his family’s dinner.
Munchi, who traveled to Good Hope on a crowded pick-up-atevery-intersection bus, learned the art of making cooking pots from
her mother and grandmother. W ith the rounded base of a broken
pot as her “wheel,” she manipulated a fistful of sticky, granular clay
into a perfect symmetrical form called a yabba. Though her products were once standard in Jamaican households, nowadays metal
and plastic are preferred. Munchi sighed at the demise of tradition at
the same time a cell phone peeked out of her tote bag.
Gathered around Munchi were a current generation of Jamaicans
who were as fascinated with a former way of doing things as the
visitors. Pinto invites school children to the studio, both during the
Anderson Ranch sessions and at other times in the academic schedule. He reasons that if the youngsters become excited by pottery,
which was exhibited in their rudimentary wheel lesson and as they
begged to take their finished pieces home, the arts in Jamaica,
generally, might benefit. Spattered in clay as a consequence of helping the fledgling potters try to center a wet lump of matter on a
spinning surface, the workshop participants were equally exhilarated. W orking in isolated studios throughout the world, these
potters welcomed the reminder of the enthusiasm that got them
hooked on ceramics in the first place.
W hy come to Jamaica? “There is less distraction by outside
things,” observed Randy Johnston. “W e are totally immersed and
there is more bonding as a group by living and eating together.”
Casebeer points out that travel outside your own comfort zone is
important. “Y ou need a passport and have to go through customs
and immigration,” he said. “There is no TV , no American radio. If
you hear a radio, you get the Jamaican view of the world. Things
begin to shift in terms of what your reality is. If you bring people
together where you have different cultures, people from different
directions, you can’t help but notice not just your craft and your art
but the other things in life.” Pinto adds: “If you work in the same place,
in the same environment, in the same materials, surrounded by the
same people, it’s hard not to make the same stuff. If you pick yourself
Doug Casebeer, program director of ceramics at Anderson Ranch Arts Center
for the past twenty years, is seen here loading the Good Hope soda kiln.
up and go somewhere different, there is more opportunity to fall
upon new work in your own way.” Jamaica is that different place and
it can be instrumental in artistic and human growth.
There is a small ceramic portrait of Casebeer that sits on the side
of the soda kiln built in a week-long marathon by a team recruited
through Anderson Ranch. The resemblance is remarkably true. The
figure imitates a Buddha with many hands extending from an ample
body; the hands hold symbols relevant to Casebeer’s vocation. W hen
the kiln builders were asked why one hand was empty, they replied,
“that’s the wisdom.” Another word for wisdom is common sense.
That is at the core of being at Good Hope.
35
2006
summer workshops
Make getting away feel like coming home
summer workshops 2006
Arizona, Flagstaff
“ Salt/Soda Glaze Workshop” with Steve Schaeffer (July
11–24). “ Wood-Fire Workshop” with Ted Adler (July
25–August 9). Fee/session: $650, includes materials
and firing; bring bisqueware. All skill levels. Contact
Jason Hess, Northern Arizona University, PO B ox 6020,
Flagstaff 86011; e-mail j [email protected]; see
www.nau.edu/ceramics; tel (928) 523-2398; or fax
(928) 523-3333.
Arizona, Tucson
“ Intensive Tile Making Santa Theresa Style” (June 5–9);
fee: $550, includes materials, firing and dinners. Contact
Leslie Gamble, Santa Theresa Tile Works, 440 N. Sixth
Ave., Tucson 85705; e-mail [email protected]; see
www.santatheresatileworks.com; tel (800) 862-2198 or
(520) 623-8640; or fax (520) 623-8682.
Arkansas, Eureka Springs
“ Throwing on the Potters Wheel at Paradise Pottery”
(June 18–23). “ Glazes for and Firing of Raku at Paradise
Pottery” (June 25–30). Instructors/session: Jim Wallace
and Laura Waters. Fee/session: $300, includes materials. B eginner/intermediate. Contact E ureka Springs
School of the Arts, 15751 Hwy. 61 W, PO B ox 657,
E ureka Springs 72632; e-mail [email protected];
see www.esartschool.com; or tel (479) 253-5384.
Arkansas, Mountain View
“ Slip Decorating on Clay” with Judi Munn (July 25); fee:
$55, includes materials. “ China Painting— The Old Red
Rooster” with Patti Smith (August 15–19). “ Firing A
Wood B urning K iln” with Judi Munn and John Perry.
Fee: (unless noted above): $265, includes materials and
firing. Skill levels vary. Contact Terri B ruhin, Ozark Folk
Arts Center, PO B ox 500, Mountain V iew 72560; e-mail
[email protected]; www.ozarkfolkcenter.com;
tel (870) 269-3851; or fax (870) 269- 2909.
California, Aptos
“ Sculpting Workshops for K ids” with Jenni Ward
(June 19–30, July 3–14 and/or 17–28); fee: $405,
includes materials, firing and snack. B eginning. Contact Jenni Ward, E arth Art Studio, 767 Cathedral Dr.,
Aptos, 95003; e-mail [email protected]; see
www.j enniward.com; or tel (831) 818-9569.
“ Large Pots for B eginners” with George Dymesich
(June 19–23); fee: $350, includes materials. B eginning.
Contact George Dymesich, George Dymesich Studio,
7475 Oak Ridge Rd., Aptos 95003; e-mail
[email protected]; or tel (831) 475-5614.
California, Davis
“ Going to Pieces,” tile and mosaic with Donna B illick
(July 8–9); fee: $195. “ Mosaic Tile Art: B ring it to Your
Campus. RockFest— ClayFeast & Fancy Fool Mosaic”
with Donna B illick and Sheila Menzies (August 26–29);
fee: $375. Contact Sheila Menzies, Tile Heritage Foundation, PO B ox 1859, Healdsburg, CA 95448; e-mail
[email protected]; see www.tileheritage.org;
tel (707) 431-8453; or fax (707) 431-8455.
Attendees look at test tiles during Robin Hopper’s glaze workshop
at Metchosin International School of Art, Victoria, British Columbia, Canada.
36
California, Encinitas
“ Ceramica B otanica and Garden Clay Romp,” handbuilding gardenware (July 20–24); fee: $350, includes materials and firing. “ Ceramic Sculpture: The Human Form”
(August 10–14); fee: $500, includes materials. Instructor/
California, Gualala
“ Alternative Firing Techniques” with K aye Like (June 26–
July 2 and/or June 30–July 2); fee: $60/day, includes
materials, firings and lunch. All skill levels. Contact K aye
Like, B randybuck Studios, PO B ox 266, 27001 Ten Mile
Rd., Point Arena, CA 95468; e-mail staplhorse@j ps.net;
see www.brandybuckranch.com; or tel (707) 882-2269.
California, Huntington Beach
“ Geil/Coleman Firing Workshop” with Tom Coleman
and Paul Geil (July 29–31); fee: $250, includes breakfast and lunch. All skill levels. Contact Geil K ilns, 7201
Clay Ave., Huntington B each 92648; e-mail
[email protected]; see www.kilns.com; tel (800) 8874345; or fax (714) 847-6145.
California, Idyllwild
“ Jemez Pueblo Pottery,” handbuilding with Laura
Gachupin (July 3–8); fee: $565, includes materials,
firing and lunch. “ San Ildefonso Pottery,” handbuilding
traditional Tewa pottery with Dora Tse Pe (July 10–15);
fee: $565, includes materials, firing and lunch. “ Adult
Ceramics” with E ric K ao and Greg K ennedy (July 10–
21); fee: $540/week, includes materials, firing and
lunch. “ Hot Clay,” (June 26–July 7); fee: one-week
$895; two-weeks, $1650; includes materials, lodging,
firing and meals. First week, “ Mold Making and Slip
Casting” with Lesley B aker, “ The Fragmented Figure”
with Tom B artel and “ Disk Descending a Staircase”
with Neil Tetkowski. Second week, “ Printing on Clay”
with Stephen Horn, “ Porcelain: Color and Form” with
Geoffrey Wheeler and “ Handbuilding: New Construction Techniques” with Lana Wilson. All skill levels.
Contact Diane Dennis, Idyllwild Arts, PO B ox 38,
Idyllwild 92549; e-mail [email protected];
www.idyllwildarts.org; tel (951) 659-4552.
California, Mendocino
“ Investigating Form and Surface with Maj olica” with
Linda Arbuckle (June 12–16). “ Handbuilding Functional Pots” with Gail K endall; or “ Referencing Architecture in Clay” with Cameron Crawford (June 19–23).
“ V isual Forms, Surface and Other Clay Stuff” with Ron
Meyers (June 26–30). “ Creative E xtruding” with William Shinn (July 3–7). “ With Head in Hands” with Arthur
Gonzales (July 10–14). “ Sounding Ceramic Forms”
with B rian Ransom; or “ Innovative Handbuilding Techniques” with Lana Wilson (July 17–21). “ Stretching the
Material and the Maker” with B ill Abright; or “ Action
Handbuilding: Narrative Sculpture with Animals” with
Jeff Downing (July 24–28). “ Printing with Colored
Clays” with Mitch Lyons (July 31–August 4); fee: $425;
members, $400. “ Clay: Functional, Ceremonial and
Iconic” with Doug B rowe (August 7–11). “ Rock Art:
Take Two” with Donna B illick (August 14–18). “ Making Pots on the Wheel— E xploring Round and Unround”
with Robbie Lobell (August 21–25) Fee: (unless noted
above): $340, includes materials. Skill levels vary. Contact Mendocino Art Center, PO B ox 765, 45200 Little
Lake St., Mendocino 95460; e-mail [email protected];
see www.mendocinoartcenter.org; tel (707) 937-5818
or (800) 653-3328; or fax (707) 937-1764.
California, Penryn
“ Woodstoke and Graffitti 2006” with Rudy Autio,
Glenn Grishkoff, Paul Soldner, Aris V oulkos, Nina Ward
and Tom Z wierlein (June 16–18); fee: $325 or $100/
day, includes firing. Lodging: $50 for campsite. All skill
levels. Contact Rodney Mott, Penryn Workshop, 1394
Orange Hill Ln., Penryn 95663; or tel (916) 663-2815.
California, Point Reyes Station
“ Magic Fire,” handbuilding, burnishing and beach pit
firings with Molly Prier (July 21–28); fee: $450, includes
materials and firing. Some scholarships available. Limit
of 8. All skill levels. Contact Molly Prier, PO B ox 337, Point
Reyes Station 94956; e-mail [email protected];
or tel (415) 669-7337.
California, Sunnyvale
“ Carving: Piercing the Ordinary Surface” with V icki
Wilkerson (June 3). “ Advanced Throwing Techniques
(II)” with Jill Getzan (June 10). “ Alternative Raku” with
E duardo Lazo (July 15–16); fee: $145, includes materials.
“ Instant Stiff Slabs” with Linda Mau (July 29). “ Low-Fire
Salt Workshop” with Joyce Clark-B inen (August 19); fee:
$80, includes materials. Fee: (unless noted above): $65;
members, $60. Skill levels vary. Contact Mother E arth
Clay Art Center, 790 Lucerne Dr., Sunnyvale 94085;
e-mail [email protected]; see www.mamasclay.com;
tel (408) 245-6262; or fax (408) 245-6267.
California, Walnut Creek
“ Gargoyles and Temple B easts” with Trisha K yner; or
“ Carving on Pots” with Cynthia Siegel; or “ The Human
Head in Clay” with Chris K anyusik (June 12–16). Fee/
session: $115, includes firing and 25 lbs of clay. Skill
levels vary. Contact Melissa Ridenour, Walnut Creek
Civic Arts E ducation, 1666 N. Main St., Walnut Creek
94596; e-mail [email protected]; see www.arts-ed.org;
or tel (925) 943-5846.
Colorado, Arvada
“ Drawing for Potters and Other Good Stuff” with Jim
Lorio (June 10–11); fee: $160. “ Terra Sigillata and Saggar
Firing” with B ob Smith (June 24–25, 28 and July 1); fee:
$225, includes firing. “ Porcelain Plates and Platters”
with David B eumee (July 8–9); fee: $160. “ Focus on
Finish,” cold finish surfaces with Marie Gibbons (July 19–
August 16); fee: $130. “ Working in Porcelain, A Personal
Touch” with Amy Smith (July 29–30); fee: $160. “ Crystal
Glazes” with Jon K ulczycki (August 22–31); fee: $130.
Skill levels vary. Contact B ebe Alexander, Arvada Center
for the Arts and Humanities, 6901 Wadsworth B lvd.,
Arvada 80003; e-mail [email protected];
www.arvadacenter.org; tel (720) 898-7239; fax (720)
898-7217.
Colorado, Bayfield
“ Raven Ridge Primitive Pottery Workshop,” authentic
replication of Anasazi pottery with Clint Swink (August
19–26); fee: $1200, includes materials, firing, lodging
and meals. All skill levels. Contact Clint Swink, Swink Art,
688 Raven Ridge, B ayfield 81122; e-mail [email protected];
see www.swinkart.com; tel (970) 563-4624.
Colorado, Carbondale
“ Tile: Making, Decorating, Marketing” with Paul Lewing
(June 9–11); fee: $250. “ Creating Forms and Wood
Firing” with Peg Malloy (July 15–16); fee: $150. Skill
levels vary. Contact Lauren K erns, Carbondale Clay
Center, 135 Main St., Carbondale 81623; e-mail
[email protected]; see www.carbondaleclay.org;
or tel (970) 963-5818.
Colorado, Grand Junction
“ Your E dge and B eyond,” handbuilding and throwing
raku (June 1–8). “ Raku: Color, Form and Firing” (July 6–
13). “ B ursting the B oundaries,” raku (August 10–17).
Instructor/session: Jim Romberg. Fee/session: $1600,
includes materials, firing, lodging and meals. Limit of 8/
session. All skill Levels. Contact Lynette Jennings,
E agleheart Center for Art & Inquiry, PO B ox 2686, Grand
Junction 81502; e-mail lynettej [email protected];
tel (970) 257-1377; or fax (970) 257-1376.
“ Innovative Handbuilding” with Lana Wilson (June 17–
19); fee: $300; members, $270; one-day, $115. “ Dance
with Fire: Saggar, Salt V apor, Raku” with Terry Shepherd (July 14–16); fee: $275; members, $235. “ Making
Functional Pots” with B lair Meerfeld (July 28–30); fee:
$255; members, $215. All skill levels. All include materials, firing and one meal. Contact Terry Shepherd or
Melanie Doerpholz, Art Center, 1803 N. Seventh St.,
Grand Junction 81501; e-mail melanie@gj artcenter.org;
see www.gj artcenter.org; tel (970) 243-7337; or fax
(970) 243-2482.
Colorado, Mesa Verde
“ Anasazi Pottery at Mesa V erde National Park,”
handforming, clay processing and trench-kiln firing
(using only native materials that were available to
Ancestral Pueblo potters) with Gregory S. Wood (June
37
17–23); fee: $395, includes materials, firing, campsite,
t-shirt, and trips to archaeological sites and museums.
Additional $135 for 3 graduate credits. All skill levels.
Instruction in E nglish and Spanish. Contact Gregory S.
Wood, Ancient Arts® , Adams State College, PO B ox
27, Masonville, CO 80541; e-mail [email protected];
see www.ancientarts.org; or tel/fax (970) 223-9081.
Colorado, Pagosa Springs
“ Anasazi Pottery at Chimney Rock Archaeological Area,”
handforming and trench-kiln firing (using only native
materials that were available to Ancestral Pueblo potters) with Gregory S. Wood (August 4–6); fee: $120,
includes materials, firing and archaeological tour. Additional $90 for 2 graduate credits. All skill levels.
Instruction in E nglish and Spanish. Contact Gregory S.
Wood, Ancient Arts® , Adams State College, PO B ox
27, Masonville, CO 80541; e-mail [email protected];
see www.ancientarts.org; tel/fax (970) 223-9081.
Colorado, Penrose
“ E arth, Water, Wind and Fire,” forming, decorating,
and firing with traditional materials/methods used by
ancient Anasazi and Pueblo potters with V ern Roberts
(June 8–16); fee: $345, includes most materials, firing
and field trips. Additional $135 for 3 graduate credits.
B eginning through advanced. Contact V ern Roberts,
Coyote Arroyo Studios, 1753 13th St., Penrose 81240;
or tel (719) 372-6846.
Colorado, Snowmass Village
“ Ceramic Head Construction,” handbuilding with Peter V andenB erge and Stan Welsh (June 5–16); fee:
$890. “ Tool Time for Potters: Tools for a Lifetime” with
Doug Casebeer and B ill van Gilder (June 6–10); fee:
$560. “ Decal Printing & Ceramic Obj ects” with Mark
B urleson and Ron Nagle (June 12–23); fee: $1110. “ The
Metaphoric V essel: Creativity, Discovery and Meaning,” earthenware with Tony Marsh (June 19–30); fee:
$840. “ The Pleasure of Making Pottery: Fundamentals
and B asics,” white stoneware with Terry Gess (June 26–
July 7); fee: $840. “ Architecture, Geology and Symbolism: Sculptural Forms,” stoneware and porcelain with
Robert and Paula Winokur (July 3–14); fee: $890.
“ Neo-Maj olica,” earthenware with Walter Ostrom (July
10–21); fee: $870. “ Animals and Obj ects: Small Sculpture” with Ralph Scala and Mikey Walsh (July 17–28);
fee: $860. “ Pots: Plain and Fancy,” stoneware with
Doug Casebeer and Mark Shapiro (July 24–August 4);
fee: $940. “ Handbuilding V essels” with Andrea and
John Gill (July 31–August 11); fee: $940. “ Colorful,
Gestural Tableware,” white earthenware with Lisa Orr
(August 7–18); fee: $850. “ Filling B owls: Coiled and
Carved” with Sam Harvey and B rad Miller (August 14–
18); fee: $540. “ A Weekend with Paul Soldner and Jun
K aneko,” clay and conversation with Paul Soldner and
Jun K aneko (August 19–20); fee: $525. “ Multiples!
Strength in Numbers: Pottery Making in Sets,” porcelain with Donna Polseno; fee: $840; or “ Mata Ortiz:
Southwestern Ceramics” with Juan Q uezada and
Michael Wisner (August 21–September 1); fee: $1090.
Skill levels vary. All include studio fee. Contact Linda
Chapdelaine, Anderson Ranch Arts Center, PO B ox
5598, 5263 Owl Creek Rd., Snowmass V illage
81615; e-mail [email protected]; see
www.andersonranch.org; tel (970) 923-3181; or fax
(970) 923-3871.
Colorado, Steamboat Springs
“ Learning from the B ig B oys: Stretch Your Mind and
Your Work, and Learn Raku, Salt, Saggar and E lectric
Techniques” with Randy B rodnax and Don E llis (June 21–
29). “ Raku, Saggar Firing and Special E ffects: Surface
V isuals and Textures” with Charlie and Linda Riggs (July
1–9). “ Different Strokes for the Scuptural Functional
Form,” brushstrokes and surface applications on porcelain with Tom and E laine Coleman (July 11–19). “ Porcelain and Soda/Salt Firing,” throwing and handbuilding
with Matt Long (July 22–30). “ Tableware as Art,” porcelain with Meira Mathison (August 2–10). “ Pots and Possibilities in Stoneware,” throwing and altering with Nick
Joerling (August 12–20). “ Sculptural Symbols: Dreams
into Clay” with Judith Carol Day (August 22–30); fee:
session: Stephani Stephenson. All skill levels. Contact
Stephani Stephenson, Revival Tileworks, PO B ox 231531,
E ncinitas 92024; e-mail [email protected]; see
www.revivaltileworks.com; tel (760) 730-9141; or fax
(760) 436-9304.
$2000. Fee: (unless noted above): $1775, includes materials, firings, lodging and meals. Intermediate through
professional. Contact Judith Carol Day, Laloba Ranch Art
Center, 33516 County Rd. 43A, Steamboat Springs 80487;
e-mail [email protected]; see www.lalobaranch.com;
tel (970) 870-6423; fax (970) 870-6452.
Florida, Winter Park
“ V isiting Artist Workshop,” design, surface decoration
and lusters on porcelain with Libby Ware (June 10–11);
fee: $200; members, $180. Contact Crealdé School of
Art, 600 St. Andrews B lvd., Winter Park 32792; see
www.crealde.org; or tel (407) 671-1886.
Connecticut, Brookfield
“ American Redware,” slip trailing with E ric K ubinyak
(June 17–18). “ Tile Murals,” china paints with Cynthia
Padilla (June 24–25). “ Alternative Firing Techniques” with
B ob Green (July 7–9); fee: $350. “ Throwing B ig” with
David Dotter (July 15–16); fee: $350. “ Using the E xtruder” with Roger B aumann (July 22); fee: $175. “ Teaware
Georgia, Cave Spring
“ Potpourri with John,” handbuilding and throwing
with John Johnston (July 10–15 and/or August 7–8);
fee: $30–$40 daily, includes materials and firing. All
skill levels. Limit of 8. Contact John Johnston, Johnston
Pottery, B ox 133, Cave Spring 30124; e-mail
j [email protected]; or tel (706) 777-8546.
the Ceramics Artist,” hands-on workshop with Janet
B uskirk (July 15); fee: $125. “ K eeping Production Pottery Interesting: Tips for Throwing and Handbuilding”
with Janet B uskirk (July 16); fee: $125. “ From Soup to
Nut B owls,” handbuilding and throwing with Susan
Ward (July 17–21); fee: $165. “ Family Clay Afternoons,”
handbuilding for parents and children with Susan Ward
(July 20 and August 3); fee: $40 for parent and child.
“ Clay Makers,” throwing for teenagers with Susan Ward
(July 24–28); fee: $150. “ Copious Cups I,” handbuilding
and throwing with Julie Singer (July 31–August 4); fee:
$165. All skill levels. Contact Susan Ward or Julie Singer,
B oulder Mountain Clayworks, PO B ox 3725, K etchum
www.bouldermtnclay.com; or tel (208) 726-4484.
llinois, Antioch
“ Raku Fire” with E d Divorsak (July 21–22); fee: $100,
includes materials and firing. B eginning through advanced. Contact Jill Grau Tortorella, Antioch Pottery Works,
25942 Heart-O-Lakes B lvd., Antioch 60002; e-mail
j [email protected]; see www.antiochpottery.com;
or tel (847) 838-9949.
Illinois, Oak Park
Workshop with Gay Smith (June 3–4); fee: $150. For
further information, contact Terra Incognito Studios
and Gallery, 246 Chicago Ave., Oak Park 60302; see
www.terraincognitostudios.com; or tel (708) 383-6228.
Indiana, Indianapolis
“ Low-Fire Clay and Glaze” with David Gamble (June
19–24); fee: $456; 3 credits, $912. “ Handbuilding with
the Wheel” with Rimas V isGirda (June 26–July 1); fee:
$250; 3 credits, $912. All skill levels. Contact Patty
Duval Leslie, University of Indianapolis, 1400 E . Hanna
Ave., Indianapolis 46227; e-mail [email protected]; tel
(317) 788-3253; or fax (317) 788-6105.
Jack Earl applying underglazes to a sculpted head at Santa Fe Clay, Santa Fe, New Mexico.
and Techniques” with Peter Callas (July 29–30). “ Tile
Making” with Chris B onner (August 5–6). Fee: (unless
noted above): $250. Skill levels vary. Contact Dee Wagner,
B rookfield Craft Center, PO B ox 122, 286 Whisconier Rd.,
B rookfield 06804; e-mail [email protected];
see www.brookfieldcraftcenter.org; tel (203) 775-4526;
or fax (203) 740-7815.
Connecticut, Canton
“ Fire and Smoke,” primitive and alternative firings (June
17–19); fee: $285, includes firing. “ Wood and Salt
Firing” (June 22–25); fee: $385, includes materials and
firing. “ Altered Functional Pots” with Sarah Gross (July
8–9); fee: $225. “ Fearless E lectronic Firings” (July 16);
fee: $110. “ Throwing and Individualizing Large Functional Forms” with B ob Crystal (July 22–23); fee: $220.
“ Crystalline Glazes” (July 29 or August 26); fee: $225,
includes firing. “ The Five Days of Fire” with Tim Scull and
CCW staff (August 7–11); fee: $485, includes firing and
glazes. “ Form and Contrast, Porcelain and Stoneware”
with Tom O’Malley (August 19–20); fee: $225. Instructor (unless noted above): Tim Scull. Skill levels vary.
Contact Tim Scull, Canton Clay Works, 150 Cherry B rook
Rd., Canton 06019; e-mail [email protected];
see www.cantonclayworks.com; or tel (860) 693-1000.
Connecticut, Middletown
“ Immersion: Paper Clay Workshop” with Rosette Gault
(August 19–23); fee: $350. All skill levels. Contact Melissa Schilke, Wesleyan Potters, 350 S. Main St.,
Middletown 06457; e-mail [email protected];
see www.wesleyanpotters.com; tel (860) 347-5925; or
fax (860) 344-1096.
Delaware, Wilmington
“ Clay Monoprinting” with Mitch Lyons (June 17); fee:
$65, includes materials. All skill levels. Contact Delaware Center for Contemporary Arts, 200 S. Madison
St., Wilmington 19801; e-mail [email protected];
see www.thedcca.org; tel (302) 545-3849.
Georgia, Decatur
“ Story Telling, Narrative Sculpture,” emphasis on surface treatment with Debra Fritts (June 2–4); fee: $275,
includes breakfast and snacks. “ Setting the Mood for
Food,” thrown and altered forms for the table with Silvie
Granatelli (August 19–20); fee: $125, includes breakfast
and snacks. Intermediate through professional. Contact
E rik Haagensen, MudFire Clayworks, 175 Laredo Dr.,
Decatur 30030; e-mail [email protected]; see
www.mudfire.com; or tel (404) 377-8033.
Georgia, Duluth
“ Surface Decorating and Glazing Workshop” with
Marissa Hudson (June 17); fee: $75. “ Colored Clay
Workshop,” porcelain with Marissa Hudson (July 15);
fee: $110. All skill levels. Contact Marissa Hudson,
Ocee Arts Center, 6290 Abbotts B ridge Rd., B uilding
700, Duluth 30097; e-mail [email protected];
see www.oceearts.org; or tel (770) 623-8448.
Georgia, Watkinsville
“ From Flat to Form: Handbuilt Pouring Pots” with Sam
Chung (August 26–27); fee: $125, includes meals. All
skill levels. Contact B ob Marable, Oconee Cultural Arts
Foundation Art Center, PO B ox 631, Watkinsville 30677;
e-mail [email protected]; see www.ocaf.com; tel
(706) 769-4565; or fax (706) 769-3134.
Hawai‘i, Makawao
“ Throwing and Altering” with Reid Ozaki (August
12–13); fee: $137, includes materials. Intermediate.
Contact Audrey K amii, Hui No’eau V isual Arts Center, 2841 B aldwin Ave., Makawao 96768; e-mail
[email protected]; see www.huinoeau.com; tel
(808) 572-6560; or fax (808) 572-2750.
Idaho, Ketchum
“ Clay Camps for Children,” handbuilding ages 7–12
(July 10–14, 17–21, 24–28, 31–August 4 or 7–11); fee:
$125, includes materials. “ Making Tools and B rushes for
38
Indiana, New Harmony
“ New Harmony Ceramics Workshop,” handbuilding,
throwing, glazing and different firing techniques with
Les Miley (June 19–July 21); fee: $500; 3 credit hours,
$1000. Intermediate/advanced. Contact Les Miley, University of E vansville, Dept. of Art, 1800 Lincoln Ave.,
E vansville 47722; e-mail [email protected]; see
http://art.evansville.edu; or tel (812) 488-2043.
Iowa, Persia
“ K iln B uilding and Salt Firing” with Don B endel (June
22–25); fee: $275, includes firing and lunch. Contact
Tony Winchester, Winchester Pottery, 97 Framp Ave.,
Persia 51563; e-mail [email protected];
or tel (712) 488-2027.
Maine, Deer Isle
“ Pots/Possibilities” with Nick Joerling (June 4–16). “ Five
Little Things: Notes to the Artist on Sources and Making” with Syd Carpenter (June 18–30). “ Maiolica” with
Matthias Ostermann (July 2–14). “ Handbuilding and
Maiolica” with Liz Q uackenbush (July 16–28). “ Utilitarian Pots” with Michael Connelly (July 30–August 18);
fee: $900. “ The Fine Art of Drawing and B rushwork
Decoration” with Stephen B owers (August 20–September 1). Fee: (unless noted above): $675. Skill levels
vary. Contact Candy Haskell, Haystack Mountain School
of Crafts, PO B ox 518, Deer Isle 04627; e-mail
[email protected]; www.haystack-mtn.org;
tel (207) 348-2306; or fax (207) 348-2307.
Maine, Monroe
“ Side by Side— A Family Clay E xperience,” handbuilding, throwing and primitive firing (June 20–22). “ Introduction to Pottery” (June 30–July 2). “ Throwing Pots”
(July 14–16). “ Clay B reathing,” exploring the foundations of your personal clay work (July 30–August 5).
“ Clay Intensive— The Full Cycle” (August 13–19). Instructor/session: Squidge Lilj eblad Davis. Fee/session:
$750/week; $350/weekend; includes materials, firing,
lodging and meals. All skill levels. Contact Squidge
Lilj eblad Davis, Starfl ower Farm and Studios, 941 Jackson Rd., Monroe 04951; e-mail [email protected];
see www.starfl owerfarmstudios.com; tel (207) 525-3593.
Maryland, Annapolis
“ E nvironmental Ceramics and Glazes— Adorning Your
World in Clay: How to Create Tiled Tables, Wall Murals
and Decorative Garden Ware” (July 15–16); fee: $175.
Limit of 8. “ Positive Approaches to Marketing Your
Art— Power in the Psychology of Success and the B usiness of Production Pottery” (August 12); fee: $100.
Instructor/session: Jayne Shatz. Skill levels vary. Contact Jayne Shatz, Jayne Shatz Pottery Studio, 453 Laurel
V alley Ct., Arnold, MD 21012; e-mail j [email protected];
see www.j ayneshatzpottery.com; tel (410) 757-6351.
Maryland, Baltimore
“ Ideas & Approaches,” handbuilding, throwing and surface treatments with Paul Dresang (June 12–15); fee:
$300; members, $280; includes 25 lbs of clay. Intermediate through professional. Contact Leigh Taylor Mickelson,
B altimore Clayworks, 5707 Smith Ave., B altimore 21209;
e-mail [email protected]; see
www.baltimoreclayworks.org; tel (410) 578-1919; or fax
(410) 578-0058.
Making” with Nancy Selvage (July 24–28); includes
firing. “ High Fire Glaze Day” with Nathaniel Doane and
Anne Goldberg (July 26); fee: $130, includes firing.
“ Creating the Decorative Surface” with Washington
Ledesma (July 31–August 3); includes firing. “ Forget
the Rules: Throwing Without Water” with Ayumi Horie;
includes firing; or “ B eginning/Intermediate Throwing”
with Nathaniel Doane (August 7–11); includes firing.
“ Salt and Smoke Workshop” with Mikhail Z akin; includes firing; or “ Precious Metal Clay” with Judith
Goldstein (August 14–18); fee: $400, includes materials. “ Raku Firing” with James B runelle (August 21–25);
includes firing. “ High Fire Glazing Workshop” with
Anne Goldberg (August 23–24); fee: $260, includes
firing. “ Paper Clay: V essel to Sculpture” with Rebecca
Hutchinson (August 28–September 1); includes firing.
Fee: (unless noted above): $330. Skill levels vary. Contact Cherie Mittenthal, Truro Center for the Arts at
Castle Hill, PO B ox 756, 10 Meetinghouse Rd., Truro
02666; e-mail [email protected]; see www.castlehill.org;
tel (508) 349-7511; or fax (508) 349-7513.
includes materials and firing. “ McK night Resident Artist
Lecture” with Yonghee Joo (July 20); free. “ McK night
Resident Artist Lecture” with Hide Sadohara (July 27); free.
“ Glazing Matters: Integrating Form and Surface” with
Robert B riscoe (August 30–September 3); fee: $335, includes materials and firing. Skill levels vary. Contact Pete
Scherzer, Northern Clay Center, 2424 Franklin Ave. E .,
Minneapolis 55406; e-mail [email protected];
see www.northernclaycenter.org; tel (612) 339-8007; or
fax (612) 339-0592.
“ Making Mosaic: The Whole Process” with Sheryl Tuorila
(August 12–13); fee: $195. Contact Sheila Menzies,
Tile Heritage Foundation, PO B ox 1859, Healdsburg,
CA 95448; e-mail [email protected]; see
www.tileheritage.org; tel (707) 431-8453.
Mississippi, Natchez
“ B asic Glaze Mixing Part One” with Conner B urns and
Lindsay Rogers (June 2). “ Pitchers, Mugs and Handles”
(August 13–20); fee: $425, includes materials and
Maryland, Frederick
“ Masters Throwing II” (June 1–4). “ Ceramic Decoration” (June 17–21 and 26–30); fee: $700, includes
some materials. “ Throwing Large Forms” with K evin
Crowe (July 10–14). “ Masters Throwing” (August 17–
20). Instructor (unless noted above): Joyce Michaud.
Fee: (unless noted above): $250. Skill levels vary. Contact K aren Taylor, Hood College, 401 Rosemont Ave.,
Frederick 21701; e-mail [email protected]; see
www.hood.edu/academic/art; or tel (301) 696-3456.
Maryland, Mitchellville
“ The Raku E xperience” with Troy C. B rockett and Melvin
U. Twine, Jr. (June 17–18, 24–25, July 29–30 and/or
August 12–13); fee/session: $100, includes materials
and firing. B eginning through advanced. Contact Troy
C. B rockett, Potter’s Glow, Inc., PO B ox 31215, Capitol
Heights, MD 20721; e-mail [email protected]; see
www.pottersglow.com.
Massachusetts, Stockbridge
“ Developing Cone 6 Glazes” with Jeff Z amek (June 3);
fee: $60, includes materials and firing. “ Salt and Reduction K iln-B uilding Workshop,” building a cross draft/
soda and a downdraft gas kiln with Alex Waston and
Trevor Dunn (June 12–16); fee: $300, includes materials.
“ Studio Sampler,” two-hours in each studio with faculty
artists (June 18); fee: $95, includes materials and meals.
“ B reaking B arriers with Colored Clay: Monoprints and
Pots” with Mitch Lyons (June 26–30); fee: $355, includes
materials and firing. “ Precious Metal Clay: Making B eads
and other Hollow Forms” with Linda K aye-Moses (July
15–16); fee: $270, includes materials and firing. “ E nergize Your Thrown Forms” with Michael Connelly (July
22–23); fee: $120, includes materials. Skill levels vary.
Contact Laurie May, IS183 Art School of the B erkshires,
PO B ox 1400, 13 Willard Hill Rd., Stockbridge 01262;
e-mail [email protected]; see www.is183.org; tel (413)
298-5252; fax (413) 298-5257.
Massachusetts, Truro
“ History as Inspiration” with B ruce Winn (June 26–30);
fee: $450, includes firing. “ Mold Making for Sculptural
and Figurative Forms” with Jack Charney; includes
materials; or “ B eginning Throwing” with Nathaniel
Doane (July 3–7). “ Improving Your Pots” with Mark
Shapiro (July 10–12); includes firing. “ Handbuilding
Teapots and Covered Jars” with B arbara K nutson (July
13–14); fee: $250, includes firings. “ Altering Thrown
Forms” with Gay Smith (July 17–21); includes firing.
“ Printing on Clay,” demos on silk-screening with Warren Mather; includes materials and firing; or “ Tile
A student takes advantage of the nice weather by adding finishing touches to her work outside during
a workshop at Peninsula Art School, Fish Creek, Wisconsin.
Michigan, Saugatuck
“ Wheel Throwing” with Jon Hook and Rob McClurg
(June 11–17). “ V essel/Figure/ Obj ect” with Christyl B oger
(June 25–July 1). “ Ceramics: Materials and Processes”
with Charles Jahn and Donovan Palmquist (July 23–29).
“ V essels” with Sandy Simon and B ob B rady. (August 6–
12). Contact Ox-B ow, 37 S. Wabash, Chicago, IL 60603;
see www.ox-bow.org; or tel (800) 318-3019.
Michigan, Ypsilanti
“ K iln B uilding— Catenary Salt/Soda” with Diana Pancioli
(June 8–11); fee: $210, includes materials and firing.
Intermediate/advanced. Contact Diana Pancioli, E astern Michigan University, 114 Ford Hall, Ypsilanti 48197;
e-mail [email protected] or [email protected];
tel (800) 777-3521 or (734) 487-1268.
Minnesota, La Crescent
“ Wood-Fire Ceramic Workshop” with Harry Izenour,
Mike K nox and Anne Plummer (June 5–11); fee: $280,
includes materials, firing and camping; may bring
bisqueware. All skill levels. Contact Mike K nox, Chicken
Ridge Studio, 2510 Chicken Ridge Rd., La Crescent
www.mikeknoxstudio.com; or tel (507) 895-3370.
Minnesota, Minneapolis
“ B rick, K iln and Fire” with Mike Carlson and JD Jorgenson
(June 9–11, 23–25, July 12–16 and 22); fee: $625, includes
materials and firing. “ Raw Materials and Glaze Calculation” with Dr. William Carty (June 19–23); fee: $335,
39
firing. “ Making Glazes Part Two” (August 26). Instructor/session (unless noted above): Conner B urns. Fee:
(unless noted above): $75, includes materials. Skill
levels vary. Contact Conner B urns, B urns Pottery, 209
Franklin St., Natchez 39120; or tel (601) 446-6334.
Missouri, Ellsinore
“ E xpressive Pots and Inventive Handbuilding” (June 5–
9); fee: $350, includes materials, firing, lodging and
meals. “ Wood Firing and Colorful Slips” (July 10–21);
fee: $550, includes materials, firing, lodging and meals;
may bring bisqueware. “ Larger Pots— E xpand Those
Limits” (August 7–11); fee: $350, includes materials,
firing, lodging and meals. “ Salt Fire and Raku” with
Robert Carlson (August 25–27); fee: $300; may bring
bisqueware. Instructor (unless noted above): David
Porter. Skill levels vary. Contact David Porter, Raven
Center for the Arts, 514 County Rd. 418, E llsinore
63937; see www.ravencenter.org; tel (573) 998-2611.
Missouri, Kansas City
“ Rhythm and Gesture,” throwing, slips and glazes, and
firing with Steven Hill and Matt Long (June 2–10); fee:
$850, includes materials and firing. “ Pitchers and Mugs”
with Steven Hill (July 30–August 6); fee: $650, includes
materials and firing. Skill levels vary. Contact Laura
DeAngelis, Red Star Studios Ceramic Center, 821 W. 17th
St., K ansas City 64108; e-mail [email protected];
www.redstarstudios.org; or tel (816) 474-7316.
Continued on page 54
Maine, Newcastle
“ Wood-K iln B uilding” with Dan Murphy (June 4–23);
fee: $995, includes lodging and meals. Intermediate
through professional. Contact Tyler Gulden, Watershed
Center for the Ceramic Arts, 19 B rick Hill Rd., Newcastle
www.watershedceramics.org; tel (207) 882-6075; or
fax (207) 882-6045.
Jan Schachter: P ot t e r
by Linda Mau
“Storage Jar,” 8¹⁄₂ in. (22 cm) in height, thrown custom stoneware, with oak wood ash glaze, fired to Cone 10 in reduction, 2005.
One of Schachter’s signature design elements is an extruded coil handle wrapped with unglazed Black Mountain Clay.
40
PHOTOS: HAP SAKWA
Jan Schachter is a potter. She makes pots; not ceramic art, not sculpture. Schachter is committed to making
functional ware; pots to be used, made with care and made with strong design. Though Schachter believes
functional ware is sometimes overlooked by jurors, her passion for melding form and function has not gone
unnoticed. In a recent interview she stated, “W hat keeps me going is that every so often, something
wonderful happens.” One such wonderful thing was when her work was selected for the Best Functional
Award in the 2002 State of Clay exhibition at the Lexington Arts and Crafts Society in Massachusetts (See
CM September 2002).
Although Schachter discovered the joy of clay when she was only six years old, she did not become a
potter until after graduating in microbiology from the University of Massachusetts. Like many artists, she
realized that she was not suited to life in an office; she was a “doer.” She then returned to clay, attending
classes at Greenwich House Pottery in New Y ork City. After a move to W estchester County, New Y ork, she
worked and studied at the Clay Art Center in Port Chester and the Old Church Cultural Center (now the
Art School at Old Church) in Demarest, New Jersey. It wasn’t until after she and her family moved to
California in 197 8 that she became a full-time, award-winning, functional potter.
Her studio is located in the hills west of Stanford University. It is as well designed and functional as her
pottery. It sits among ancient oak trees and was constructed to blend with the Spanish architecture of her
home. She had the rare opportunity of designing her studio space, including considerations for efficient
cleaning and ware handling. Her kilns, an Olsen 24 (age 25) and an electric Crucible kiln for bisque, are
housed in a covered outdoor area. The clay studio includes a standing Brent wheel. Like many production
potters, she finds that raising her wheel to allow her to stand while throwing has greatly decreased back
problems. There is also a trimming wheel, slab roller, extruder and worktables. She sorts her work by form,
glaze or clay body on the open shelves lining the room. Pieces made for customers requesting specific sizes
and glazes are kept separate to ensure consistency, and to make shipping and invoicing more efficient.
“Woven Plate,” 15¹⁄₄ in. (39 cm) in length, slab-built Black Mountain Clay, unglazed except the edge,
which is glazed with Black Oak Wood Ash Glaze, fired to Cone 10 in reduction, 2003.
41
Stamped Slab Plates
M O N T H L Y
methods
by Jan Schachter
Some of the most satisfying pieces to make in my repertoire are slab plates. Getting away
from the wheel allows me to experiment with new shapes and surface decoration.
Starting with wedged clay, I roll ⅜-inch slabs using a slab roller. I use old, soft
pillowcases cut in half to facilitate turning the clay onto a canvas-covered board. A few
rolls in both directions with a rolling pin seems to reduce warping. The clay is then cut
using a metal square as a guide. Sometimes I tear the edges against the square and
sometimes I retain a raw edge. The edges are smoothed with a damp sponge and I stamp
my mark on the bottom. Using another cloth and board, the clay is flipped to the
surface that will become the top.
Again using the square, I lightly designate where the finger marks will go, defining
the portion of the plate I will “mark.” I have a large box of stamps I have accumulated
over the years. My favorite is a wooden roller from India
used for massage. Its teeth leave rows of inverted pyramids.
To shape the plate, I raise the sides by holding on to
the cloth, and slide lengths of 2×6-inch board underneath
that have been cut in half lengthwise on a 4 5° angle. I have
props cut to many lengths so I can make plates in any
proportion. Then I run my fingers along the premarked
finger lines to press the bottom flat. I adjust the props to
leave the plate as true as possible while it sets up. W hen
the boards are removed, feet can be added and the shape
can be corrected.
After bisque firing, I brush on Black Oak W ood Ash
Glaze to fill the teeth marks. Excess is scraped off until the
glaze is only in the pyramids. The plate is then dipped
either in Laura’s Turquoise or my Cream Oak Ash glaze.
“Slab Plate,” 14 in. (36 cm) in length, slab-built custom stoneware,
with Laura’s Turquoise over Black Oak Wood Ash Glaze in the roller
marks, fired to Cone 10 in reduction, 2005.
Schachter works on clay, either in her studio or in related ceramic
activities, every day. W ith this amount of production, she markets
her work in various ways. She hosts an open studio at her home
twice a year with a small group of other invited artists. She also
participates in the two very successful festivals put on by the Association of Clay & Glass Artists of California (ACGA). She does a
limited number of commissions, supplies various galleries across the
country, and also sells her work through Guild.com and her personal website www.janschachter.com.
Schachter’s style has evolved over the years, yet remains recognizable. Although best known for her covered containers with
unique coil handles, she constantly explores new designs and forms.
“Although I frequently make utilitarian stoneware, I occasionally
blend my clay, textile and basketry experiences by weaving ‘ plates’
out of clay,” she says. W oven plates take a great deal of concentration and time as the limitations of the clay create special challenges
for the artist.
To maintain consistency throughout her line of work, Schachter
limits the number of glazes she uses. Since each piece is monochromatic, the glaze must be rich and varied enough to provide visual
interest. After much testing, she modified both a black and creamcolored ash glaze to make them stable and appropriate for utilitarian ware. For variety and contrast, she uses a rich green glaze,
Laura’s Turquoise, attributed to Steven Hill. But the application is
her own— she mixes it thick and applies it to bisqueware, not
greenware as Hill does— producing subtle variations in the color.
42
In addition to being a successful potter,
Schachter has been a lifelong advocate for the
crafts and its community. W hile living in the
East, she was the founding director of a
nonprofit municipal gallery in Hastings on
Hudson and a founding member of the Hudson
River Potters, a mutual support organization
for potters. Since moving to California, she
has served on the boards of the Craft Emergency Relief Fund (CERF), the Palo Alto Art
Center Foundation and the San Francisco Museum of Craft+ Design. She is currently the
exhibitions chair of ACGA, where she has been
on the Board since 1981.
Through hard work, dedication to craft and
commitment to service, Schachter serves as an
excellent role model for the many potters who
love to make functional pots. Her success proves
that even in our high-tech, 21st-century world,
there is a place for well-crafted, well-designed
pots for use.
Schachter’s work is carried by the Works Gallery in Philadelphia (www.snyderman-works.com)
and V. Breier in San Francisco (www.vbreier.com).
recipes
Black Oak Wood Ash Glaze
(Cone 10 Reduction)
Washed Oak Wood Ash .................... 49 %
K ona F-4 Feldspar .............................. 24
Tennessee B all Clay ........................... 27
Cream Oak Ash Glaze
(Cone 10 Reduction)
Washed Wood Ash ............................ 50 %
K ona F-4 Feldspar ............................... 30
Tennessee B all Clay ............................ 20
100 %
Add: B entonite .................................. 20 %
Copper Carbonate .................... 10 %
Manganese Dioxide ................... 10 %
100 %
Add: B entonite ................................... 2 %
Z ircopax ..................................... 20 %
Laura’s Turquoise
(Cone 10 Reduction)
Whiting ..........................................
Custer Feldspar ...............................
E PK K aolin ......................................
Silica (Flint) ......................................
37.4 %
23.3
30.0
9.3
100.0 %
Add: B entonite ................................ 1.9 %
Cobalt Carbonate ................... 0.2 %
Copper Carbonate .................. 3.0 %
Powdered Rutile ...................... 2.8 %
The ashes are screened to remove any wood
or charcoal, etc. They are then mixed with
water and allowed to settle. The water is
decanted and new water added and mixed
in. This process is repeated 3 or 4 times until
the water no longer feels soapy. The wet
ashes are scooped into a large basin lined
with a cloth to help wick away the water, and
left to dry.
Casserole, 8¹⁄₂ in. (22 cm) in diameter, thrown custom stoneware, with Black Oak Wood Ash Glaze,
fired to Cone 10 in reduction, with extruded coil handle wrapped with unglazed clay, 2005, by Jan Schachter, Portola Valley, California.
43
PHOTOS: DANA DAMEWOOD
MUSK THISTLES
AND SWEET GUMBALLS
New Interpretations by Jess Benjamin
by Kim Carpenter
“Thistle, 05-01,” 16 in. (41 cm) in height, handbuilt, with Mason stains, fired to Cone 04, NFS.
Musk thistles are tenacious weeds; they invade the prairie lands of
the Midwest and take firm hold, choking off any botanical life that
tangles with their roots. Perhaps no other ceramist knows this better
than Jess Benjamin, who grew up on a cattle ranch near Cozad,
Nebraska, and spent the greater part of her youth spraying against
their noxious spread. Today, the artist draws upon this experience to
create ceramic sculptures that represent, reinterpret and redefine the
simple thistle in all its organic detail. And the results are often
startling, breathtaking and quite stunning.
Only the second woman to assist celebrated ceramist Jun Kaneko,
Benjamin uses a variation of fireclay and grog to produce large
batches, which enable her to be more organized and focused when
producing serial sculptures of similar forms. Dried thistle rosettes
surround Benjamin as she works. The small, prickly heads— roughly
½ inch in diameter— are scattered on work surfaces and stapled
onto her studio walls.
“Thistles,” she observes, “are sharp, little vicious things.” And,
she adds with a chuckle, “I build my own.”
W ith their lack of symmetry, the gnarled bodies provide a challenging point of departure in terms of translating the random spikes
into coherent ceramic forms. Benjamin’s initial “Thistle Ball” series
from 2004 featured tightly clustered heads, characterized by their
whimsical slips of color and deep, grainy surfaces. In stark contrast,
her current thistle crop features unfolding fronds that rollick forward, bursting forth as if barely contained. In this regard, Benjamin
is clearly venturing beyond the more restrained approach she favored in her previous sculptures.
To this end, she allowed herself to become more flexible and spontaneous with how she handled the clay, perceiving in this more open
approach a new way to work that ultimately influenced her to create
more complex ceramic constellations. Her focus became less about
controlling the clay and more about following its subtle, pliable lead.
Benjamin begins each thistle sculpture much the same: she forms
a clay ball for her base and then pounds out ¼ – ½ -inch thick slabs,
which she cuts into triangles and attaches to the center. She then
twists and turns the clay, forming tonguelike fronds that lap play-
44
fully forward. Q uick pinches and deft cuts permit Benjamin to
develop the thistles as she works, taking her cues from the way the
clay curves and bends with each textural addition. She tends to
eschew interior supports in her sculptures, observing: “If a piece
moves when it’s fired, that’s okay. That’s what clay does. It moves.”
In her earlier work, she fired multiple times— sometimes placing
a single 12-inch thistle ball through the kiln as many as thirteen
times and adding layer after layer of color with each subsequent
firing. But with these larger pieces, some up to 2 feet in diameter,
she prefers firing only once or twice, observing that the slips and
stains she has chosen tend to work best with only one firing. The
result is earthier, more organic and entirely understated. Neither
color nor texture dominates; instead the sculpture as a whole becomes the focal point as shape and surface fuse with stains and slips.
Additionally, for as stately and solid as the pieces first appear,
they nevertheless crackle with a prickly intensity, a frenetic kinetic
force that lends undisputed vitality to Benjamin’s work. Despite the
sharp edges, there is a tacit, tactile quality to these latest sculptures,
and viewers tend to touch them, poking their fingers into the small
recesses and lightly caressing the fronds.
The thistles also seem to evoke such responses because they
resemble living things. “These sculptures all look like little creatures,
and people really tend to use their imaginations when they see
them,” notes Benjamin. Indeed, while one person might see some
form of aquatic life, another envisions an intergalactic alien life-
form. Benjamin’s squat, fat, ochre “Thistle, 05-01,” for example,
looks like a strange sea creature, the unfurling fronds turning into
numerous, searching tentacles.
Thistle rosettes, however, do not solely constitute Benjamin’s
work. She draws on other botanical imagery, notably the sweet
gumball plant, to create 2– 3 -foot-wide wall slabs. W ith their spiny,
star-shaped bodies, they serve as apt models for the artist to continue her ceramic zigs and zags onto horizontal surfaces.
W ith these pieces, Benjamin builds the clay from the surface of
the slab. She pinches it upwards and lets it slither across the surface
to culminate in a heart-shaped opening. W hile rooted in plant life,
there is a linear simplicity to these wall slabs. The line that emerges
from the clay forms a surreal landscape, one that suggests a rugged
relief map of some remote location. The opening that completes
each line variously resemble beaks, hearts, pine cones or serpentine
heads, again lending Benjamin’s work an animated quality.
Regardless of the manifold interpretations viewers bring to
Benjamin’s work, her ongoing explorations of botanical constellations are pushing the sculptor to experiment and evolve. She says,
“Jun always says ‘ follow the line.’ People think it’s hard to make a
straight line, and it is. It’s also hard to make a curve.” To this end,
musk thistles and sweet gumballs are guiding her on a journey filled
with twists and turns, and she herself doesn’t know where they will
lead. Reflects Benjamin: “I’m just following the line to see where it
takes me.”
“Wall Slab, 05-03,” 28 in. (71 cm) in length, handbuilt, with Mason stains, fired to Cone 6, $400, by Jess Benjamin, Cozad, Nebraska.
45
Threads:
LAURA PEERY
by Ed Wargo
“Make Me an Angel,” 23 in. (58 cm) in height,
slab-built and pinched porcelain from textured slabs,
with stains and underglazes, fired to Cone 8, 1997.
The arms are a fabric-encased wire armature, which
extends within the piece to the head and feet.
Thread, pins, fabric, lace and wire
are used for accents and hair.
46
“Are you the artist? ” came the pleasant inquiry from
the pleasant woman to me, a man who is occasionally
pleasant. W hat temptation! She hadn’t seen the sign
indicating this was the booth of Laura Peery, or the
official-looking badge I was sporting, which identified me as the assistant. “Y es, these magnificent works
of art, what Oscar W ilde would call the ‘ unique result
of a unique temperament’ are mine, all mine,” was set
to spring from my lips when I thought I heard a
chuckle from one of Laura’s porcelain teapots, probably “Teapot on Cushions,” a known troublemaker.
I dismissed the auditory derision as a consequence
of recently having read every Jonathan Carroll book I
could get my hands on and instead came clean. “No
ma’am, I’m just minding the booth while Laura grabs
a quick bite. W hat you see here is the result of over
25 years of a very special artist working her craft, an
artist whose work has appeared in numerous exhibitions, and in collections at the Smithsonian and the
W hite House.”
“W ow. But how does she come up with these ideas? ”
This would be the premier question over the next
thirty minutes on this November day at the Philadelphia Museum of Art Craft Show, while I reigned
supreme at the booth of Laura Peery. I no longer had
any temptation to tell any whoppers or even a small fib
in an attempt to answer. W e nonartistic types are always
in awe of those who create, and especially those who
create something that makes us pause, reflect and feel.
“I have no idea,” I replied.
“Does make you smile though, doesn’t it? ”
Comments on that vein were abundant. A few
times I was called on for explanations of particular
pieces (danger, W ill Robinson!) and was pleasantly
surprised that my brain had indeed paid some attention over the years.
“W hat’s the material? ”
Clay. More precisely, porcelain.
“How does she get the fabric in the clay? ”
Actually, it’s fabric rolled on the clay to create
the texture.
“W hat about this? It looks like a piece of thread or
something.”
It might be. In some of her earlier pieces she used
thread from her grandmother’s dress shop.
“Makes you smile though, doesn’t it? ”
I have the good fortune to own a work of Peery’s
called “A W alk in the Park,” which over the past five
years has served as a kind of free therapist. I like to
grab a cup of coffee, plunk down in the oversized
leather armchair and say “Big Joe, whataya know? ” To
which the reply is always the same, “just a walk in the
“Teapot on Cushions,” 10 in. (25 cm) in height, slab-built and pinched porcelain from textured
slabs, with stains and underglazes, fired to Cone 8, with polymer roses, 2004.
47
park.” It always reminds me of my father,
who loved to laugh no matter what, and who
believed that things always worked out— and
for the better.
I believe that A W alk in the Park provides
me a thread to the past, and I’ve wondered if
this has something do to with how Peery
creates. I’ve heard her tell the story of how as
a little girl she spent time in her grandmother’s
dress shop in New Orleans, especially in the
attic where the alterations were done. Here is
where I tend to fill in the blanks and hear the
creak of the attic stairs, the filtered sunlight
of a late afternoon, the whir of sewing machines, the murmur of daily chatter, the
clipped instructions of “stand still already!”
But mostly I picture the wonder of a young
girl seeing a box for the first time full of
scraps and threads, hooks and eyes, scissors
large and small. Seeing it for the first time;
then many times; then to acquire as an adult
many of the threads and tools from the time
of her childhood, woven into today. The end
result when I talk to Big Joe is to be transported back to a time of a young boy in his
father’s delicatessen, hauling cases of soda,
and wondering about adults and the future.
Recently I started to wonder about A W alk
in the Park on a much more practical level.
For somebody like myself whose artistic talents are confined to the realm of paint by
numbers, it is hard to imagine the steps in
creating A W alk in the Park. So Laura, my
faithful friend and porcelain confidant, how
did you make these works?
“I take thin slabs of soft porcelain and roll
them out, impress them with fabric, and cut
them out from paper patterns,” she explains.
“The pieces are then joined together, taking
care not to mar the textured surface. Often,
thin strips are added and impressed using a
dressmaker’s tracing wheel.
“After bisque firing, Mason stains are
rubbed in and later airbrushed onto the surfaces. Underglaze colors, lusters and unfired
colors also are used.”
“A Walk in the Park,” 24 in. (61 cm) in height, slabbuilt, fabric-textured porcelain, stains, with wire and
acrylics, fired to Cone 8, 1999. Because of the
armatures in the figures, they are slightly moveable.
48
So that’s how it’s done, or rather that’s an accurate accounting of
the required steps in the process. To define Laura’s artistic creations
in such a DIY fashion seems a bit like Michelangelo telling passers
by that “I just wail at the marble with the hammer and chisel until I
get to the angel.” I am not on a first-name basis with the muse of
such things. It strikes me as a variation on the old Steve Martin joke
that describes “how to be a millionaire and not pay any taxes,” to
which the first part of the answer is, “first, get a million dollars.”
I’m quite confident that Peery’s work has created millions of
smiles. Not the same as dollars, as I’m sure her husband has pointed
out from time to time. W hat value do you place on your work when
you know the result is that it makes people feel good? It makes
them happy.
That happiness is the ribbon that winds its way into all of her
work. Sometime in the future her daughter will tug on some loose
thread of this past, pulling it into her present for a creation of her
own making. W hatever that may be, may it be of the same thread
her mother found, strong enough for many futures.
For now, I have to go chat with Big Joe. I know it will make
me smile.
PHOTOS: JERRY ANTHONY
M O N T H L Y
methods
“Seamstress’ Teapot,” 13 in. (33 cm) in height, slab-built and pinched porcelain from textured
slabs, with stains and underglazes, fired to Cone 8, 2005, by Laura Peery, Chevy Chase, Maryland.
49
Stitching it all Together
by Laura Peery
The first time I rolled clay out on a slab roller, I
loved the fresh look of the canvas imprint. The
rough canvas used to pull the clay through the
rollers was not exactly what I had in mind for the
delicate pieces I wished to create, so I found a
canvas with a slightly finer texture. I enjoy using
several different fabrics for texture, many of which
are samples of upholstery material or pieces of lace
from old placemats or dresses. I am able to use the
same fabrics over and over because I simply impress the clay with the fabric and then remove it.
In order to accentuate the texture, I use a dressmaker’s tracing tool which makes very fine stitch
marks on the clay.
I like the contrast of subtle variations of sheen
on the pieces, from matt to semigloss. I often spray
on a mixture of Mason stains and water using an
airbrush. This results in a soft matt finish that
enhances the texture of the fabric. W hen I build
up the color it can resemble leather or velvet. I also
use V elvet underglazes that range in levels of shine
depending on the color. The insides of the teapots
are glazed with a clear glaze. I fire to Cone 8. The
lusters are fired to cone 018
Sometimes I use actual fabric for components
of my work (such as the arms of the figures).
Mostly I do this because the pieces are less breakable, but I also like the contrast of the real fabric
with its fool-the-eye counterpart.
Lynn Lais
by Phyllis Blair Clark
In the rural northwestern corner of Maryland, the small town
of Grantsville became home to a unique crafts community in
1957 , when Alta Schrock founded what is now known as Penn
Alps and Spruce Forest Artisan V illage. Schrock wanted to
create a marketing outlet for the numerous cottage industries
in this rather out-of-the-way area, and to provide a showcase
for the area’s arts and crafts, music, history and spiritual values.
Included in her vision was a restaurant and gift shop, which
welcomes visitors as they stroll through the Artisan V illage.
Over the years, the original log cabins have been joined by
some newer buildings, which house studios for basketmakers,
wood carvers, blacksmiths, weavers, soapmakers and potters
such as Lynn Lais.
As a young person growing up in Hesston, Kansas, Lais
thought he would become a builder— not a potter. He attended Hesston Junior College after high school and took a
ceramics course out of curiosity. He fell in love with the craft of
pottery and had a very affirming professor. After he graduated,
Lais took a break in his education and worked as a lab assistant
for Paul Freisen at Hesston. During that year he continued to
work with clay and took a very formative design course with
Bob Regier. “They put a lot of pressure on me to go back to
school and finish a degree so I picked Goshen College in
Goshen, Indiana, because they had a good soccer team,” Lais
explained. “By now I had realized that athletics also were a very
important part of my life. I loved soccer and I still do. . . . So,
due to Paul, Bob and soccer I ended up getting my B.A. from
Goshen College in 197 8.”
Upon graduating from Goshen, Lais had an opportunity to
go to Europe and make pots. He accepted a six-month position
in Belgium making pottery and working as an apprentice/
journeyman. The original six months turned into nine. Then
he made contacts in Switzerland and France and eventually he
found himself making pots in several different locations learning from different potters. He remained in Europe three years
before he returned home to the United States.
“Finally, I realized clay had become a major part of my life
and I wanted to become as proficient and as knowledgeable of
the field as I could.” W hile working with Jean DeCrusadz in
Switzerland, Lais spent long days and many hours not only
throwing pots for DeCrusadz, but observing and working to
refine his own throwing and decorating skills. For endless
hours he watched and then devoted himself to perfecting the
techniques that seemed to flow so easily from DeCrusadz’s
hands and brush. W hat seemed so easy to his mentor proved
“Most of my regular customers started as visitors to the community,
and now many come at least once a year to augment their growing collections
of my work,” said Lais, seen here signing one of his slip-trailed pitchers.
50
PHOTOS: RICHARD BEITZEL, PAUL LINHARES
extremely challenging to Lais, but he was determined to
develop a series of decorative brush techniques that would
become a part of his own clay decorating vocabulary.
Shortly after his return from Europe, a former professor of
Lais’ told him that Spruce Forest was looking for a potter.
W orking out of the basement of one of the original log
cabins, Lais spent five months at Spruce Forest making enough
pots to last through the summer tourist season. “Then I went
to Colorado to ski for the winter. W hile there, I decided that
it was a great place for skiing, but I did not want to make it
my home,” he explained. Spruce Forest invited him to return
as a full-time resident potter. A very special young woman
provided an additional incentive for his return to this area.
Today the artisan village is a collection of twelve log and
frame structures of early vintage, one of which predates to the
Revolutionary W ar. W ith the exception of an old house and a
school building, all have been adapted to fit the needs of each
particular craftsperson.
As a community of craftspeople, they are free to create
their own work and know they will have a ready market for
their completed items. Some of Lais’ work goes to the main
gift shop, but the craftspeople also make many sales within
their particular cabins. As Lais talked further about this group
of gifted people, he said “W e all are so grateful every day for
the opportunity to work in this environment. W e help each
other with problems and we all have a sense of belonging.
Our common goal is to create a unique product of outstanding quality, and have the opportunity to share our studios
with the public as well. Being able to educate the public in
the creative process is a big part of what we do.”
As Lais continued our tour of this unique pottery, he said
“I fell in love with this place and after twenty some years I still
feel so lucky every day when I come to the studio.” The
original inn built in the 1800s along the Pike is now a
delightful showroom filled with pitchers, bowls, plates, cups,
planters and vases all created by Lais.
Making pots in the cabin basement became quite a chore
for Lais. “I am rather tall and the old basement was not,” he
commented. Eventually he added on to the original building
creating a workspace that is light, comfortable and very convenient. W hen he first started working in his newly created
space, he had arranged his workshop to look out the large
windows in the rear of the building so he could view the
woods, and enjoy the river, the greenery and the famed old
bridge. But after the first three days he knew that arrangement was not going to work. Many visitors to the showroom
had questions regarding the work or wanted to watch for a
few moments as he threw a pot or decorated pieces. He
rearranged his work area to be in view of his visitors so he can
continue to work while responding to their questions. Everything is within easy reach. “I do not stop or change my daily
work if visitors ask me to throw a pot. If that is the work of
the day so be it, but if I am glazing or loading the kiln that is
what I will continue doing. It’s all part of educating the
public in my creative process.”
Platter, 19 in. (48 cm) in diameter, stoneware, with matt L6E Glaze,
brushed with cobalt slip, and then slip-trailed porcelain, $200.
Platter, 15¹⁄₂ in. (39 cm) in diameter, thrown stoneware, with cobalt
and rutile washes brushed on top of G1 Celadon Glaze, $125.
51
I asked how he managed to get so much work done with visitors
coming and going. “I have taught myself to work in front of the
public, and carry on conversation at the same time,” he explained.
“From time to time it can be quite demanding but I enjoy the
feedback about my work, the compliments and above all watching
the eyes of a child when I make the initial pulls on a pot.”
As we continued our conversation, Lais decorated small bottle
forms with slip using brushes and a syringe. The patterning designs
that so handsomely adorn many of Lais’ works are an important
feature of each object. “I have always been drawn to patterns, and
those of the folk traditions have always intrigued me,” he explained.
His mastery of his favorite decorative techniques became very apparent as I watched him work.
Lais uses a commercial stoneware clay body that he can rely on to
be consistent. For him, he felt the time required to mix large
amounts of clay was time he could put to better use making the
pieces required to fill the kiln and to stock the showroom.
W hen I asked him if any contemporary potters influenced his
work, he replied, “yes, I would like to cite John Glick and perhaps to
a lesser extent everyone else whose pots have crossed my vision. I am
also fortunate to have friends in the field such as Royce Y oder, Dick
Lehman, Mark Nafziger, Brian V an Nostrand and Cary Hulin, all
potters I admire and who have contributed either technical support
or inspired various aesthetic considerations. I consider them all both
as peers and friends.”
Pitcher, 11¹⁄₂ in. (29 cm) in height, stoneware, with L6E Glaze, brushed cobalt slip
and slip-trailed porcelain, $75, by Lynn Lais, Grantsville, Maryland.
recipes
G1 Celadon
(Cone 11)
Whiting .......................................... 9.1 %
G-200 Feldspar ............................... 81.8
Silica (Flint) ...................................... 9.1
100.0 %
Yanagihara
(Cone 11)
Talc ...................................................
Whiting .............................................
G-200 Feldspar ..................................
E PK K aolin .........................................
Silica (Flint) .........................................
Add: B entonite ................................ 1.8 %
Red Iron Oxide ........................ 3.0 %
15 %
7
44
3
31
100 %
Add: B entonite ................................... 3 %
G1D Temmoku
(Cone 11)
Whiting ..........................................
G-200 Feldspar ...............................
E PK K aolin ......................................
Silica (Flint) ......................................
8.4 %
75.6
7.6
8.4
100.0 %
Add: B entonite ................................ 2.8 %
Red Iron Oxide ........................ 5.0 %
L6E
(Cone 11)
B one Ash ........................................
Dolomite .........................................
Whiting ..........................................
G-200 Feldspar ...............................
E PK K aolin ......................................
Silica (Flint) ......................................
Blue Slip
(Cone 11)
Nepheline Syenite ............................... 18 %
K entucky B all Clay (OM 4) .................. 72
Cobalt Oxide ...................................... 9
100 %
7.5 %
5.4
9.1
39.3
23.6
15.1
100.0 %
Add: Red Iron Oxide ........................ 0.9 %
52
L6E is B eige to B rown— when applied thin,
it is dark brown; when applied thick, it is a
creamy, oatmeal beige.
White Slip
(Cone 11)
G-200 Feldspar ..................................
E PK K aolin .........................................
K entucky B all Clay (OM 4) ..................
Silica (Flint) .........................................
30 %
20
10
40
100 %
M O N T H L Y
methods
Glazing and Brushstrokes
For me, glazing has three rules: application, application and
application! The glaze viscosity is critical for most of the work
I do. The largest portion is dipped into the glaze. Dipping
requires counting the seconds submerged, which allows me to
glazes, three slips and three washes gives me enough to think
about at this time.
W hen I decorate I use two techniques. After working for
others for three years, I started making pots for myself in
1981. I began by working with oxide washes over raw glaze. I simply
mixed straight oxides with water,
added a bit of glycerin to help suspend the oxides and brushed it over
the glaze. W ith this technique, there
are no second chances. Once the
brush touched the pot, I needed to
move immediately and finish the
stroke. The washes are simple:
straight iron oxide, a two-to-one
rutile to iron mixture, and a one-toone mixture of cobalt oxide and cobalt carbonate. A few years later I
began brushing cobalt slip and highlighting the strokes by trailing porcelain slip. This is looser for me,
and allows me to be more spontaneous. The cobalt mixture is 100
After brushing on a design with an oxide wash, Lais trails porcelain-slip details onto a stoneware
grams of Kentucky OM 4 ball clay
dinner plate. He says, “I spent untold hours practicing to perfect my brushwork.”
and 10 grams of cobalt oxide. The
manipulate the color through the thickness of the glaze coatporcelain is an old clay body we mixed in college. For some of
ing. W hen I spray glazes, I fly by the seat of my pants and
my work I have added 3 % copper carbonate to the porcelain
occasionally get it wrong, but not often enough for me to
slip. W hen I use the matt glaze, I can get a pinkish-rosechange. Occasionally “getting it wrong” has resulted in new
colored highlight in the slip trailing. I have not given up one
approaches or has given birth to new ideas. I use few glazes.
technique for the other, but have learned to balance both the
For years I worked with only two, now I am up to six. Six
washes and slip to give my gallery and work more interest.
He also mentioned the many hours he spent in museums in
Belgium, France, Italy, Spain and Switzerland, and had been privileged to see many private collections. In addition, he drew significantly
from an ancestral background in the Alsace, and from folk art
traditions in Northern Europe for pattern, form and glaze.
Lais’ propane gas car kiln is housed in a separate area adjacent to
his work space, and was designed so he can fire and continue
working or taking care of customers at the same time. He bisques all
of his work to Cone 09 prior to glazing and knows it will take 120
hours of making pots to fill this kiln, the fifth that he has built. Each
year Lais fires 22– 23 times. His modified Minnesota Flat Top car
kiln does not have the door fastened to the floor as in conventional
car kilns, but is on hinges. His kiln is so regular that he knows almost
exactly to the minute what is required at each particular step during
the firing process. Using a moderate flame throughout the firing, he
reduces the kiln at 14 00°F and soaks it carefully for an extended
period to achieve the consistent glaze results he desires. He can walk
away from the kiln and know exactly what it will be doing, then come
back to it at just the right moment for the next step in the firing
process. As he continued talking about the kiln he said an average
glaze firing would hold about 220 pieces of work.
In the studio, Lais is always in constant motion and this does not
seem to change when he leaves this charming village environment.
He enjoys his drive home along a wooded country road by a winding river great for fly fishing. Upon arrival at his home, Lais the
potter told of his continuing effort as Lais the builder. He hastened
to inform me that his home was still a work in progress. The home,
surrounding gardens, plants and pots on the deck are the perfect
touch for the home of a busy and creative family.
Lynn Lais’ work is available at the Spruce Forest Artisan Village
(www.spruceforest.org) and the Penn Alps Craft Shop in Grantsville,
MD, and at the Village Pottery in Intercourse, PA (www.villagepottery.cc).
53
summer workshops
Continued from page 39
Montana, Bozeman
“ Indigenous Ceramics,” digging and processing clay,
firing work in bonfires or kilns created onsite with Michael
Peed (July 10–15); fee: $1850; residents, $634; includes
materials and firing. All skill levels. Contact Michael Peed,
Montana State University School of Art, 213 Haynes Hall,
B ozeman 59717; e-mail [email protected]; tel (406)
994-4501; or fax (406) 994-3680.
Montana, Helena
“ Terra Cotta Throwing and Clay Slip Pouring” with
V ictoria Christen and Jean-Nicolas Gerard (June 26–
July 7); fee: $600. “ E mbellishment Without B oundaries,” earthenware with Rosalie Wynkoop (July
17–21); fee: $450. “ Wood Firing: Recording the Flame”
with Tara Wilson (August 5–13); fee: $350. All skill
levels. Contact Jill Oberman,
Archie B ray Foundation for the
Ceramic Arts, 2915 Country Club
Ave., Helena 59602; e-mail
[email protected]; see
www.archiebray.org; tel (406)
443-3502; or fax (406) 443-0934.
fee: $95. “ The Pouring V essel: Making Choices” throwing, altering and assembling with E llen Shankin (June
13–15); fee: $395. Skill levels vary. Contact Lorraine
Z aloom, Art School at Old Church, 561 Piermont Rd.,
Demarest 07627; e-mail [email protected];
see www.occcartschool.org; tel (201) 767-7160; or fax
(201) 767-0497.
New Jersey, Layton
“ Z oomorphic V olumes,” throwing, folding and handbuilding with B ernadette Curran (June 2–6); fee: $470.
“ Surface and Form: Saggar Firing Workshop” with James
Lawton (June 9–13); fee: $480. “ Salt-Fired Ceramics”
with B rad Schwieger (June 16–20); fee: $480. “ Wood
Firing and Useful Pottery Demonstrations” with Joseph
B ennion (June 23–27); fee: $490. “ E xpanding the Critical and Personal V ocabulary of Form” with Mary Roehm
(June 30–July 4); fee: $495. “ Dynamic Relationships,”
human or animal forms with Michael Flynn (July 7–11);
fee: $470. “ Preparing for the Two-Chamber Wood K iln”
with B ruce Dehnert (July 14–16); fee: $350. “ Firing the
fee: $100; members, $80. All skill levels. Contact
Maxine Chelini, New Mexico Potters and Clay Artists,
1565 Cerro Gordo, Santa Fe, NM 87501; see
www.nmpotters.org; or tel (505) 986-1865.
New Mexico, Des Moines
“ Creativity Week: Micaceous Clay Pottery” with
Shelden Nunez-V elarde (July 23–29); fee $500;
pairs, $950; includes materials, firing, lodging
and meals. B eginning/intermediate. Contact Gaye
B rown, Mandala Center, PO B ox 158, Des Moines
www.mandalacenter.org; tel (505) 278-3002; or fax
(505) 278-3004.
New Mexico, Santa Fe
“ Truths, Lies, Obsessions and the Porcelain V essel,”
throwing and handbuilding with K evin Snipes (June
12–16). “ Working the E dge: Geometry in Pots,” throwing stoneware with David Crane (June 19–23). “ The
Figure in Clay,” sculpture with Cristina Cordova (June
26–30); model fee: $10. “ Human
Nature: B uilding Life-Sized Figures”
with Tip Toland (July 3–7); model fee:
$30. “ Plaster Mold and Casting Techniques” with Richard Notkin (July
10–14). “ Figure-Form-Surface-V essel” with Andy Nasisse (July 17–21).
“ Line to V olume: Developing V essel
Form” with James Lawton (July 24–
28). “ Function and B eauty,” throwing porcelain with B onnie Seeman
(July 31–August 4). “ Porcelain: Color
and Form,” throwing and Cone 6
glazes with Geoffrey Wheeler (August 7–11). “ Model Citizen,” handbuilding figurative sculpture with
Wesley Anderegg (August 14–18).
Fee/session: $500, includes materials and firing. Instruction in E nglish, German and Spanish. Skill
levels vary. Contact Avra Leodas or
Triesch V oelker, Santa Fe Clay, 1615
Paseo de Peralta, Santa Fe 87501;
e-mail [email protected]; see
www.santafeclay.com; tel (505) 9841122; or fax (505) 984-1706.
Nevada, Incline Village
“ Fast-Fire Pottree” with Randy
B rodnax and Don E llis (June 5–9).
“ Advanced Pottree” with Randy
B rodnax and Don E llis (June 12–
16).“ Dynamic Synthesis: WheelThrown Slab Construction” with
Christa Assad (June 19–23). “ Stackable Sets” with K athy K earns (June
24–25); fee: $240, includes materials and meals. “ B asic Ceramic Raw
Materials and Glaze Chemistry” with
John B ritt (June 26–30). “ Clay Mold
and Creative Throwing” with K irk
Mangus (July 10–14). “ Make Your
Mark: The Art of Handmade B rushes
and Painting on Wheel-Thrown Surfaces” with Glenn Grishkoff (July
15–16); fee: $240, includes materiNew Mexico, Taos
als and meals. “ Ornately Functional:
Form and Surface” with K risten
“ B reaking Down B locks and FindK ieffer (July 17–21). “ The Way of
ing the Sparks” (June 30–July 3);
Clay: From Wedging to Wonder,
fee: $450, includes materials and
Handbuilding and Throwing TechA participant adding texture to a piece during a Dennis Meiners workshop
firing. “ Face the Fire,” raku mask
niques in Pottery and Sculpture” with
making (July 30–August 5); fee:
at Hummingbird in Jacksonville, Oregon.
Marc Lancet (July 24–28). Fee (un$355; includes materials and firing.
less noted above): $495, includes materials and lunch.
“ Healthy Forest— Happy Potters, Inc. Community
Two-Chambered Wood K iln” with Frederick Olsen (July
Contact Sierra Nevada College, 999 Tahoe B lvd., Incline
Wood Fire” with K aren A. Fielding (August 14–27);
17–21); fee: $490. “ Pinching Together” with Jimmy
V illage 89451; www.sierranevada.edu/workshops; tel
fee: $275, includes materials and firing. Instructors
Clark and Paulus B erensohn (July 28–August 1); fee:
(775) 831-7799, x 5039; or fax (775) 832-1694.
(unless noted above): Pamala S. Dean and K aren A.
$470. “ K ilns That Will K ill You,” alternative firing techFielding. Skill levels vary. Contact Pamala S. Dean,
niques with Randy B rodnax (August 4–6); fee: $350.
New Hampshire, Northwood
Dragonfl y Journeys, Taos Art Retreat, PO B ox 2539,
“
Producing
Work
for
the
Anagama”
with
B
ruce
Dehnert
“ B efore the Alter and B eyond,” throwing and altering
Taos 87571; e-mail [email protected];
(August
11–15);
fee:
$520.
“
Firing
Anagama:
Alterna(June 3–4); includes materials. “ B urnin’ Pots,” raku
see www.taosartretreat.com; tel (877) 398-9349; or
tives to Forming” with Jeff Shapiro (August 16–22, 27);
(June 24–25 and/or August 19–20); includes materials
fax (505) 751-0131.
fee $695. Includes materials and firing. Skill levels vary.
and firing. “ Practice Makes Perfect,” throwing (July 1–
Contact Jennifer B rooks, Peters V alley Craft E ducation
2); includes materials. “ Wood Firing” (July 12–16); fee:
“ Tradition of Maria Martinez Workshop” (July 24–29).
Center, 19 K uhn Rd., Layton 07851; e-mail
$300, includes materials, firing and 5-cubic-feet kiln
“ Tradition of Lucy Lewis Workshop” (July 31–August
[email protected]; see www.petersvalley.org; tel (973)
space. Instructor/session: Jeff B rown. Fee/session (un5). Contact Taos Art School, PO B ox 2588, Taos 87571;
948-5200; or fax (973) 948-0011.
less noted above): $120. Skill levels vary. Contact Jeff
e-mail [email protected]; see www.taosartschool.org; or
B rown, Jeff B rown Pottery, 950 First NH Tpk., Northwood New Jersey, Loveladies
tel (505) 758-0350.
03261; e-mail j eff@j effbrownpottery.com; see
“ E xpress Your Inspiration” handbuilding and throwing New York, Alfred
www.j effbrownpottery.com; or tel (603) 942-8829.
with Mark Walnock (June 26–30). “ Developing Your Own
“ (Re)Consider the Ceramic Obj ect,” lecture series by
New Hampshire, Wilton
V oice” with John B ritt (Ju1y 10–21); fee: $750; members,
Mary Drach McInnes (June 5–22); fee: $908, includes
$635. “ Creating a Connection” with Robert Deane (Au“ E arth, Water and Fire Noborigama Wood-Firing Workstudent fee. “ Alfred Summer Ceramics Intensive” with
gust 14–18). Fee (unless noted above): $225; members,
shop” with John B aymore (August 18–27); fee $450,
John Gill (June 26–July 24); fee: $1058, includes mate$190; includes firing. Intermediate. Contact Theresa
includes materials and firing. Limit of 7. Intermediate
rials and student fee. Contact B eth Whritenour, Alfred
B oeckell, Long B each Island Foundation of the Arts &
through professional. Contact John B aymore, River
University School of Art & Design, B inns-Merrill 156,
Sciences, 120 Long B each B lvd., Loveladies 08008; e-mail
B end Pottery, 22 Riverbend Way, Wilton 03086; e-mail
Alfred 2612; e-mail [email protected]; tel (607) [email protected]; see www.lbifoundation.org; tel
j [email protected]; or tel (800) 900-1110.
2412; or fax (607) 871-3326.
(609) 494-1241; or fax (609) 494-0662.
New York, Clayton
New Jersey, Demarest
“ Handmade Tile Workshop” with John Arnot (July 10–
“ Care and Feeding of Your E lectric K iln” with DeB orah New Mexico, Abiquiu
21); fee: $180. Contact K im Gilhuly, Handweaving
Goletz; fee: $85, includes tools; or “ B asketry for Pot“ New Mexico Connections,” 8 workshops by various
Museum & Arts Center, 314 John St., Clayton 13624;
ters: B eyond Handles” with Arline Shalan (June 12);
artists at Ghost Ranch Retreat Center (August 25–27);
54
55
summer workshops
e-mail [email protected]; see www.hm-ac.org; tel (315)
686-4123; or fax (315) 686-3459.
New York, Corning
“ Anagama Fireworks at CCC,” with Jason Hess (July 2–8);
fee: $200; CCC students, $50; bring Cone 6–10 stoneware and porcelain bisqueware. All skill levels. Contact
Fred Herbst, Corning Community College, 1 Academic
Dr., Corning 14830; e-mail [email protected]; see
www.corning-cc.edu; or tel (607) 962-9354.
New York, Maplecrest
“ Mastering Throwing Skills Section 1: The B owl” with
Susan B eecher (June 17–19); fee: $ 270. “ The B asics and
B eyond Section 1” with Susan B eecher (Wed, June 21–
August 23); fee: $310. “ The B asics and B eyond Section
2” with Susan B eecher (Wed, June 21–August 23); fee:
$310. “ Making Tiles with the Master” with Frank
Giorgini (June 22–26); fee: $365. “ B uild Your Own Gas
K iln (Perfect for Small Studios)” with B ruce Dehnert
(June 30–July 9); fee: $495. “ Sculptural and Ritual
V essels” with Tania K ravath (Wed, July 5–August 23);
fee: $250. “ The Wheel as a Sculptural Tool,” Scandinavian wood carving techniques for surface decoration
with Holly Anderson (July 13–17); fee: $365. “ Clay as
Canvas Using Handbuilding Techniques” with Mikhail
Z akin (July 21–25); fee: $365. “ B eads and Pendants in
Clay” with Maureen Donovan (July 29); fee: $90.
“ Mastering Throwing Skills Section 2: Pouring V essels”
with Michael B oyer (July 29–31); fee: $270, does not
include firing. “ Delicious Dinnerware” with Susan
B eecher (August 3–7); fee: $365. “ Developing Your
V oice in the Clay” with Sandi Pierantozzi and Neil
Patterson (August 11–15); fee: $365, does not include
firing. “ Primitive Firing” with Maureen Donovan (August 19); fee: $90. Fee includes firing (unless noted
above). Skill levels vary. Contact E llie Cashman, Sugar
Maples Center for Arts and E ducation, 7967 Main St.,
Rte.
23A,
Hunter
12442;
e-mail
[email protected]; see www.sugarmaples.org;
tel (518) 263-4908 x259; or fax (646) 792-4279.
New York, Middlesex
“ Yoga and Pottery— E xploring the Connection” with
Ragnar Naess and Annie Schliffer (June 23–26); fee:
$275, includes materials and firing. Lodging: $35–$50/
day. “ Teenage Summer Pottery Workshop” with Annie
Schliffer and Claire Willis (July 14–18); fee: $175,
includes materials, firing, lodging and meals. Skill levels
vary. Contact Annie Schliffer, Rochester Folk Art Guild,
1445 Upper Hill Rd., Middlesex 14507; e-mail
[email protected]; see www.rfag.org; or tel (585)
554-5463.
“ Surfaces: Hard & Soft” with Sara Patterson (June 3–4);
fee: $175. “ Raku K iln B uilding and Firing” with K ate
Missett (July 8 and 15–16); fee: $250. Contact Artworks,
West Side YMCA, 5 W. 63rd St., New York 10023; e-mail
[email protected]; www.ymcanyc.org/westside; tel
(212) 875-4129; or fax (212) 875-4184.
Youth workshop at Idyllwild Arts, Idyllwild, California.
New York, Old Forge
Sculpting a Head in Water-B ased Clay” with Philippe
Faraut (June 30–July 2); fee: $475, members $450,
includes materials and modeling fee. “ Precious Metal
Clay Workshop” with Paula Tormey (July 15 or August
3–4); fee: $165; members, $145. Contact the Arts
Center/Old Forge, PO B ox 1144, 3260 Rt. 28, Old Forge
www.artscenteroldforge.org; tel (315) 369-6411; or
fax (315) 369-2431.
New York, Otego
“ August Clay,” making clay, handbuilding, throwing,
glazing, firing an 80-cubic-foot gas kiln, salt firing and
exhibition setup (July 31–August 27); fee: $900, includes materials and lunch on weekdays. Lodging:
$800–$1200. “ Raku Workshop” (August 14–15, 21–
22); fee: $150, includes materials and firing for 8
pieces. E xtra: $5 each. Lodging: $250. Instructor/session: E lizabeth Nields. All skill levels. Contact E lizabeth
Nields Clay Workshop, 429 Chicken Farm Rd., Otego
13825; e-mail [email protected]; tel (607) 783-2476.
New York, Port Chester
“ Raku” with Denis Licul (June 4, 25, July 9 and/or 23);
fee: $75. “ Porcelain: Touching, Seeing, Listening” with
Steven Godfrey (June 6–7); fee: $175. “ Sculpture—
Freestanding and Relief” with Peter Gourfain (July 8–9);
fee: $175. “ E xploring Creativity: Japanese Inspired MethCeramics Monthly April 2006
56
57
summer workshops
ods,” handbuilding with Joy B rown (July 22); fee: $100.
“ Responding to Touch: Porcelain Pots Thrown and Altered” with Leah Leitson (July 31–August 4); fee: $375.
“ Porcelain V olumes: Z oomorphic Lines,” throwing and
altering with B ernadette Curran (August 7–11); fee:
$375. Skill levels vary. Contact Stephanie Cairl, Clay Art
Center, 40 B eech St., Port Chester 10573; e-mail
[email protected]; see www.clayartcenter.org; tel
(914) 937-2047; or fax (914) 935-1205.
New York, Saratoga Springs
“ Raku and Saggar Workshop” with Jill F. K ovachick (May
31–June 28 and/or July 5–August 2, Wed); fee: $185,
includes lab fee. “ Subtraction and Carving in Clay” with
Marc Leuthold (June 23–25); fee: $195, includes lab fee.
“ Morphic Changes in Clay” with Leslie Ferst (July 10–14
and 17–21); fee: one-week, $330; two-weeks, $660,
includes lab fees. All skill levels. Contact Marianne
Needham, Skidmore College, 815 N. B roadway, Saratoga
Springs 12866; e-mail [email protected]; see
www.skidmore.edu/summersix; tel (518) 580-5052; or
fax (518) 580-5029.
North Carolina, Asheville
“ Pots with Possibilities,” throwing and altering with Nick
Joerling (May 29–June 2); fee: $450, includes registration and some materials. “ Soulful Handbuilding,” sculpture with Thomas K errigan (June 5–9). “ Understanding
Glaze Chemistry” with John B ritt (June 12–16). “ Discovering Your Form Through Nature,” handbuilding with
Alice Munn (June 19–23). “ The Intimate Teapot,” throwing with Suze Lindsay (June 26–30). “ Stories in Human
Form,” figurative sculpture with Cheryl Tall (July 10–14).
“ Gestural to Architectural” handbuilding with Margaret
B ohls (July 17–21). “ Carbon Trapping Magic on Porcelain,” Shino with Malcolm Davis (July 24–28). Fee (unless
noted above): $425, includes registration fee. Skill levels
vary. Contact Cynthia Lee, Odyssey Center for Ceramic
Arts, 236 Clingman Ave., Asheville 28801; e-mail
[email protected]; www.highwaterclays.com;
tel (828) 285-0210; or fax (828) 252-2951.
North Carolina, Bakersville
“ Pine Root Wood-Firing Workshop” with Mark Peters
(June 11–17 or 25–July 1); fee: $650, includes materials,
firing and lunch; bring 30–40 bisqued pots. All skill
levels. Contact Mark Peters, Pine Root Pottery, 1108 Pine
Root B ranch Rd., B akersville 28705; e-mail
[email protected]; www.pinerootpottery.com;
or tel (828) 688-1332.
North Carolina, Brasstown
“ Form, Flair and Finish” with Gail Freeman (June 4–10).
“ Handbuilt B oxes” with Mary K ay B otkins (June 11–
17). “ Wild and E xpressive Figurative Clay Sculpture”
with B arb Doll (June 25–July 1). “ Smoke, Fire & Color”
with Susie Duncan (July 9–15); fee: $237, includes
firing. “ Understanding Pottery (Intergenerational) Family
Week,” handbuilding and throwing with Martha Sullivan
(July 16–22). “ Throwing Large with Fire” with Leon
Nichols (July 23–29). “ Raku, Salku and the Potter’s
Wheel” with Rick B erman (August 6–12). “ Throwing
and Decorating High-Fired Porcelain” with Doug Dacey
(August 13–19). “ Wood Fire” with Peter Rose (August
20–27); fee: $610, includes firing. Fee (unless noted
above): $412, includes firing. Skill levels vary. Contact
Melinda B arnadas, John C. Campbell Folk School, One
Folk School Rd., B rasstown 28902; e-mail
[email protected]; see www.folkschool.org;
or tel (800) 365-5724; or fax (828) 837-8637.
Chris Staley demonstrating at Haystack Mountain
School of Crafts, Deer Isle, Maine.
New York, Stone Ridge
“ Wood-Firing Workshop” with Tim Rowan (June 10–11,
July 15–16 and/or August 19–20); fee: $175; bring 2
cubic feet of bisqueware. Limit of 6. Contact Tim Rowan,
Stone Ridge Studio, 149 V ly Atwood Rd., Stone Ridge
12484; see www.timrowan.com; tel (845) 687-8906.
New York, Utica
“ The V essel— Form and Function,” with B ryan McGrath
(June 3–11); fee: $425, includes materials. Intermediate.
Contact B ryan McGrath, Pratt at Munson-Williams-Proctor Arts Institute, 310 Genesee St., Utica 13502; e-mail
[email protected]; see www.mwpai.org; tel (315)
797-0000, x2176; or fax (315) 797-9349.
New York, Water Mill
“ Firing Shinos,” glazing and firing at Celadon Gallery
with Malcolm Davis (June 9–11); fee: $325; members,
$250. Contact Nancy Robbins, the Clay Art Guild of the
Hamptons, 51 Round Pond Ln., Sag Harbor, NY 11963;
e-mail [email protected]; tel (631) 899-3599; or
fax (631) 725-4605.
New York, White Plains
“ E xploring and E xpanding Wheel Throwing” with
Woody Hughes (June 14); fee: $125, currently enrolled
students, $85. B eginning through advanced. Contact
Lisa Santalis, Westchester Art Workshop, 196 Central
Ave., White Plains 10606; e-mail [email protected];
see www.sunywcc.edu/waw; or tel (914) 606-7500.
58
North Carolina, Durham
“ Hybrid V essels: Construction and Surface” with Marty
Fielding (June 12–16). “ The Danger in Playing with
Animals” with B ernadette Curran (June 19–23). Fee/
session: $405, includes materials. Intermediate through
professional. Limit of 6. Contact Leonora Coleman,
Claymakers, 705 Foster St., Durham 27701; e-mail
[email protected]; www.claymakers.com;
tel (919) 530-8355; or fax (919) 530-8306.
North Carolina, Mars Hill
“ Personal Development from Working with a Master,”
throwing porcelain with Tom Turner (June 2–3, 16–17,
July 7–8, 21–22, August 4–5 and/or 18–19); fee/session: $400, includes materials. Intermediate through
professional. Contact Tom Turner, 381 Turner Ln.,
Mars Hill 28754; e-mail [email protected];
see www.tomturnerporcelain.com; tel (828) 689-9430.
North Carolina, Penland
“ Pottery: Form, Surface & Glaze” with Richard B urkett
and Pete Pinnell; or “ Ceramic Design: Making Models &
Mold” with Dan Mehlman (May 28–June 9). “ The E mpty
B owls Proj ect” with John Hartom and Gerry Williams; or
“ Social Justice in Clay” with Joe K eenan and Sana
Musasama (June 11–23). “ Narrative Ceramics” with K athy
K ing; or “ Image, Surface & Clay” with Paul Andrew
Wandless (June 25–July 7). “ Function, Design & Form”
with Sam Chung; or “ Narrative Sculpture” with SunK oo
Yuh (July 9–21). “ Drawing on Form” with Jason Walker;
or “ Painted Figurative Sculpture” with Sergei Isupov (July
23–August 8). “ Finding One’s Way: From the Mind to the
Functional Pot” with S.C. Rolf; or “ A Fresh Look at
Handbuilt Tableware” with Linda Casbon and Holly Walker
(August 13–25). “ The Dual Function of Daily Pots” with
Jeff Oestreich; or “ Handbuilding: Clay & Spirit” with Tom
K errigan (August 27–September 2). Skill levels vary. Con-
59
summer workshops
tact Penland School of Crafts, PO Box 37, Penland 28765;
see www.penland.org; or tel (828) 765-0433.
4 lb. Cone 10 bisqued pots. “Making Handmade Tiles”
with Laura Avery (July 29–30); fee: $65, includes materials and firing. Skill levels vary. Limit of 15. Contact
Connie Parsons, Montgomery Community College, 1011
Page St., Troy 27371; e-mail [email protected];
see www.montgomery.edu; tel (910) 576-6222, x253;
or fax (910) 576-2176.
North Carolina, Siler City
“Building Large Pots—Coil and Throw Techniques” with
David Stuempfle (June 16–18); fee: $140, includes materials. Intermediate/advanced. Contact Dan Rhode, Central Carolina Community College, 502 W. Third St., Siler
City 27344; e-mail [email protected]; see www.cccc.edu;
tel (919) 742-4156; fax (919) 542-1366.
Blacklick, Ohio
“Raku-N-Nature Immersion” with Todd Camp (August
5–6); fee: $85, includes firing, meals and camping;
bring 5–7 bisqued pieces. Beginning through advanced.
Limit of 12. Contact Diane Kozlowski, Shepherd’s Corner, 987 N. Waggoner Rd., Blacklick 43004; see
www.shepherdscorner.org; or tel (614) 866-4302.
North Carolina, Troy
“Wood Firing” with Vernon Owens (June 2–3); fee: $60,
includes materials and firing; bring no more than four 3–
Ohio, Kent
“Blossom Summer Workshop,” wood firing with Dean
Adams, Kirk Mangus and Dan Murphy (May 22–June 3);
Nitride-Bonded Silicon
Carbide Shelves
fee: $1143 for 3 undergraduate credits; $1215 for 3
graduate credits; includes materials and firing. Contact
Linda Miller Kent/Blossom Art, 211 Art Bldg., Kent State
University, Kent 44242; e-mail [email protected]; or
tel (330) 672-2192.
Ohio, Oxford
“Exploring the Clay Cup: From Function to Sculpture”
with Joe Molinaro (June 12–16). “Extruding” with John
Leyland (June 16–18); fee: $235–$400. “Beginning
Throwing” with John Leyland (June 19–23). “Developing Glazes for Raku” with Steven Forbes deSoule (June
26–30). Fee/session (unless noted above): $440–$600.
Skill levels vary. Contact Joyce Ponder, Miami University, Craftsummer Program, Oxford 45056; e-mail
[email protected]; see www.craftsummer.org;
tel (513) 529-7395; or fax (513) 529-1509.
Oregon, Ashland
Five-day ceramic retreat with Randy Warren (June 19–
24); fee: $950, includes materials, firings, lodging,
meals and transporation. All skill levels. Contact Randy
Warren or Joy Light, Ashland Art Works, 291 Oak St.,
Ashland 97520; e-mail [email protected]; see
www.ashlandartworks.com; or tel (541) 482-9665.
Shelves Available in the
Following Sizes
12 x 24 x 0.394
12 x 18 x 0.394
14 x 28 x 0.394
16 x 16 x 0.394
18 x 18 x 0.394
18 x 24 x 0.394
18 x 36 x 0.500
CALL FOR COMPETITIVE PRICING
QUANTITY DISCOUNTS AVAILABLE
Note: 10% packing charge will apply. Price does not include freight.
All prices F.O.B. Huntington Beach, California.
Glaze releases easily and clean with a putty knife,
no damage to the shelf!
GEIL KILNS PRESENTS THE
GEIL/COLEMAN
FIRING WORKSHOP
HVLP Deluxe
Glaze Spray Gun
The Only One of Its Kind!
July 29 - 31
ONLY
$49.95
A 3-day Tom Coleman and Paul Geil workshop covering Coleman glazes and kiln
firing. Topics include glaze applications,
spraying techniques, firing in a Geil
Downdraft Kiln and use of kiln controllers.
Plus S&H
LOCATION: Geil Kilns, 7201 Clay Avenue,
Huntington Beach, CA 92648
contact Sofia at (800) 887-4345 or
E-mail [email protected]
• Stainless Steel Nozzle & Needle
• Precise 15 Hole Air Cap Set
• Nozzle Diameter: 2.0 mm
• Glaze Tank Capacity: 600 cc
• Type of Feed: Gravity
• Air Inlet: 1/4”
GEIL KILNS
7201 CLAY AVE. HUNTINGTON BEACH, CA 92648
800-887-4345 • Fax: 714-847-6145
Check Out Our Complete Line of
Gas & Electric Kilns at www.kilns.com
60
Youth Summer Arts Program at South Road Pottery,
Bradford, Vermont.
Oregon, Corbett
“Ceramics: Handbuilt Tableware” with Jill Allen (August 6–12). “Low–Fire Ceramics: Form and Color”
with Natalie Warrens (August 13–19). Fee/session:
$675, includes materials, firing, lodging and meals. All
skill levels. Contact John Kinyon, Creative Arts Community, PO Box 4958, Portland 97208; see
www.creativeartscommunity.org; tel (503) 760-5837.
Oregon, Gresham
“The Architechtural Vessel: The Personalized Signature
of a Vessel” with Don Sprague (June 19–July 20). “Sculptural Abstractions and the Wood-Fired Vessel” with
Natalie Warrens (June 19–July 6). “Soda-Fire Workshop”
with Travis Lorenz (July 24–August 24). Fee/session:
$640; residents, $202. Contact Lynn Horn, Mt. Hood
Community College, 26000 S.E. Stark St., Gresham
97030; see www.mhcc.edu; or tel (503) 491-7309.
Oregon, Jacksonville
“Building with Handmade Textured Slabs” with Dennis
Meiners (July 22–24). “Figurative Teapots” with Leslie
Lee (July 28–20). “Slipped Surfaces on Constructed
Forms” with Victoria Christen (August 11–13). “Everything but Round,” thrown and altered forms with
Patrick Horsley (August 18–20). Fee/session: $265,
includes materials and meals. Skill levels vary. Contact
Leslie Lee, Hummingbird, 8150 Applegate Rd., Jacksonville 97530; e-mail [email protected]; see
Continued
leslieleeart.com; or tel (541) 899-7045.
61
summer workshops
Oregon, Portland
“ Porcelain: Color and Form” with Geoffrey Wheeler (June
19–23); fee: $440, includes materials and firing. “ Mold
Making: B asics and B eyond” with Jim K oudelka (June 26–
30); fee: $540, includes materials. “ Investigating Form
and Surface with Maj olica” with Linda Arbuckle (July 10–
14); fee: $415, includes some materials and firing. “ Decals
and More” with Rain Harris (August 7–11); fee: $465,
includes some materials and firing. Intermediate. Contact
Oregon College of Art & Craft, 8245 S.W. B arnes Rd.,
Portland 97225; see www.ocac.edu; tel (503) 297-5544;
fax (503) 297-9651.
Pennsylvania, Cheltenham
“ Indigenous Techniques” with Lisa Hohenstein (July 22,
28–29 and August 5); fee: $125, members $110, includes firing. “ Wood K iln Workshop” with B rian Grow
and Frank Hohenstein (August 5–6, 12 and 16); fee:
$165; members, $150; includes materials and firing. All
skill levels. For further information, contact Aaron Miller,
Cheltenham Art Center, 439 Ashbourne Rd., Cheltenham
www.cheltenhamarts.org; tel (215) 379-4660; or fax
(215) 663-1946.
Silvie Granatelli pulling a handle at the Clay Art
Center, Port Chester, New York.
Pennsylvania, Huntingdon
“ (Anagama)2” with Jack Troy (June 18–30); fee: $900,
includes materials, firing, lodging and meals; may bring
green or bisque pieces. Advanced/professional. Contact Sherry Sharum, Juniata College, 1700 Moore St.,
Huntingdon 16652; e-mail events@j uniata.edu; or tel
(814) 641-3606.
Pennsylvania, Philadelphia
“ Ceramic Art Repair and Restoration” with K evin Mullavey
(June 3). “ Garden Delights” with Janice Strawder (June
10); includes materials and firing. “ China Paints” with
Rain Harris (July 15); fee: $80, members $75, includes
materials and firing. “ Fun Glazing Techniques” with
Doug Herren (July 29). Fee (unless noted above): $65,
members $60, includes materials. Skill levels vary. Contact K athryn Narrow, the Clay Studio, 139 N. Second St.,
Philadelphia 19106; e-mail [email protected];
see www.theclaystudio.org, tel (215) 925-3453 x11; or
fax (215) 925-7774.
“ B uilding B locks,” handbuilding and throwing with Neil
Patterson and Sandi Pierantozzi (July 15–16); fee; $150,
includes lunch. All skill levels. Contact Sandi Pierantozzi
and Neil Patterson Studio, 2034 Fairmount Ave., Philadelphia 19130; e-mail [email protected]; see
www.sandiandneil.com; or tel (215) 763-8439.
South Carolina, Florencce
“ Image Transfer Techniques on Clay” with Doug Gray
(July 1–2); fee: $195. Contact Sheila Menzies, Tile
Heritage Foundation, PO B ox 1859, Healdsburg, CA
www.tileheritage.org; tel (707) 431-8453; or fax (707)
431-8455.
62
Tennessee, Gatlinburg
“ Spontaneous Ceramics from Handmade Clay Molds”
or “ Wheel Thrown Teapots” with Mary Law (June 4–
10). “ Soft Altering Pots” with Gay Smith (June 11–17).
“ Handbuilding Techniques: Slabs and Slips” with Anna
Calluori Holcombe (June 18–24). “ Alternative Processes:
On and Off the Wheel” with Jane Shellenbarger (June
25–July 8). “ Making Pots That Change” with Sequoia
Miller (July 9–15). “ Anagama Wood Firing” with Dean
Adams and Jason Hess; or “ E xpressing the Figure in
Clay” with Louise Radochonski (July 16–29). “ Narrative
Tile Workshop” with Matthias Ostermann (July 30–
August 5). “ Pots for the Table: Handbuilding and Mold
Making” with Steve Howell (August 6–12). Fee/session:
one week, $375; two weeks, $715. Skill levels vary.
Contact K im Newman, Arrowmont School of Arts &
Crafts, 556 Parkway, Gatlinburg 37738; e-mail
[email protected]; see www.arrowmont.org; tel
(865) 436-5860; or fax (865) 430-4101.
Tennessee, Oak Ridge
“ Clay Portraiture” with John Q uinn (June 10–11); fee:
$190; members, $175; includes firing. “ V apor Glazing”
with Diane Duvall (June 17); fee: $140; members, $125.
“ Tile Making Workshop” (August 12–13). Contact Leah
Marcum-E stes, Oak Ridge Art Center, 201 B adger Rd.,
Oak Ridge 37830; see www.oakridgeartcenter.org.
Tennessee, Sewanee
“ Responding to Touch: Thrown and Altered V essels”
with Leah Leitson; or “ Carved Tiles for the Wall” with
JoAnn Schnabel (June 11–17). “ Glazing the Pottery
Form” with Sam Chung; or “ The E xtruder as Work
Station” with Michael Sherrill (June 18–24). Fee/session: $575, includes materials and meals. Skill levels
vary. Contact Claire D. Reishman, Shakerag Workshops, 290 Q uintard Rd., Sewanee 37375; e-mail
[email protected]; see www.shakerag.org; tel (931)
968-0210, x3165; or fax (931) 968-0200.
Tennessee, Smithville
“ Handbuilt Pouring Forms” with Sam Chung (June 5–
9). “ Pots that Pour” with John Neely (June 12–16).
“ Sensuous Forms and E vocative Surfaces with Colored
Slips” with E va K wong; or “ E ccentric Throwing and
B isque Molds” with K irk Mangus (June 19–23). “ Functional Salt/Soda Fired Pottery” with McK enzie Smith
(June 26–30). “ Clay/Play: Seeking the E dge” with Nils
Lou and K aren Terpstra (July 10–14). “ Ritual V essels,”
throwing, handbuilding and raku firing with Richard
Hirsch (July 17–21). “ Raku: Colorful Crackles and B eyond” with Wesley Smith (July 24–28). “ Potters’ Pots:
Teabowls and Teapots” with Malcolm Davis (July 31–
August 4). Fee/session: $300, includes firing. Skill levels
vary. Contact Gail Gentry, Appalachian Center for
Craft, 1560 Craft Center Dr., Smithville 37166; e-mail
[email protected]; see www.tntech.edu/craftcenter;
tel (615) 597-6801; or fax (615) 597-6803.
Texas, Ingram
“ Masks and More” with Gary Huntoon (July 14–17);
fee: $195, includes firing. All skill levels. Contact Teri
V alentine or Debbie Luce, Hill Country Arts Foundation,
120 Point Theatre Rd., S, PO B ox 1169, Ingram 78025;
e-mail [email protected]; see www.hcaf.com; tel
(830) 367-5120; or fax (830) 367-4332.
Texas, San Antonio
“ Paper Clay” with Jerry B ennett (July 22–23); fee: $20.
Intermediate/advanced. Contact Dennis Smith, Southwest
School of Art & Craft, 300 Augusta, San Antonio 78205;
e-mail [email protected]; www.swschool.org;
tel (210) 224-1848; or fax (210) 224-9337.
Utah, Brigham
“ Clay Crewe Workshop,” including “ Glaze Theory and
Formulation” with Dave Finkelnburg; “ Tile, Architectural Ceramics” with Stephani Stephenson; “ Cone 6
E lectric Glazes, E lectric Fire and Mason Stains” with Alex
Solla; “ Website Development” with Gail Phillips; “ Throwing B oot Camp, K ilns and Firing” with Lee B urningham;
“ Logos, Art/Chop Design” with Z an B urningham (June
19–30); fee: $800; one-week, $450. All skill levels. Limit
of 30. Contact Lee B urningham, B ox E lder High School,
380 S. 600 W, B righam City 84302; e-mail
MUDTOOLS
Innovative clay tools by Michael Sherrill
come visit us at our new website
mudtools.com
63
2006 CERAMIC
WORKSHOPS
Fire & Smoke
Tim Scull
Tuition: $285
A: April 29, 30
Unload: May 1am
B: June 17, 18
Unload: June 19am
Crystalline Glazes
Tim Scull
Tuition: $225 + clay
A: April 23, May 20
summer workshops
[email protected] or [email protected]; see
www.revivaltileworks.com/arworkshop.html; or tel (435)
881-0151.
Vermont, Bradford
“Youth Summer Arts Program” with Cindy McCann and
Bruce Murray (July 17–28); ages 12–21. “Teapots” with
Steve Daniel and Bruce Murray (August 7–11); fee/
session: $550, includes materials and firing. Skill levels
vary. Contact Bruce Murray, South Road Pottery, PO Box
706, Bradford 05033; e-mail [email protected];
see www.brucemurraypotter.com; tel (802) 222-5798;
or fax (802) 222-4725.
B: July 29, August 26
Wood/Salt Firing
Tim Scull
Tuition: $385
June 22, 23, 24
Unload June 25am
Functional
Altered Pots
Sarah Gross
Tuition: $225 + clay
July 8, 9
Fearless Electric Firings
Tim Scull & the Bailey Pottery
Equipment Company
Tuition: $110, July 16
Throwing &
Individualizing
Large Functional
Forms
Bob Crystal
Tuition: $225
July 22, 23
Five Days of Fire
Wood, Salt, Gas, Saggar
Tim Scull & Staff
Tuition: $485
August 7-11
Form &
Contrast
Tom O’Malley
Tuition: $225
August 19, 20
For detailed info and to register:
www.cantonclayworks.com
Canton Clay Works llc,
Canton, Connecticut
(860)693-1000
CRAFTS AT THE CASTLE 2006
NOW – at the Hynes Convention Center, Boston!
Vern Roberts loading a trench kiln at Coyote Arroyo
Studios, Penrose, Colorado.
Vermont, Bridgewater
“Luscious Raku Tile Making” with Christine Merriman
(July 12–16); fee: $350. Contact Sheila Menzies, Tile
Heritage Foundation, PO Box 1859, Healdsburg, CA 95448;
e-mail [email protected]; www.tileheritage.org;
tel (707) 431-8453; fax (707) 431-8455.
Vermont, Bristol
Noborigama & Pit Firing for Boston Area Potters” (June
9–11); fee: $430, includes materials, firing, lodging and
meals. To register, contact Lynn Gervens, Mudflat Studios, 149 Broadway, Somerville, MA 02145; e-mail
[email protected]; see www.mudflat.org; or tel (617)
628-0589. “Combination Throwing Session” (July 28–
30); fee: $460, includes materials and meals. “Southern
New England Wood Firing and Salt Glazing” (August
19–20); fee: $420, includes materials, firing and meals.
Instructor/session: Robert Compton. Intermediate. Contact Robert Compton Pottery, 2662 N. 116 Rd., Bristol
www.robertcomptonpottery.com; or tel (802) 453-3778.
Vermont, Shelburne
“Principles, Aesthetics and Techniques of Handbuilt
Pottery” with Hayne Bayless (June 23–24). “Smoke
and Fire: Raku and Pit Firing” with Bob Green (July
21–23). Fee/session: $195, includes materials and
firing. Intermediate/advanced. Contact Judy Raven,
Shelburne Art Center, 64 Harbor Road, Shelburne
www.shelburneartcenter.org; tel (802) 985-3648; or
fax (802) 985-8438.
Virginia, Floyd
“Raku Kiln Building and Wheel Throwing” with Tracy
Dotson (June 12–16). “Thrown and Altered Porcelain
Pottery” with Ben Carter (June 19–23). “Love Handles!”
hands-on handle making with Michele Drivon (July 7–
9); fee: $225; members, $214. “Paper Clay” with Jayn
Avery (July 10–14). “Demonstration Workshop,” throwing porcelain and stoneware clays with Silvie Granatelli
64
December 2006 Show
Juried by 5 Slides of Artwork and 1 Booth Slide
Application postmark deadline: April 14, 2006
Fee: $38
Download Application at www.fsgb.org
Crafts at the Castle
Family Service of Greater Boston
31 Heath Street, Jamaica Plain, MA 02130
617-523-6400
GEIL KILNS
Started the
Downdraft Revolution!
2006 CONFERENCE SCHEDULE
ENGLISH CONNECTION CONFERENCE
Functional Pottery with American and British Potters
Stonewall Jackson Hotel & Conference Center and Mary Baldwin College
Staunton, Virginia • June 1–3, 2006
ALL FIRED UP CONFERENCE
Firing for Diverse Surface Treatments on Clay
Adelphi University • Garden City, New York • July 6–9, 2006
SOUTHERN FRIED CERAMICS SYMPOSIUM
All About Surface Design
CURATED BY
MARK SHAPIRO
Plus
A T O TA L P O T T E RY E X P E R I E N C E
Opening: Friday, April 28, 6-10 pm
Show&Sale: Saturday, April 29, 10 am-6 pm
Sunday, April 30, 11 am - 5 pm
★ Unique pots to view & buy by renowned potters
★ Pottery Jam! demonstrations by visiting artists
★ Sunday Special: your chance to try clay, 2 pm
★ Café: gourmet food available for purchase
Francis Marion University • Florence, South Carolina
July 27–30, 2006
CLAY EXPRESSIONS
Surface Design Hits the Midwest
In conjunction with AMACO • September 14–17, 2006
Richard Aerni • D. Hayne Bayless • Michael Connelly • Bernadette Curran
Angela Fina • Julia Galloway • Sarah Heimann • Ayumi Horie • Jody Johnstone
Kristen Kieffer • Ben Krupka • Michael McCarthy • Hannah Niswonger
Tom O’Malley • Aysha Peltz • Diana Rosenmiller • Mark Shapiro • Nick Seidner
Rob Sieminski • Sam Taylor • Diana Thomas • Todd Wahlstrom
”PATE DE VERRE”
Glass Casting Conference
Fayetteville, Arkansas • November 2–5, 2006
Contact Danielle McIntosh • (614) 794-5827
[email protected] • www.ceramics.org/potterscouncil
65
25 Sagamore Road, Worcester, MA
www.WorcesterCraftCenter.org
summer workshops
and Ellen Shankin (July 15–16); fee: $150; members,
$143, includes lunch. “Introduction to Wheel-thrown
Pottery” with Michele Drivon (July 17–26); fee: $750;
members, $713. “Techniques and Projects for Teaching
Pottery” with Marcia Bugg (July 31–August 4). “Functional Pottery” with Martha Sullivan (August 14–18).
“Majolica Surface Design” with Mary Dashiell (August
21–25). Fee/session (unless noted above): $375; members, $357. Skill levels vary. Contact Chris Shackelford,
Jacksonville Center for the Arts, 220 Parkway Ln., South,
Floyd 24091, e-mail [email protected]; see
www.jacksonvillecenter.org; tel (540) 754-2784; or fax
(540) 745-4874.
Virginia, Gainesville
“Engobe Decoration Techniques” with David MacDonald (June 17); fee: $125, includes materials. ”Altered
Forms” with Winnie Owens-Hart (June 24); fee: $85,
includes materials. “The Big Vessel,” Nigerian handbuilding with Winnie Owens-Hart (June 25); fee: $110,
includes materials. “The Clay Print,” intaglio, screenprinting, monoprinting, lithography and relief with
Yazid Pointer (July 8); fee: $110, includes materials.
“Making Clay Drums” with Yazid Pointer (July 9); fee:
$155, includes materials. Skill levels vary. Contact Winnie
Owens-Hart, ILE AMO Research Center, PO Box 361,
Gainesville 20156; e-mail [email protected]; tel (703)
754-1307.
Virginia, Nellysford
“Teapots: A Hands-On Throwing Workshop” (June 17–
18). “Can You Handle It?” (August 5–6). Instructor/
session: Nan Rothwell. Fee/session: $150, includes materials and meals. Intermediate through professional. Contact Nan Rothwell, Spruce Creek Gallery, 221 Pottery Ln.,
Faber, VA 22938; e-mail [email protected];
see www.nanrothwellpottery.com; tel (434) 263-4023
Washington, Tacoma
“Summer Raku Celebration” with Paul Antone, and
Dave and Boni Deal. (July 15); fee: $95, includes glazes.
Bring bisqueware. All skill levels. Contact Joe Brecha,
Clay Art Center, 2636 Pioneer Way E, Tacoma 98404;
e-mail [email protected]; www.clayartcenter.net;
tel (253) 922-5342; or fax (253) 922-5349.
Wisconsin, Appleton
“China Mending Restoration,” English and American
methods, ethics and scruples, fixing old repairs, color
and design at Lawrence University with Gerlinde
Kornmesser (June 25–July 2, 9–16 or 16–23); fee:
$1600, includes materials, lodging and meals. All skill
levels. Contact Gerlinde Kornmesser, 1705 Glenview
Rd., Glenview, IL 60025; e-mail [email protected];
see www.gkrestoration.com; tel (847) 724-3509 or
(847) 375-8105; or fax (847) 724-3060.
Wisconsin, Black Earth
“Kiln Building Residency Phase One—Foundation” with
David Smith (June 4–9). ”Communing with Clay I, II and
III,” throwing and building an anagama with Don Hunt
(June 11–16, 18–23 and 25–30). “Kiln Building Residency Phase Two—Arch and Environment” with David
Smith (July 2–7). “Art Ventures Summer Professional
Studio, Anagama Kiln Building” with David Smith and
Don Reitz (July 9–14). Fee/session: $375, includes lodging and meals. Skill levels vary. Contact Angie Burnett,
Bethel Horizons, 9641 Moen Valley Rd., Black Earth
www.art-ventures.org; or tel (608) 257-3577.
Wisconsin, Fish Creek
“Ceramics: Function with Flair,” slab-building with Renee
Schwaller (June 14–16); fee: $80. “Pottery I and Pottery
II” with John Hansen (June 14–July 5 and/or 24–August
14, Wed); fee/session: $170. “Kiln Building: Small, Fast
and Practical” with Brian Fitzgerald and John Hansen
(June 19–23); fee: $190. “Get Started in Pottery” with
John Hansen and Chad Luberger (June 26, July 19 or
August 14); fee/session: $95. “Festive Food and Pottery”
with John Hansen (June 27, July 18, August 1 and 8); fee/
66
SUMMER WORKSHOPS
in Vermont
Hayne Bayless / June 23–24
Bob Green / July 21–23
SHELBURNE art center
www.shelburneartcenter.org
802-985-3648
www.japanpotterytools.com
GEIL KILNS
Real Professionals
Do Know the Difference!
Tea Time: The Art of the Teapot
Symposium May 12–14, 2006
Exhibition May 12–July 16, 2006
From upper left:
Fong Choo, Jeri Hollister, Richard Bresnahan,
Bennett Bean.
Join ceramic artists Bennett Bean, Richard Bresnahan, Fong Choo and Jeri Hollister for this
weekend symposium. Each will demonstrate and discuss their philosophy about this sculptural/
functional form. Allow time to see more than 150 handcrafted teapots in the exhibition.
Registration is required. Workshop fee is $100. For more information, call 269.349.7775 ext. 3101
or visit: www.kiarts.org/school
314 South Park Street Kalamazoo, MI 49007 269.349.7775 www.kiarts.org
“The 92nd Street Y
Art Center offers
me an opportunity to
take a break from my
everyday life, which is
fast-paced,stressful
and full of deadlines.”
-Tony,“Study in Bottle Passages,”
2005,stoneware
Where students become artists
92nd Street Y Art Center
Summer classes begin May 22
Art Center
New students save 10% in May/June.
Mention code CM.
Register online and save 50% on all service
fees at www.92Y.org or call 212.415.5500
Celebrating 75 years
of excellence
92nd Street Y School of the Arts
Lexington Avenue at 92nd Street, NYC
An Agency of UJA-Federation
media partner
67
Castle Hill
TRURO CENTER FOR THE ARTS
summer workshops
session: $60, includes dinner. “Ceramic Surface Decoration: Tips and Techniques” with Abe Cohn (June 29); fee:
$45. “Flaming Fast Fire,” raku, pit, high, gas and wood
with John Hansen (July 5–7); fee: $195. “Raku Adventures: Beauty from Fire” with Brian Fitzgerald (July 17–
20); fee: $215. “Creating Forms From Nature” with
David Aurelius (July 24–26); fee: $160. “Beyond the
Vessel” with Jack Dale Raddatz (August 7–11); fee:
$215. “Mastering the Potters Wheel” with Bruce Grimes
(August 16–18); fee: $120. “Handbuilding Slabs for
Sushi and Other Dishes” with David Caradori (August
21–23); fee: $145. “All About Teapots” with David
Caradori (August 24–25); fee $130. Contact John Hansen,
Peninsula Art School, 3900 County F, PO Box 304, Fish
Creek 54212; e-mail [email protected]; see
www.peninsulaartschool.com; tel (920) 868-3455; or
fax (920) 868-9965.
Wisconsin, Herbster
“2006 Wood-Fire Workshop,” handbuilding, throwing
and firing a 24-foot anagama with Mike Weber (June
3–19); fee: $475, includes materials, firing and camping. All skill levels. For further information, contact
Mike Weber, Weber WoodFire, PO Box 45, 16000
Weber Rd., Herbster 54844; e-mail [email protected];
see www.weberwoodfire.com; tel/fax (715) 774-3707.
Wisconsin, McNaughton
“Teapots: Parts and Process” with Anne-Bridget Gary
(June 26–30); fee: $155, includes materials, firing
and meals. Contact Riverrun Center for the Arts,
6938 Bridge Rd., McNaughton 54543; e-mail
[email protected]; see www.riverrunarts.com;
or tel (715) 277-4224.
Wisconsin, River Falls
“Relief Sculpture Tilemaking” with Mark Tomlinson (June
23–25); fee: $295. Contact Sheila Menzies, Tile Heritage
Foundation, PO Box 1859, Healdsburg, CA 95448; e-mail
[email protected]; www.tileheritage.org; tel
(707) 431-8453; or fax (707) 431-8455.
International Workshops
Belgium, Brasschaat (near Antwerp)
“Korean Decoration Techniques” with Hey-Ja You (July
8–9); fee:C115 (US$137), includes materials and meals.
Intermediate through professional. “Japanese Throwing Skills” with Shozo Michikawa (August 27–28); fee:
C126 (US$150), includes materials and meals. Intermediate through professional. Contact Patty Wouters,
Atelier Cirkel, Miksebaan 272, 2930 Brasschaat; e-mail
[email protected]; see www.ateliercirkel.be; tel/
fax (32) 36 33 05 89.
Belize, Indian Church
Pottery workshop reflecting ancient Mayan designs,
forms and motifs with David Hendley (June 17–29); fee:
$1420, includes lodging and meals. Contact Beyond
Touring, 3036 Lake Shore Dr., Deerfield Beach, FL
33442; e-mail [email protected]; tel (866) 3932731 or (954) 415-2897; or fax (954) 360-9387.
Bulgaria, Sofia, Bansko, Plovdiv, Veliko
Turnovo, Tryavna and Koprivshtitsa
“Folk Traditions & Monasteries Tour” with Joseph Benatov
and Tom Muir Wilson (July 29–August 15); fee: $3887,
includes airfare, lodging, some meals. Deadline: May 29.
Contact Tom Wilson, Craft World Tours, 6776 Warboys
Rd., Byron NY 14422; or tel (585) 548-2667.
Canada, Alberta, Red Deer
“Cut and Paste—Wheel-Thrown and Constructed Domestic Ware” with Joan Bruneau; fee: CAN$454.75,
includes GST (US$400); or “Slab Dish” with Robert
Froese (June 3–7). “Stretching the Limits of Functional
Dishes” with Cathi Jefferson (July 10–14). “From Traditional Transfer to Digital Laser-Printed Decals for Pottery” with Sin-Ying Ho and Philip Read; fee:
CAN$508.25, includes GST (US$446); or “From Handle
68
Summer & Fall Clay 2006
Faculty Include:
Jim Brunelle
Jack Charney
Nat Doane
Anne Goldberg
Ayumi Horie
Rebecca Hutchinson
Barbara Knutson
Washington Ledesma
Warren Mather
Nancy Selvage
Mark Shapiro
Gay Smith
Bruce Winn
Fall Clay Intensives:
Mikhail Zakin
Mary Barringer &
Ron Dean
Go to www.castlehill.org
or call for a catalogue: (508) 349-7511
PO box 756, Truro, MA 02666 - [email protected]
16 C.F. West Coast
West
Coast Kiln
For free info,
write
P.O. Box 2152
Lucerne Valley,
CA 92356
714-778-4354
GEIL KILNS
From Shino to
Copper Red Every Time!
LAMPSHADES
NEW! HANDMADE PAPER
1-800-622-3050
www.lampshadesforpotters.com
O DY S S E Y ’ S 2 0 0 6
WORKSHOP SERIES
ORNATELY FUNCTIONAL:
FORM & SURFACE
Kristin Kieffer
May 22nd–26th
$350 plus $75
registration fee
GESTURAL TO ARCHITECTURAL
Margaret Bohls
July 17th–21st
$350 plus $75
registration fee
POTS WITH POSSIBILITIES
Nick Joerling
May 29–June 2
Anderson Ranch Arts Center
SOULFUL HANDBUILDING
Tom Kerrigan
June 5–9
Robert Brady
Mark Burleson
Doug Casebeer
Terry Gess
John Gill
Andrea Gill
Sam Harvey
Jun Kuneko
Tony Marsh
Alleghany Meadows
Brad Miller
Ron Nagle
Lisa Orr
Walter Ostrom
David Pinto
Donna Polseno
Juan Quezada
Ralph Scala
Mark Shapiro
Sandy Simon
Paul Soldner
Peter VandenBerge
Bill van Gilder
Robert Winokur
Paula Winokur
Michael Wisner
UNDERSTANDING GLAZE
CHEMISTRY
John Britt
June 12–16
DISCOVERING YOUR FORM
THROUGH NATURE
Alice Munn
June 19–23
Robert Winokur, Colored House with Ladder
THE INTIMATE TEAPOT
Suze Lindsay
June 26–30
STORIES IN HUMAN FORM
Cheryl Tall
July 10–14
CARBON TRAPPING MAGIC
ON PORCELAIN
Malcolm Davis
July 24–28
WEEKEND
WORKSHOPS:
HANDMADE DEER
TAIL BRUSHES
Kent McLaughlin
April 7–8
MOVIN’ ON
Cynthia Bringle
September 8–10
EVERYTHING IN THE
GLAZE KITCHEN
Peter Pinnell
September 22–24
SPACE IS LIMITED, CALL NOW!
Field Workshops 2006
Jamaica
April 21 – 29, 2006
Sandy Simon, Robert Brady,
David Pinto & Doug Casebeer
Terry Gess, Teapot
Visit our web site or call to join our mailing list
970.923.3181
www.andersonranch.org
69
Odyssey Center
for Ceramic Arts
236 Clingman Ave
Asheville, NC 28801
828.285.0210
www.highwaterclays.com
[email protected]
summer workshops
James Watkins – Creating Meaningful Vessels
April 28th – 30th - $225
to Spout” with Jim Etzkorn; fee: CAN$401.25, includes
GST (US$352) (July 17–21). “Exploring the Thrown
Surface” with Greg Crowe; fee: CAN$465.45, includes
GST (US$409); or “Raku” with Meira Mathison (July
24–28). “Handbuilding with Soul” with Tom Kerrigan;
fee: CAN$465.45, includes GST; or “Throwing & Altering on the Potter’s Wheel” with Bibi Clement (July 31–
August 4). Fee (unless noted above): Can$422.65,
includes GST (US$371). Skill levels vary. Contact Anne
Brodie, Red Deer College, PO Box 5005, Red Deer,
Alberta T4N 5H5; e-mail [email protected]; see
www.rdc.ab.ca/continuingeducation; tel (403) 3142469; or fax (403) 343-4028.
Lauren Kearns – Teapots and Tuning up Your
Throwing Skills
May 13th, 10-4 - $60
Paul Lewing – Tile Making, Decoration,
Installation and Promotion
June 2nd– 4th - $250
Peg Malloy – Creating Forms and
Wood Firing
July 15th– 16th - $150
by Muddy Elbow
Manufacturing
Patrick Crabb’s workshop at Metchosin International
School of Art, Columbia, Victoria, Canada.
Canada, British Columbia, Victoria
“Aesthetics of Ceramic Form” with Les Manning (June
2–9); fee: CAN$475 (US$414). “Sculptural to Functional
Firing” with Gordon Hutchens (June 5–9); fee: CAN$395
(US$344), includes materials and firing. “Master Glaze &
Color Development” with Robin Hopper. Fee: CAN$745
(US$654), includes materials and firing; or “The Gesture
of Porcelain: Form, Function & Surface” with Matt Long;
fee: CAN$710 (US$619), includes materials and firing
(July 3–14). “Clay & Spirit” with Thomas Kerrigan;
or”Decorative Tile” with Dawn Detarando (July 3–7);
fee/session: CAN$355 (US$310). “Handbuilt Tableware:
Developing your Decorative Style” with Laura Van Der
Linde. Fee: CAN$150 (US$131), includes materials; or
“Exploring the Thrown Surface” with Greg Crowe. Fee:
CAN$135 (US$118) (July 8–9). Workshop with Randy
Brodnax. Fee: CAN$385 (US$338), includes materials
and firing; or “Handbuilt Masks” with Bob Kingsmill (July
10–14); fee: CAN$355 (US$310). “Photograph your
Work” with Janet Dwyer (July 12); fee: CAN$37 (US$32).
Contact Meira Mathison, Metchosin International School
of Art, 650 Pearson College Dr., Victoria, British Columbia V8Z 5P2; e-mail [email protected]; see
www.missa.ca; tel (250) 391-2420; fax (250) 391-2412.
Canada, Nova Scotia, Lunenburg
“Creating Ceramic Tile” with Carol Morrow (July 31–
August 4); fee: Can$510 (US$444), includes materials
and firing. Beginning/intermediate. “Handbuilding &
Extrusion Techniques with Earthenware Pottery” with
Darren Emenau (August 7–11); fee: Can$435 (US$379),
includes firing. Beginning/intermediate. Contact Paulette
Hackman, Lunenburg Seaside Craft School, 311 Pelham
St., Lunenburg, Nova Scotia B0J 2C0; e-mail
[email protected]; www.lunenburgcraftschool.com; or
tel (607) 729-2198.
Canada, Ontario, Haliburton
“Pottery—Beginners (ARTS175),” throwing with Barbara Joy Peel (July 3–8); fee: CAN$284.06 (US$247).
“Pottery II (ARTS179),” throwing with Barbara Joy Peel
(July 10–15); fee: CAN$284.06 (US$247). “Ceramics—
Low-Fire Color and Decoration (ARTS707)” with Kristin
Abrahamson (July 17–21); fee: CAN$232.27 (US$202).
70
310 W. 4th
Newton, KS • 67114
Phone/Fax (316) 281-9132
[email protected]
soldnerequipment.com
Soldner Clay Mixers
GEIL KILNS
Buy Once, Buy a Geil!
(410) 235-5998
www.clayworkssupplies.com
71
summer workshops
“Kid’s Pottery (ARTS502),” ages 5–9, with Wayne Rose
(August 21–25); fee: CAN$85 (US$74). Skill levels vary.
Contact Shelley Schell, Haliburton School of the Arts,
297 College Dr., Box 839, Haliburton, Ontario K0M
1S0; see www.haliburtonschoolofthearts.ca; or tel (866)
353-6464 or (705) 457-1680.
Canada, Ontario, Waterloo
“Intensive Throwing” with Jason L’Abbe (July 10–14 or
August 14–18); fee/session: CAN$375 (US$326), includes
materials. Intermediate/advanced. Instruction in English
and French. Contact Jason L’Abbe, L’Abbe Pottery, 41
Dupont St., E, Waterloo, Ontario N2J 2G8; e-mail
[email protected]; www.labbepottery.com; or tel
(519) 725-2028.
Canada, Québec, East Aldfield
Handbuilding, raku, sawdust and Cone 6 firings with Jim
Thomson (July 10–14, August 7–11 and/or 28–September 1); fee/session: CAN$600 (US$522), includes firing,
lodging and meals. All skill levels. Contact Jim Thomson,
Lolaland Clay Studio, 53 Chemin Lauvignon, East Aldfield, Québec J0X 1S0; e-mail [email protected]; see
www.jimthomson.ca; tel (819) 456-1532.
Canada, Québec, Montréal
“Decorative Ceramics,” throwing with Eva Lapka (July
3–26, Mon and Wed). “Raku,” handbuilding with
Patrick Bureau (July 6–August 12, Thurs and 1 Sat).
Fee/session: Can$240 (US$210), includes materials
and firing. Skill levels vary. Instruction in English and
French. Contact Eva Lapka, Visual Arts Centre, 350
Victoria Ave., Montréal, Québec H3Z 2N4; e-mail
[email protected]; see www.visualartscentre.ca;
tel (514) 488-9558; or fax (514) 488-7075.
China, Jingdezhen
“Blue on White Porcelain Decoration” with Jiansheng
Li (July 10–16). “Traditional Chinese Dragon Kiln Wood
Firing” Jiansheng Li and Master Woo (August 14–20).
Fee/session: US$200, includes materials, firing, lodging
and meals. Skill levels vary. Instruction in English and
Mandarin. Contact Jiansheng Li, Sanbao Ceramic Art
Institute, Sanbao Village, Jingdezhen, Jiangxi Province
www.chinasanbao.org; or tel (86) 798 8483665; or fax
(86) 798 8496513.
Denmark, Skælskør
“Writers Workshop,“ writing about ceramics with
Edmund De Waal (June 17–18); fee: DKr 700 (US$112);
students, DKr 500 (US$80). Cross-Draught Wood Kiln”
(June 19–29); fee: DKr 900 (US$143); bring bisqueware.
“ClayInDusTry—to be or not to be” with Neil
Brownsword, Marek Cecula, Ole Jensen, Margaret
O’Rorke, Pekka Paikkari and Paul Scott (August 21–
25); fee: DKr 1900 (US$303). Skill levels vary. Contact
Mette Marcher, International Ceramic Research Center-Guldagergård, Heilmannsvej 31 A, Skælskør 4230;
e-mail [email protected]; see www.ceramic.dk; tel
(45) 5819 0016; or fax (45) 5819 0037.
England, Hundon
“Handbuilding/Smoke Firing” (July 24–28). “Smoke,
Saggar and Pit Firing, plus Newspaper Kilns” (July 31–
August 4). Instructor/session: Jane Perryman. Fee/session: £360 (US$626), includes materials, firing and
lunches. Skill levels vary. For further information, contact
Jane Perryman, Wash Cottage, Clare Rd., Hundon, Suffolk CO10 8DH; e-mail [email protected];
see www.janeperryman.com; tel/fax (44) 1440 786 228.
England, Ipswich
Throwing, handbuilding, glazing and wood-fired raku
with Deborah Baynes (July 2–8, 9–15, 23–29, 30–
August 5 or 13–19); fee/session: £450 (US$783), includes materials, firing, lodging and meals. All skill
levels. Contact Deborah Baynes Pottery Studio, Nether
Hall, Shotley, Ipswich, Suffolk 1P9 1PW; e-mail
[email protected]; www.potterycourses.net;
tel (44) 1473 788 300; or fax (44) 1473 787 055.
72
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73
summer workshops
England, Queen Camel (near Yeovil)
Throwing and wood firing with Douglas and Jennie
Phillips (July 3–8, 10–15, 17–22, August 7–12, 14–19
and/or 21–26); fee: £295 (US$513), includes materials,
firing and lunch. Beginning through advanced. Contact
Douglas Phillips, Ridge Pottery, Queen Camel, Yeovil,
Somerset BA22 7NF; e-mail [email protected];
see www.mud2fire.com; tel (44) 1935 850 753.
England, Tenbury Wells
Weekend and weekly pottery-making sessions with emphasis on throwing, plus pulling handles and spouts,
modeling, and handbuilding with Martin Homer (twoday weekend June 2–5, 16–19; three-day weekend
August 25–28; one-week sessions July 9–15, 16–22, 30–
August 5, 6–12); fee: £235/£345/£499 (US$409/US$601/
US$869), includes materials, firing, lodging and meals.
Instruction in English, with some French. All skill levels.
Contact Tina Homer, Martin Homer Pottery, Lower Aston
House, Aston Bank, Tenbury Wells, Worcestershire WR15
8LW; e-mail [email protected]; see
www.homerpottery.co.uk; or tel (44) 1584 781 404.
France, Allègre-Les Fumades
One-week throwing or raku workshops (June 12–17 or
July 3–August 19, Sat). Two-week throwing & raku
workshops (July 3–15, 10–22, 17–19, 24–August 5,
July 31–August 12 or 7–19). Fee/session: C 650
(US$773), includes materials, firing, lodging and meals.
Instructors: Michel and Julia Simonot. Beginning/intermediate. Instruction in some English and French. Contact Michel Simonot, Mas Cassac, 30500 Allègre-Les
Fumades; e-mail [email protected]; see
www.ceramique.com/Mas-Cassac; tel (33) 4 66 24 85
65; or fax (33) 4 66 24 80 55.
France, Cordes sur Ciel
“Throwing and Raku” with Frank Theunissen (June 18–
24 ). “Let Go,” throwing, slip casting and firing with
Thomas and Katrin König (July 16–22). Instruction in
English, French, German and Spanish. “Wonderful
World of Raku and Porcelain,” throwing, modeling and
slip casting with Eva Koj (July 23–99). “Throwing and
Wood Firing” with Frank Theunissen (July 30–August
5). “Throwing and Firing” with Joop Crompvoets (August 13–19). Instruction in English, Dutch, French and
German.“Throwing and Firing” with Frank Theunissen
(August 20–26); fee: C395 (US$469). Fee (unless noted
above): C440 (US$523), includes materials, firing and
meals. Skill levels vary. Instruction (unless noted above)
in English, French and German. Contact Frank
Theunissen, LaCéramique, La Plaine, Cordes sur Ciel
www.laceramique.com; tel (33) 5 63 53 72 97.
Clay Whistles . . . the voice of clay
56 pages of clear instructions + illustrations
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tools, plus tuning, PROBLEM SOLVING.
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Clay Whistles book (in English/Spanish) $11.95 +
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S&H (US Funds) Canadian orders add $.75
The Whistle Press,
Dept. CM
www.whistlepress.com
E-mail: [email protected]
PO Box 1006
Petal, MS 39465
Telephone/Fax:
601-544-8486
GEIL KILNS
The Best Built Kiln
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France, Lot et Garonne
“Master Class Raku” with Karin Heeman and David
Roberts (July 24–29); fee: C590 (US$701), includes
materials, firing and meals. Intermediate through professional. Instruction in English, Dutch, French and
German. Contact Karin Heeman, Centre Céramique
International, Château de Barry, Auradou, Lot et
Garonne 47140; e-mail [email protected];
www.karinheeman-ceramics.com; tel (33) 5 53 40 64 88.
Greece, Samos
“Handbuilding and Surface Treatments,” using local
clay and naturally occurring visual resources from the
island with Kathy Skaggs (June 18–July 1); fee: $1500,
includes materials, firing, lodging and some meals.
Beginning through advanced. Contact Susan Trovas,
Art School of the Aegean, 838 Tennessee Ln., Sarasota
FL 37234; e-mail [email protected]; see
www.artschooleaegean.com; or tel (941) 351-5597.
Hungary, Kecskemét
“Large-Scale Ceramics,” using formers, extruders and
slab rollers with Jim Robison (June 1–22). “Materially
Speaking,” alternative possibilites with clay with
Wolfgang Vegas (June 27–July 18). “Hard Spaces—
Clay & Architecture” with Robert Harrison and Gwen
74
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summer workshops
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Heeney (July 18–August 10). Fee/session: 189,000 HUF
(US$888), includes lodging. Intermediate through professional. Contact International Ceramics Studio
K ecskemé t, K á polna u. 11, K ecskemé t, B acs K iskun, H6000; e-mail [email protected]; see www.icshu.org; or tel
(36) 76 486 867.
Ireland, Lismore, Co. Waterford
“ Salt Glaze Workshop” with Marcus O’Mahoney (June
11–17, July 23–29 and/or August 13–19); fee: C695
(US$827), includes materials, firing, lodging and meals.
Wood-Fire Workshop” with Marcus O’Mahoney,
Mandy Parslow and K ieran Whitelaw (July 4–14); fee:
C1195 (US$1422). Instruction in E nglish, French and
German. Skill levels vary. Contact Marcus O’Mahoney,
Glencairn Pottery, Glencairn, Lismore, Co. Waterford,
Ireland; e-mail [email protected]; see
www.marcusomahoney.com; or tel (353) 58 56694.
Italy, Certaldo (Florence)
“ Naked Raku” with David Roberts (July 3–8). “ Raku
Dolce” with Giovanni Cimatti (July 10–15). “ Glazed
Raku” with Pietro Maddalena (July 17–22). “ Smoke
Firing” with Luca Tripaldi (July 24–29). “ Paper Clay with
Porcelain,” handbuilding with Giovanni Cimatti (July
B isbee, AZ 85603; e-mail [email protected];
www.bisbeemarquee.com/themall; or tel/fax (520)
432-4616.
Mexico, Oaxaca
“ E xploring Pottery Traditions of Oaxaca, Mexico” with
Lia Lynn Rosen (June 25–July 9); fee: $500, includes
materials and firing. All skill levels. Instruction in E nglish
and Spanish. Contact Lia Lynn Rosen, Sachmo Art Center, PO B ox 1457, Magdalena, NM 87825; e-mail
[email protected]; www.santafeartsandculture.org;
or tel (505) 854-2801.
Netherlands, Oosterwolde (Fochteloo)
“ Stoneware and Porcelain” (June 19–23 and/or August
14–18). “ Raku” (July 10–14). “ Primitive and Traditional” (July 24–28). Instructor/session: K ees Hoogendam. B oth include handbuilding, throwing, kilnbuilding,
firings and excursions. Fee/session: C360 (US$429),
includes materials, firing, meals and lodging. Contact
K ees Hoogendam, de K nolle 3A, 8431 RJ Oosterwolde
(Fochteloo); e-mail [email protected]; see
www.home.zonnet.nl/warveen; tel/fax (31) 51 658 82 38.
Puerto Rico, Guaynabo
Handbuilding and modeling with Ida Gutierrez (June–
August). B eginning. Instruction in E nglish and Spanish.
Contact Ida Gutierrez, Manos Felices, Taller Creativo,
Ave. E smeralda P2 # 60, Urb. Ponce de Leon, Guaynabo
00969; e-mail [email protected]; tel/fax (787) 789-3443.
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Tim Andrews, Dave Jones and Jim Romberg unloading a raku kiln at Eagleheart Center for Art & Inquiry,
Grand Junction, Colorado.
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31–August 5). “ Fundamentals of Throwing” with Pietro
Maddalena (August 7–19). “ Throwing for Advanced”
with Pietro Maddalena (August 21–September 2). Fee:
one-week, C 800 (US$953); two-weeks, C 1300
(US$1548); includes materials firing, lodging and meals.
Instruction in E nglish and Italian. Contact Pietro
Maddalena, La Meridiana, B agnano 135, 50052
Certaldo (Florence); e-mail [email protected]; see
www.lameridian.fi.it; or tel/fax (39) 571 660084.
Italy, Faenza (Bagnacavallo)
“ Sculpture 0991” with E midio Galassi (June–August).
Intermediate/advanced. Instruction in E nglish, Italian
and Spanish. Contact E midio Galassi, Arte Aperto, V ia
Sinistra Canale Inferiore N. 155, B agnacavallo (RA) 48012;
e-mail [email protected]; tel/fax (39) 545 63582.
Mexico, Mata Ortiz
“ Inside Mata Ortiz,” digging clay, handbuilding, decorating and firing with Jorge Coronoa, and Jose and
Susy Martinez (July 8–15); fee: $900, includes materials, firing, lodging and meals. All skill levels. Instruction in E nglish and Spanish. For further information,
contact Peter Chartrand, B isbee Clay, PO B ox 1043,
76
Romania, Transylvania, Moldavia, Maramures
Folklife tour of Romania’s traditional regions. (August
15–September 2); fee: $4210, includes airfare, lodging, some meals. Deadline: June 15. Contact Tom
Wilson, Craft World Tours, 6776 Warboys Rd., B yron
NY 14422; or tel (585) 548-2667.
Spain, Cadiz
Two-week workshops on handbuilding, throwing, glazing and firing with José Luis Aragó n (June 15–September
15); fee: C600 (US$712), includes materials and firing.
All skill levels. Instruction in E nglish, French and Spanish.
Contact José Luis Aragó n, La Tacita, B arrio Nueva, Conil
(Cadiz) 11149; e-mail [email protected]; tel (34)
95 644 5912; or fax (34) 95 644 8656.
Turkey, Istanbul
“ E xpanding Horizons in Clay and Glass” with Jody B one
(July 16–28); fee: first week at the Glass Furnace, $900,
includes materials, lodging and meals; second week,
$600, includes lodging, breakfasts and tours; twoweeks, $1500. Instruction in E nglish and Turkish. Contact Jody B one, e-mail j [email protected];
or tel (360) 730-1146 or (206) 248-3563.
MKM Clay Stamps
™
Use MKM stamps to create unique designs in clay!
Sq uare Plate 14 x 14 by R ick M cKinney
Stamps used on this plate: STS-2, STM-10,
STS-3, STS-1 and SRS-3.
•
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M KM S tamps - A few
shapes & designs.
J ar by R ick M cKinney (11” Tall)
Stamp used SSS-2
All stamps come with two different designs, one at each end.
All are 7cm long, made from beveled hardwood, and soaked in oil.
All stamps are designed to be used individually or in groups.
Many designs, many shapes, many patterns and sizes.
Available:
ContinentalClay.com (800-432-2529) • Highwaterclays.com (828-252-6033)
Wholesale Distributors: www.mkmpotterytools.com
Fax 920-830-9394 • Tel: 920-830-6860 • Email: [email protected]
Potters Council is
hitting the road!
2006 Regional Conference Series
Visit www.potterscouncil.org/2006conferences
77
call for entries
Deadlines for E xhibitions, Fairs and Festivals
See call for entries online at www.ceramicsmonthly.org
International Exhibitions
April 5 entry deadline
La Crosse, Wisconsin “ The Art of the Doll” (July 1–
August 19), open to all craft media. Juried from
slides or digitals. Juror: Judy Onofrio. Fee: $25 for
3 entries. Awards: $2000. For further information,
contact Pump House, 119 K ing St., La Crosse
www.thepumphouse.org; or telephone (608)
785-1434.
Quimper, France “ Un Oeuvre de Faï ence” (May 20–
October 20), open to all media dealing with Faï ence.
Juried from 5 digitals. Awards: grand prize, C4000
(US$4800); public prize, C1500, (US$1800). Contact Laetitia Faenza, Un Oeuvre de Faï ence Association, 18 rue Jean Jaurè s, B rest 29200; e-mail
[email protected]; see
www.uneoeuvredefaience.org; or telephone (33) 2
98 31 98 14.
Kirkland, Washington “ Clay? ” (June 9–August
29). Juried from slides. Jurors: Doug Jeck, Akio
Takamori and Jamie Walker. Fee: $25 for up to 3
entries. Awards: $2000. For further information
and prospectus, send SASE to K irkland Arts Center,
Clay? , 620 Market St., K irkland 98033; or see
www.kirklandartscenter.org/clay.htm.
Day by Day!
Potters Rebecca and David Day
take it two days at a time.
Helena, Montana “ International Cup E xhibition”
(June 22–July 22), open to ceramic cups. Juried
from up to 2 slides. Jurors: Richard Notkin and Rick
Newby. Fee: $20 for 1 entry; $25 for 2. Cash
awards. For prospectus, send SASE to the Clay
Studio of Missoula, 910 Dickens, Missoula, MT
59802; e-mail [email protected];
see www.theclaystudioofmissoula.org; or telephone (406) 543-0509.
June 16 entry deadline
Baltimore, Maryland “ World Women: On the Horizon” (October 7–November 12), open to ceramics made by women about women. Juried from
slides or digitals. Jurors: Janet Mansfield, potter,
publisher/editor of Ceramics: Art and Perception
and Ceramics Technical; Heeseung Lee, studio
artist; and Lydia Thompson, sculptor and assistant
professor of ceramics at V irginia Commonwealth
University School of Arts. Fee: $15 for up to 5
entries. For further information and prospectus,
contact Leigh Taylor Mickelson, B altimore
Clayworks, 5707 Smith Ave., B altimore 21209;
e-mail [email protected];
see www.baltimoreclayworks.org; or telephone
(410) 578-1919, x18.
August 14–October 6 entry deadline
Icheon, Republic of Korea “ Fourth World Ceramic B iennale 2007 K orea (CE B IK O)” (April 28–
June 17, 2007), open to works in two categories:
ceramics for use and ceramics as expression.
Juried from slides or digitals. Cash awards; grand
prize K RW 60 million (US$55,000). Contact
Shinhee Park, Curatorial Dept., World Ceramic
E xposition Foundation, 467-020, San 69-1,
Gwango-dong, Icheon-si, Gyeonggi-do; e-mail
[email protected]; see www.wocef.com
or www.worldceramic.or.kr; telephone (82) 31
631 6572; or fax (82) 31 631 1614.
United States Exhibitions
Trinity Ceramic Supply, Inc.
9016 Diplomacy Row
Dallas, TX 75247
214 631-0540
www.trinityceramic.com
78
Boise, Idaho “ Fifth Annual Juried Art E xhibition”
(June 1–30), open to all media. Juried from slides.
Juror: B arbara Robinson, director of artist services,
Idaho Commission on the Arts. Fee: $20. Awards:
$500. Contact Z ella B ardsley, Art Source Gallery,
Fifth Annual Juried Art E xhibition, 1015 Main St.,
B oise 83702; e-mail [email protected];
see www.artsourcegallery.com; or telephone (208)
331-3374 or (208) 378-1464.
May 1 entry deadline
Rochester, New York “ History in the Making”
(September 19–October 20), open to ceramics
relating to historical ceramic forms or traditions.
Juried from up to 3 slides or digital prints. Jurors:
Rick Hirsch and Julia Galloway. Fee: $20. Cash
awards. For prospectus, send SASE to Genesee
Pottery, 713 Monroe Ave., Rochester 14607; e-mail
[email protected]; telephone 585-2715183; or see www.geneseearts.org.
Nelsonville, Ohio “ Many, Many” (September
1–30), open to all media dealing with multiples.
Juried from up to 6 slides or digitals. Juror: Max
rada dada. Fee: $30 for up to 3 entries. For further
information, contact Melissa Haviland, Ohio University, School of Art, 528 Seigfred Hall, Athens,
OH 45701; e-mail [email protected]; see
www.ohiou.eduart/mapc.html.
Windham, New York “ Journeys in Clay 2006”
(June 17–July 30). Juried from 5–10 slides or photos. Juried by Ruth Sachs and Joan Snyder. Sales
Commission: 30%. For further information, contact Donna B arrett, Greene County Council on the
Arts, PO B ox 463, 398 Main St., Catskill, NY
www.greenearts.org; telephone (518) 943-3400;
or fax (518) 943-5502.
79
call for entries
Walnut Creek, California “ B y Hand: A National
Juried E xhibition of Traditional and Innovative
Craft” (July 9–September 10), open to all craft
media. Juried from slides. Juror: Suzanne
B aizerman. Fee: $35 for up to 3 entries. Awards.
For prospectus, send SASE to Melanie Chang,
B edford Gallery, 1601 Civic Dr., Walnut Creek
www.bedfordgallery.org; or telephone (925)
295-1423.
Buffalo, New York “ Craft Art Western New York
2006” (September 16, 2006–January 7, 2007),
open to past or current residents of western New
York. Juried from slides or digitals. Juror: Lloyd
Herman, director, Smithsonian’s Renwick Gallery.
Contact B urchfield-Penney Art Center, B uffalo State
College, Rockwell Hall, 1300 E lmwood Ave., B uffalo 14222; e-mail [email protected]; or
telephone (716) 878-6011.
Dix Hills, New York “ Patterns in Clay,” exhibition
in conj unction with “ All Fired Up” Potters Council
Conference (July 8–August 13). Juried from up to
7 slides or CD. Fee: $15. For further information,
contact Ruth Sachs, Art League of Long Island, 107
E . Deer Park Rd., Dix Hills 11746; e-mail
[email protected]; see www.artleagueli.org; or
telephone (631) 462-5400.
June 19, 2006, entry deadline
Ross, California “ Second National Juried E xhibition” (October 1–22), open to all media. Juried
from slides or digital on CD. Fee: $30 for up to 3
entries. Juror: Rene de Guzman, visual arts curator
at Yerba B uena Center for the Arts. Awards: over
$2500. For prospectus, send SASE to Marin Society
of Artists, PO B ox 203, Ross 94957; or see
www.marinsocietyofartists.org.
July 14 entry deadline
Indianapolis, Indiana “ ClayFest 2006” (September
5–29), open to current and former residents of
Indiana. Juried from slides. Fee: $20 for 3 entries.
For further information and prospectus, contact
the University of Indianapolis, Dept. of Art and
Design, 1400 E . Hanna Ave., Indianapolis 46227;
e-mail [email protected]; or telephone (317)
788-3253.
August 1 entry deadline
Estes Park, Colorado “ 10th Annual Lines into
Shapes” (September 22–October 15), open to all
media. Juried from slides. Fee: $12 per entry, up to
3 entries. Awards: $5000. For further information
and prospectus, send an SASE to Art Center of
E stes Park, PO B ox 3635, E stes Park 80517; see
www.artcenterofestes.com; telephone (970) 5865882 or (970) 586-0543.
Farmington Hills, Michigan “ From Our Perspective” (September 21–October 13), open to
women artists in all media. Juried from digitals.
Fee: $25 for 3 entries. Awards: B est-in-Show,
$300; purchase, $250; 3 honorable mentions,
$100 each; Presidents award, $100. For further
information, contact Sandra Happel, Oakland Community College, 27055 Orchard Lake Rd.,
Farmington Hills 48334; telephone (248) 5223565; e-mail [email protected]; see
www.oaklandcc.edu/womencenter/artshow.htm.
Manchester, New Hampshire “ Ceramics B iennial E xhibition 2006” (October 13–November 13),
open to works made predominantly of clay. Juried
from digitals. Juror: Mary B arringer. Fee: $25 for
up to 2 entries. Awards: $2000. For prospectus,
send SASE to New Hampshire Institute of Art, Sara
Z ela, 77 Amherst St., Manchester 03101; e-mail
[email protected]; see www.nhia.edu; or telephone
(603) 836-2572.
Regional Exhibitions
Moses Lake, Washington “ Sculpture Without
Walls,” outdoor exhibition (June 17, 2006–May,
2007), open to artists in all media residing in
Idaho, Montana, Oregon, Washington or Wyoming. Juried from slides or photos. Awards:
People’s Choice, up to $10,000; merits, $3000.
For further information, contact Moses Lake Museum & Art Center, 228 W. Third Ave., Moses
Lake 98837; e-mail [email protected];
see www.mlrec.com/museum.html; or telephone
(509) 766-9395.
Biloxi, Mississippi “ George Ohr Rising: Gulf States
Juried Competition” (August 25–September 27),
open to artists residing in Alabama, Florida, Louisiana, Mississippi and Texas. Juried from slides or
j pegs. Fee: $15 for 3 entries. Awards: $1800. For
further information, contact Marj ie Gowdy, OhrO’K eefe Museum of Art, 136 G.E . Ohr St., B iloxi
39530; e-mail marj [email protected]; see
www.georgeohr.org; telephone (228) 374-5547;
or fax (228) 436-3641.
Pittsburgh, Pennsylvania “ WAD Clay Institute Juried
Clay Annual” (August 22–September 30), open to
all ceramists residing in Washington D.C., Delaware, K entucky, Maryland, New Jersey, New York,
Ohio, Pennsylvania, West V irginia and V irginia.
Juried from slides. Juror: Ron K orczynski. Fee: $20
VIDEO WORKSHOPS
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My highest recommendation for anyone interested in
learning about form and structure, all the parts and details
of good pots as well as how to make specific forms.
Bill Hunt, Ceramics Monthly Editor, 1982-94
Making Marks
Ceramic Surface Decoration
[These videos] are detailed, comprehensive, intelligent,
high-quality productions.
Richard Aerni, Studio Potter Network
Beginning to Throw
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It’s hard to imagine a more lucid or comprehensive
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Phone: (250) 247-8109 Fax: (250) 247-8145 E-Mail: [email protected]
80
800-668-8040
81
call for entries
for up to 3 entries. Awards: cash and purchase. For
prospectus, contact WAD Clay Institute, 2100
Mary St., Pittsburgh 15203; or telephone Gerry
Dinnen (412) 279-9956.
Kansas City, Missouri “ V iva la Terra: celebrating
life . . . in clay” (September 17–30), open to
expressions of the power of clay as a healing
medium. Juried from slides. Juror: Steven Hill. Fee:
$35 for 3 entries, 1 detail of each. Awards: $1000.
For prospectus, send # 10 SASE to Susan Speck,
5932 Nall, Mission, K S 66202, e-mail
[email protected]; see www.kcclayguild.org;
or telephone (816) 363-1373.
Fairs and Festivals
Boston, Massachusestts “ Crafts at the Castle”
(December 1–3). Juried from 5 slides and 1 of
booth. Fee: $38. Contact Crafts at the Castle,
Family Service of Greater B oston, 31 Heath St.,
Jamaica Plain, MA 02130; see www.fsgb.org; or
telephone (617) 523-6400.
Cranford, New Jersey “ Spring Nomahegan Park
Fine Art and Crafts Show” (June 3–4), open to all
handcrafted work. Juried from 3 slides/photos of
work; 1 of booth. B ooth fee: $305 for 10×12-foot
space. Contact Rose Squared Productions, Inc., 12
Galaxy Ct., Hillsborough, NJ 08844; see
www.rosesquared.com; or telephone (908)
874-5274.
Verona, New Jersey “ Fine Art and Crafts at
V erona Park” (May 20–21), open to all handcrafted
work. Juried from 3 slides/photos of work; 1 of
booth. B ooth fee: $305 for 10×12-foot space. For
further information, contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ
08844; see www.rosesquared.com; or telephone
(908) 874-5274.
Milwaukee, Wisconsin “ Juried Fine Art Show”
(July 20–23), open to artists with Italian Heritage.
Juried from 5 slides, photos or j pgs. Contact V L
Sculptures, 225 N. Glenview Ave., Wauwatosa, WI
53213; or telephone (414) 771-8541.
Layton, New Jersey “ 36th Annual Peters V alley
Craft Fair” (September 29–October 1). Juried from
slides. Fee: $25. B ooth fee: $350. Cash awards.
Contact Peters V alley Craft Center, 19 K uhn Rd.,
Layton 07851; e-mail [email protected]; see
www.pvcrafts.org; or telephone (973) 948-5200.
Montclair, New Jersey “ Spring B rookdale Park Fine
Art and Crafts Show” (June 17–18), open to all
handcrafted work. Juried from 3 slides/photos of
work; 1 of booth. B ooth fee: $305 for 10×12-foot
space. Contact Rose Squared Productions, Inc., 12
Galaxy Ct., Hillsborough, NJ 08844; see
www.rosesquared.com; or telephone (908)
874-5274.
August 1 entry deadline
Little Rock, Arkansas “ 28th Annual Arkansas Craft
Guild Christmas Showcase” (December 1–3), open
to handmade crafts. Juried from 4 slides or photos
of work and 1 of booth. Fee: $15. B ooth fee: $250
for 10×10-foot space. For further information
and prospectus, contact ACG Showcase, Arkansas
Craft Guild, PO B ox 800, Mt. V iew, AR 72560;
e-mail [email protected]; or telephone (479)
253-2951.
September 1 entry deadline
Cranford, New Jersey “ Fall Nomahegan Park Fine
Art and Crafts Show” (September 30–October 1),
open to all handcrafted work. Juried from 3 slides/
photos of work; 1 of booth. B ooth fee: $305 for
10×12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844;
see www.rosesquared.com; or telephone (908)
874-5274.
Upper Montclair, New Jersey “ Fine Art and
Crafts Show at Anderson Park” (September 16–
17), open to all handcrafted work. Juried from 3
slides/photos of work; 1 of booth. B ooth fee: $305
for 10×12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ
08844; see www.rosesquared.com; or telephone
(908) 874-5274.
September 13 entry deadline
New York, New York “ Celebrating Women’s Creativity” (November 8–26), open to women artists.
Juried from slides or actual work. For prospectus,
send SASE to the Pen & B rush Inc., 16 E . 10th St.,
New York 10003; see www.penandbrush.com; or
telephone (212) 475-3669.
October 1 entry deadline
Montclair, New Jersey “ Fall B rookdale Park
Fine Art and Crafts Show” (October 14–15), open
to all handcrafted work. Juried from 3 slides/
photos of work; 1 of booth. B ooth fee: $305 for
10×12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844;
see www.rosesquared.com; or telephone (908)
874-5274.
For a free call for entries listing, submit information on juried events
at least four months before the entry deadline. Add one month for
listings in July, and one month for listings in September. Regional
exhibitions must be open to more than one state. Submit online at
www.ceramicsmonthly.org; mail to Call for Entries, Ceramics
Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081; e-mail
[email protected]; or fax (614) 891-8960.
82
83
new books
Craft: Perception and Practice
A Canadian Discourse, V olume II
edited by Paula Gustafson
Exploring the diversity of current craft practice and theory, as well as craft’s connections
between traditional and contemporary art, this
collection of texts addresses the conceptual, social
and cultural significance of work in craft media.
The second of a three-volume series, the book
presents 22 essays and critical commentaries by
nineteen independent critics, curators, professional artists, art historians and art instructors.
“To craft, to make something, is to act intelligently,” states editor Paula Gustafson in the
introduction to the book. “To craft implies knowing how to do something very well. The skill
required to make an object is often mistakenly
confused with manual dexterity, as if thinking
was not embedded in the maker’s skill or knowledge of materials. Even when the priciples and
techniques have been learned empirically, an
intelligence of feeling is evidenced in the object
and readily apparent to the touch of the viewer.”
The texts were selected based on their relevance to the issues and concerns of Canadian
craft practitioners during the last several years,
but are relevant to craft artists in other locales as
well. Although the essays cover work in all craft
media, a substantial portion of the book discusses
ceramic art in particular.
Many of the essays and
commentaries were presented at symposiums,
in exhibition catalogs
and arts journals, but six
are presented here for the
first time. 210 pages including introduction and list for further reading.
4 0 color photographs. Softcover, CAN$ 26.95
(US$ 21.95). ISBN 1-553 80-026-5. Published by
Ronsdale Press Ltd., 3350 W. 21st Ave., Vancouver,
British Columbia V6S 1G7 Canada; e-mail
[email protected]; see www.ronsdalepress.com; or
telephone (888) 879-0919.
Mocha and Related
Dipped Wares, 1770–1939
by Jonathan Rickard
This well-illustrated book draws upon the
author’s thirty-plus years of experience as a collector, scholar and enthusiast of mocha ware, a
subject that has not been widely studied or
chronicled. The term mocha ware was first coined
to suggest the visual similarity between the
seaweedlike slip decoration on some early wares
and mocha stone (a type of agate with mossy
green or red striations),
and Rickard explains that
it is not a widely known
term. “In attempting to
explain to so many people
over the years just what it
was that I collected,”
opens Rickard, “I’ve
boiled my definition
down to this: factorymade, lathe-turned, refined utilitarian earthenwares whose principle decoration is manipulated
slip. This, of course, begs further description.”
Rickard then provides a detailed analysis of
production techniques and decorative typologies,
as well as a broad-ranging history of the wares
from development in eighteenth-century England to widespread popularity in the American
market well into the twentieth century. He also
includes a discussion of mocha’s principal manufacturers, a detailed glossary and a bibliography.
17 8 pages including foreword, introduction and
index. 200 color and 208 black-and-white images. ISBN 1-584 65-513 -5. Published by University Press of New England, 1 Court St., Lebanon
NH 03766; see www.upne.com; (800) 421-1561.
84
We’ve Got All of the
HO T T E S T T E CHN IQ U E S !
ADVANCED R AKU TECHNIQ UES
GLAZ ES : M ATER IALS , R ECIPES AND
TECHNIQ UES EDITED BY ANDER S ON TUR NER
EDITED BY BILL JONES
A collection of articles published in Ceramics Monthly dealing with glazes. Written by and about artists and experts,
these articles cover a wide range of materials, recipes, and
techniques used in the glazing of work by both studio potters and ceramic artists. This book is a great example of
how the modern potter uses a combination of trial-anderror discoveries along with information from scientists and
engineers in the field to achieve unique effects that are the
signature of the current ceramic art movement.
A collection of articles and information published in
Ceramics Monthly and Pottery Making Illustrated dealing with raku. Written by and about artists and
experts, these articles cover a wide range of techniques, materials, equipment, and recipes. In addition
to articles, you’ll find a selection of raku-related questions and answers, as well as suggestions from
Ceramics Monthly readers over the past 20 years.
OR DER CODE: CA21 • PR ICE $ 28.95 • 144 pag es
BAR R EL, PIT, AND S AGGAR FIR ING EDITED BY
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EDITED BY S UM I VON DAS S OW
This Ceramics Monthly Handbook reflects the growing
interest in pit firing and related techniques. The articles
included here were carefully selected to illustrate the
wide range of approaches to barrel, pit and saggar firing. Works ranging from wheel-thrown and coil-built
pots to complex sculpture are tied together by a similarity in the firing process. Standard versions of these
firing techniques, as well as innovative variations, are
discussed.
The electric kiln has made the experience of pottery
accessible to people from all walks of life. For those
who would like to better understand the art and science of pottery, this Ceramics Monthly Handbook
focuses on the expertise of ceramic artists who have
explored the possibilities and potential of electric kilns.
These artists share their knowledge on a wide range of
topics, including clay bodies, glazes, decorating, form
and more.
order on lin e: W W W .PO T T E R Y M A K IN G .O R G / B O O K S
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Conferences
California, Davis April 28–30 “17th Annual California Conference for the Advancement of Ceramic
Art,” exhibitions, demos and lectures with Darcy Badiali,
Cameron Crawford, Susannah Israel, Marc Lancet,
Dennis Lee Mitchell, Cara Moczygemba, Ron Nagle,
Kevin Nierman, Akio Takamori, Patti Warashina. Contact John Natsoulas Gallery, 521 First St., Davis 95616;
e-mail [email protected]; see www.natsoulas.com;
telephone (530) 756-3938; or fax (530) 756-3961.
California, Sunnyvale April 20–23 “ClayScapes,”
Potters Council regional conference will include demos
and lectures by Joseph Battiato, Rikki Gill, Doug Gray,
Robin Hopper, Martha Kean, Bob and Sandy Kinzie,
Karen Thuesen Massaro, Elaine Pinkernell, and William
Shinn, plus exhibitions. Fee: $300; Potters Council
members, $250. Contact the Potters Council, Danielle
McIntosh, 735 Ceramic Pl., Ste. 100, Westerville, OH
www.potterscouncil.org/clayscapes; or telephone (614)
794-5827.
Connecticut, Lakeville May 12–14 “Clay—The
Art of Earth and Fire International Ceramic Symposium,” featuring Warren MacKenzie, and includes
demos, exhibitions, tea ceremony, plus a panel discussion with Deborah Bedwell, Joy Brown, Val Cushing,
John Jessiman, Samuel Morse and John Williams. Contact Hotchkiss School, 11 Interlaken Rd., PO Box 800,
Lakeville 06039; see www.hotchkiss.org; or telephone
(860) 435-4423.
D.C., Washington April 21–23 “Celebrating American Crafts,” includes a symposium, an auction and
presentations. Contact the James Renwick Aliance.
4405 E. West Hwy., Ste. 510, Bethesda, MD 20814;
see www.jra.org; telephone (301) 907-3888; or fax
(301) 907-3855.
Delaware, Winterthur April 21–22 “Doing the
Continental: European Ceramics as Design Inspirations,” includes lectures and workshops by over 10
guests, and tours. Fee: $295; members, $250; students, $175; includes 2 workshops and lunches. Contact Winterthur Museum & Country Estate, Winterthur
19735; see www.winterthur.org; or telephone (800)
448-3883 or (302) 888-4600.
Montana, Helena June 22–24 “2006 Archie Bray
International,” includes lectures, demos and an exhibition by over 12 international artists to celebrate the
opening of the David and Ann Shaner Resident Artist
Studio Complex. Fee: $160; members, $125; former
Bray resident artists, $100. Contact Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave.,
Helena 59602; see www.archiebray.org; or telephone
(406) 443-3502.
New York, New York June 1–4 “SOFA New York
2006,” lectures, exhibitions and benefit. For further
information, e-mail [email protected]; or see
www.sofaexpo.com.
New York, Syracuse April 26–30 “American Art
Pottery Association Convention,” includes seminars,
field trip, auction, exhibitions and lectures by Richard
Hirsch, Ron Kransler, Thomas Piché and Richard Zakin.
Contact Patti Bourgeois, American Art Pottery Association, PO Box 1226, Westport, MA 02790; e-mail
[email protected]; see www.amartpot.org; or
telephone (508) 679-5910.
Oregon, Portland June 1–4 “Craft Organization
Development Association (CODA) Conference 2006,
Creating Value/Provoke Change: Shaping the Future
of Craft,” includes panels, presentations, peer discussions, exhibitions and tours. E-mail Linda Van Trump,
86
[email protected]; see www.codacraft.org; or telephone (870) 746-4396.
Australia, Brisbane July 10–14 “Verge: 11th National Ceramics Conference,” includes lectures, critiques, panels, exhibitions, workshops and trade show.
Contact Fusions: Australian Network of Clay and Glass
Artists, Verge conference committee, PO Box 1414,
New Farm, Brisbane, Queensland 4005; e-mail
[email protected]; see www.fusions.org.au; telephone (61) 7 3358 5122; or fax (61) 7 3358 4540; or
see www.verge2006.org.au.
Hungary, Kecskemét November 7–10 “Critical
Studies . . . Contemporary Writing for the Ceramic
Arts,” lectures and presentations by Gabi DeWald, Dr.
Ichi Hsu and Janet Mansfield. Fee: 50,000 HUF
(US$235), includes lunch. Contact International Ceramics Studio Kecskemét, Kápolna u. 11, Kecskemét
H-6000; e-mail [email protected]; or telephone (36) 76
486 867.
Solo Exhibitions
Arizona, Tempe through August 5 “The Ceramic
Art of R. Michael Johns”; at ASU Art Museum Ceramics
Research Center, Arizona State University, Mill Ave.
and Tenth St.
California, Pomona April 8–July 1 Steve Tobin,
“Exploded Earth”; at the American Museum of Ceramic Art, 340 S. Garey Ave.
California, Sacramento April 1–July 2 “Viktor
Schrekengost: National Centennial Exhibition”; at
Crocker Art Museum, 216 O St.
May 4–27 Rebekah Bogard; at exploding head
gallery, 924 12th St.
California, Ventura through April 5 Cecile Gurrola
Faulconer; at Natalie’s Fine Threads Upstairs Gallery,
596 E. Main Street.
Colorado, Colorado Springs April 27–29 Deb
Komitor, “In Honor of My Father”; at Cottonwood
Gallery, Cottonwood Artists School, 25 Cimino Dr.
Florida, St. Petersburg April 8–29 Nan Smith.
May 6–20 Jason Lachtera; at St. Petersburg Clay Company, 420 22 St., S.
Georgia, Atlanta April 29–October 31 Niki de
Saint Phalle, “Niki in the Garden”; at the Atlanta
Botanical Garden, 1345 Piedmont Ave., NE.
Hawai‘i, Honolulu through June 18 David Kuraoka;
at the Honolulu Academy of Arts, 900 S. Beretania St.
Illinois, Chicago through April 25 Dana Major
Knowitz, “Time Passes.” May 6–June 17 “Meredith
Brickell, “The Distance Between”; at Lillstreet Art
Center, 4401 N. Ravenswood Ave.
through May 6 Dennis Lee Mitchell; at Dubhe
Carreño Gallery, 1841 S. Halsted St.
April 21–June 30 Dennis Lee Mitchell; at the Clarke
House Museum, 1827 S. Indiana Ave.
Indiana, Ft. Wayne May 6–27 Brad Schwieger,
“New Constructions”; at Charlie Cummings Clay Studio, 4130 S. Clinton St.
Iowa, Dubuque through April 16 Elizabeth Shriver;
at Dubuque Museum of Art, 701 Locust St.
Kentucky, Covington April 28–May 27 Patrick L.
Dougherty, “Puzzlin’ Evidence”; at the Carnegie, 1028
Scott Blvd.
Minnesota, Duluth April 25–July 2 Daisy Brand,
“Ceramic Images of a Frightening Past”; at Tweed
Museum of Art, University of Minnesota Duluth, 1201
Ordean Ct.
Minnesota, Minneapolis through April 16 “Ruth
Duckworth, Modernist Sculptor”; at Minneapolis Institute of Arts, 2400 Third Ave. S.
May 5–July 2 Lawson Oyekan; at Northern Clay
Center, 2424 Franklin Ave. E.
Missouri, Kansas City April 6–29 Matthew Metz;
at Red Star Studios Ceramic Center, 821 W. 17th St.
Missouri, St. Louis May 5–June 11 Melody Ellis; at
Xen Gallery, 401 N. Euclid.
Missouri, Sedalia through May 21 Steven Montgomery, “ B roken” ; at the Daum Museum of Contemporary Art, State Fair Community College, 3201 W.
16th St.
Montana, Bozeman April 7–May 10 K evin Waller;
at Michelle Gantt Ceramics Gallery + Studio, E merson
Center, 111 S. Grand Ave., # 108.
Nebraska, Omaha through May 12 Liz V ercruysse,
“ Contemporary Totemic Icons” ; at Nebraska Arts Council Showcase Gallery, 1004 Farnam St., Plaza level.
through May 27 “ Jun K aneko: B eyond B utterfl y” ;
at the B emis Center for Contemporary Arts, 724 S.
Twelfth St.
New Hampshire, Manchester April 17–May 15
Gerry Williams, “ Mithopoetic” ; at New Hampshire
Institute of Art, 148 Concord St.
New Jersey, Clinton through June 4 “ B ennett
B ean: Infl uences and Obj ects” ; at Hunterdon Museum
of Art, 7 Lower Center St.
New Mexico, Madrid May 6–June 2 Patrick L.
Dougherty, “ New E xpressions in Clay” ; at MisenkoB oldman Fine Arts, 2875 Hwy. 14.
New York, New York through April 29 Nicole
Cherubini; at Greenwich House Pottery, Jane Hartsook
Gallery, 16 Jones St.
through May 13 Wouter Dam. B odil Manz. May 14–
July 16 Sir Anthony Caro, “ The K enwood Series” ; at
Garth Clark Gallery, 24 W. 57th St., Ste. 305.
through May 31 “ Clement Massier Art Pottery” ; at
Jason Jacques Gallery. 29 E . 73 St.
April 24–July 30 “ The Art of B etty Woodman” ; at
the Metropolitan Museum of Art, 1000 Fifth Ave.
New York, North Salem April 8–June 3 Phyllis
Savage, “ Tea Wares” ; at Hammond Museum and
Japanese Stroll Garden, 28 Deveau Rd.
New York, Port Chester April 1–29 B ruce Dehnert;
at Clay Art Center, 40 B eech St.
New York, Syracuse through May 21 “ Only an
Artist: Adelaide Alsop Robineau, American Studio Potter” ; at the E verson Museum, 401 Harrison St.
North Carolina, Durham April 6–May 21 Cynthia
Aldrich, “ B y George: Ceramic Sculpture of a Distinctly
Political Nature” ; at Durham Arts Guild, 120 Morris St.
Ohio, Columbus through April 30 Jenny Floch.
May 6–June 30 Janis Mars Wunderlich; at Sherrie
Gallerie, 937 N. High St.
Oregon, Marylhurst through May 3 Akio Takamori,
“ B etween Clouds and Memory” ; at Marylhurst
University’s Art Gym, B .P. John Administration B ldg.,
Third Fl., 17600 Pacific Hwy (Hwy 43).
Pennsylvania, Erie through June 1, 2007 E va
Z eisel; at the E rie Art Museum, 411 State St.
Pennsylvania, Philadelphia through May 2 Dirk
Staschke; at Wexler Gallery, 201 N. 3rd St.
April 7–30 Rain Harris. K evin Snipes. April 7–May 14
Adelaide Paul, “ anatomies, animali, anime.” May 5–
28 Robert Sutherland; at the Clay Studio, 139 N.
Second St.
Texas, Longview May 13–July 9 Marla Z iegler; at
Longview Museum of Fine Arts, 215 E . Tyler St.
Utah, Logan through May 1 Maryann Webster,
“ AquaGenesis” ; at Nora E ccles Harrison Museum of
Art, Utah State University, 650 N. 1100 E .
Virginia, Richmond April 2–30 Lydia Thompson,
“ Pulleys, Carts and Lessons” ; at Art 6 Gallery, 6 E .
B road St.
Washington, Vancouver through April 29 Margaret Haydon; at White Sturgeon Art Gallery, 4600
Columbia Way.
Group Ceramics Exhibitions
Arizona, Tempe through August 5 “ A Ceramic
Legacy: Selections from the Sté phane Janssen and R.
Michael Johns Collection” ; at ASU Art Museum Ceramics Research Center, Arizona State University, Mill
Ave. and Tenth St.
Arkansas, Monticello April 25–May 25 “ First Annual National Juried Cup Show” ; at University of
Arkansas at Monticello, Taylor Library.
California, Claremont through April 9 “ Ceramic
Annual 2006: Scripps Ceramic Annual” ; at Ruth Chandler Williamson Gallery, Scripps Womens College,
1030 Columbia Ave.
California, Davis April 26–May 28 “ 30 Ceramics
Sculptors” ; at John Natsoulas Gallery, 521 First St.
April 26–June 26 “ Get Fired: Hot Ceramics from the
ACGA” ; at the Pence Gallery, 212 D St.
April 28–June 3 “ 17th Annual California Clay Competition” ; at the Artery, 207 G St.
California, Lincoln April 29–May 28 “ Feats of Clay
X IX ” ; at Gladding McB ean, 601 Seventh St.
California, San Francisco through May 21 “ From
the Fire: Contemporary K orean Ceramics” ; at the
Asian Art Museum, 200 Larkin St.
California, Santa Barbara April 22–23 “ Mata
Ortiz E xhibition” ; at Santa B arbara City College, Humanities B ldg., 721 Cliff Dr.
California, Saratoga April 29–May 29 “ Clay at the
Hakone Gardens” ; at Hakone Japanese Gardens, B ig
B asin Rd.
Colorado, Golden through May 7 “ Colorado Clay
2006” ; at Foothills Art Center, 809 15th St.
Colorado, Grand Junction May 5–June 24 “ Contemporary Clay ’06” ; at the Art Center, 1803 N.
Seventh St.
Connecticut, Lakeville May 5–June 18 “ Clay—
The Art of E arth & Fire” ; at the Hotchkiss School, 11
Interlaken Rd.
D.C., Washington through April 15 “ Clay,” Susan
B einer, Jerry B ennett, Margaret B oozer, Laurel Stevens
Lukaszewski, Shin-Yu Wang, Lars Westby; at cross
mackenzie ceramic arts, 1054 31st St. NW.
Georgia, Decatur through April 8 “ Crisp,” Conner
McK issack, Masayuki Sasaki and Liz Slot Summerfield.
April 15–May 6 “ The Atlanta Teapot Festival” ; at
MudFire Clayworks, 175 Laredo Dr.
Georgia, Macon through April 7 “ Invitational
Teabowl E xhibition” ; at Mercer University Art Dept.
Galleries, 851 Orange St.
Hawai‘i, Honolulu May 20–June 24 “ Raku
Ho‘ olaule‘ a— Annual Juried E xhibition” ; at the ARTS
at Marks Garage, 1159 Nuuanu Ave.
Illinois, Urbana through April 15 “ V itamin C: It’s
Good For You,” Paul Dresang, E rin Furimsky, Ron
K ovatch, Tyler Lotz, Jennifer Lapham, Paul Scaridiz and
Matt Wilt; at Cinema Gallery, 120 W. Main St.
Indiana, Ft. Wayne April 1–29 “ B owls Invitational” ;
at Charlie Cummings Clay Studio, 4130 S. Clinton St.
Kansas, Baldwin City through April 21 “ Orton
Cone B ox Show” ; at B aker University, 618 E ighth St.
Louisiana, Baton Rouge through April 21 “ 8 Fluid
Ounces II: A National Juried/Invitational Ceramic Cup
E xhibition” ; at Louisiana State University School of Art
Gallery, 123 Art B uilding.
Maine, Portland May 5–June 30 “ Functional and
Sculptural Art for the Garden” ; at Maine Potters Market, 376 Fore St.
Maryland, Baltimore April 1–30 “ Alterior Motives” ; at B altimore Clayworks, 5707 Smith Ave.
Maryland, Rockville through April 7 “ West Meets
E ast,” Rob B arnard, Robert B rady, Trent B urkett, James
Chalkley, K athryn Finnerty, Richard Hensley, K risten
K ieffer, Andrew Martin, Sequoia Miller and B ill van
Gilder; at Montgomery College Rockville Campus, 51
Mannakee St.
Massachusetts, Boston through April 30 “ Watershed for the Ceramic Arts 20th Anniversary” ; at Society of Arts and Crafts, 175 Newbury St.
Massachusetts, Concord April 1–20 “ Generational Crossroads,” Jun Isezaki, K oichiro Isezaki, Ryuichi
K akurezaki, Tim Rowan and Jeff Shapiro; at Lacoste
Gallery, 25 Main Street.
Michigan, Detroit through May 12 “ Landscape.”
87
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The
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31 Thorpe Road
Needham, MA 02494
781/449 7687 fax:781 449 9098
[email protected]
May 19–July 14 “ Teapots” ; at Pewabic Pottery, 10125
E . Jefferson.
Michigan, Kalamazoo May 12–July 16 “ Tea Time:
The Art of the Teapot” ; at K alamazoo Institute of Arts,
314 S. Park St.
Minnesota, Minneapolis through April 23 “ 2006
Regis Masters E xhibition,” V al Cushing, John Mason,
Paul Soldner. “ V ivid: Work by Rebecca Harvey and
Wendy Walgate.” April 6–30 Michael Connelly, James
Grittner and Deborah Schwartzkopf. May 5–July 2
“ Does Size Matter,” B eth Lo, Justin Novak, Peggy Preheim;
at Northern Clay Center, 2424 Franklin Ave., E .
Minnesota, St. Paul through April 7 “ First B iennial
Concordia Continental Ceramic Competition” ; at
Concordia University, 275 Syndicate St., N.
Minnesota, St. Peter April 3–26 “ Clay B odies by
Student B odies” ; at Hillstrom Museum of Art, Gustavus
Adolphus College, 800 W. College Ave.
Montana, Helena through April 9 “ Jeanne and B ill
Porter Collection of Ceramic Art” ; at Holter Museum
of Art, 12 E . Lawrence St.
New Jersey, Surf City May 27–June 26 “ Jersey
Shore Clay National 2006” ; at m.t. burton gallery,
JSCN ’06, 1819 Long B each B lvd.
New Mexico, Santa Fe through April 15 “ Summer
Workshop Artists Preview,” Wesley Anderegg, Christina Cordova, David Crane, James Lawton, Andy
Nasisse, Richard Notkin, B onnie Seeman, K evin Snipes,
Tip Toland, Geoffrey Wheeler. April 21–May 20 “ Nature/Culture.” May 26–June 24 “ E arthenware” ; at
Santa Fe Clay, 1615 Paseo de Peralta.
New York, New York through May 19 “ Great
Pots: The V essel as Art, 1900–2000, 20th Century
Ceramics from the Newark Museum” ; at UB S Art
Gallery, 1285 Ave. of the Americas.
through June 10 “ Trade, Taste and Transformation:
Jingdezhen Porcelain for Japan, 1620–1645” ; at China
Institute Gallery, 125 E . 65 St.
April 6–30 “ Revolution in Japan: The Rise of Great
Female Ceramics Artists” ; at Dai Ichi Arts, 249 E . 48 St.
May 18–June 17 “ Annual Members Showcase and
Children’s Show” ; at Jane Hartsook Gallery, 16 Jones St.
New York, Port Chester May 6–28 “ Rising Stars” ;
at the Clay Art Center, 40 B eech St.
New York, Syracuse through May 14 “ Shaped
Clay 2006 National High School Ceramics E xhibition” ;
at the E verson Museum of Art, 401 Harrison St.
New York, Water Mill May 26–June 19 “ Out of
the E arth,” Hana Anteby, Susan B roderick, Sydney
B utchkes, Mary Jaffe, Jack Rosenberg, Cati V an Milders;
at Celadon, A Clay Art Gallery, 41 Old Mill Rd.
North Carolina, Charlotte through April 21 “ Innovative Works from RedSky Potters,” Sylvia Coppola,
Hal Dedmond, Dale Duncan, Corine Guseman, B ob
Hasselle, Lambeth Marshall, Amy Sanders and David
Templin; at RedSky Gallery, 4705 Savings Pl.
through July 2 “ Fancy Rockingham Pottery: The
Modeller and Ceramics in 19th-Century America” ; at
Mint Museum of Art, 2730 Randolph Rd.
Ohio, Cincinnati April 7–June 18 “ Marvels of
Maiolica: Italian Renaissance Ceramics from the
Corcoran Gallery of Art Collection” ; at Taft Museum of
Art, 316 Pike St.
Ohio, Columbus April 30–June 25 “ Stories in Clay,”
Julie B yrne, Jenny Mendes and Janis Mars Wunderlich;
at Ohio Craft Museum, 1665 W. Fifth Ave.
Ohio, Kent May 3–June 10 “ Sixth Annual National
Juried Cup Show” ; at Downtown Gallery, 223 N.
Water St.
Oregon, Canon Beach through April 30 “ Ceramics
Invitational” ; at White B ird Gallery, 251 N. Hemlock St.
Oregon, Forest Grove through April 6 “ E ast and
West: Simplicity and Form,” Doug Casebeer, Soichi
88
K amiya, Takashi Nakazato, Jill Oberman, Ruri, Peter
Stone and Setsuo Watanabe; at Pacific University,
Cawein Gallery, 2043 College Way.
Oregon, Portland through April 15 “ Dish,” Daniel
DuFord and Lucien Samaha; at Pacific Northwest College of Art, 1241 N.W. Johnson St.
through April 22 “ Multiplicity: Contemporary Ceramic Sculpture,” Shawn B usse, Marek Cecula, B ean
Finneran, K ay Hwang, Denise Pelletier, Jeanne Q uinn,
Gregory Roberts and Juana V aldes; at Portland Art
Center Annex, 32 N.W. Fifth Ave.
through April 23 “ The Three Friends of Winter,”
Peter Olsen, Stephen Sullivan and B en Waterman; at
the Portland Classical Chinese Garden, 239 N.W.
E verett St.
through April 27 “ AIDS Crisis: Z imbabwean Artists
Respond,” Ruwa artists; at Interstate Firehouse Cultural Center (IFCC), 5340 N. Interstate Ave.
through April 30 “ Chronicles in Clay: Ceramics
from the Permanent Collection” ; at Contemporary
Crafts Museum & Gallery, 3934 S.W. Corbett Ave.
through April 30 “ Triumph In Tile” ; at Architectural
Heritage Center, 701 S.E . Grand Ave.
Pennsylvania, Lancaster April 22–May 21 “ 14th
Annual Strictly Functional Pottery National” ; at Southern Market Center, S. Q ueen and V ine sts.
Pennsylvania, Philadelphia April 7–May 14 “ Annual Student E xhibition.” May 5–13 “ Clay in Mind.”
May 5–28 “ Context: The Written Word— A Group
E xhibition.” May 19–June 25 “ Trompe l’Oeil Sculpture— A Group E xhibition” ; at the Clay Studio, 139 N.
Second St.
Pennsylvania, Wilkes-Barre through May 21
“ Committed to Clay,” Joe B ennion, Randy Johnston,
Mary Law, Jeff Oestreich and Sandy Simon; at Sordoni
Art Gallery, Wilkes University, 150 S. River St.
South Carolina, Florence through April 6 “ Skin
Deep: Celebrating the Rich Diversity of Ceramic Surfaces” ; at Francis Marion University, Dept. of Fine Arts.
Texas, San Angelo April 21–June 25 “ The Sixteenth San Angelo National Ceramic Competition” ; at
San Angelo Museum of Fine Arts, One Love St.
Virginia, Alexandria May 4–June 4 “ Fired Up” ; at
Scope Gallery, Torpedo Factory, 105 N. Union St.
Virginia, Richmond through July 9 “ Parian Porcelain: A Nineteenth-Century Passion.” through September 24 “ Traditions in Miniature: The Louise
Westbrook Collection of Chinese Ceramics” ; at University of Richmond Museums, Lora Robins Gallery of
Design from Nature.
Ceramics in Multimedia
Exhibitions
Arizona, Phoenix through August 13 “ Mid-Century Modern: Native American Art in Scottsdale” ; at
the Heard Museum, 2301 N. Central Ave.
California, Lincoln through April 15 “ Tax Yourself
with Art,” including ceramics by Casey O’Connor; at
Lincoln Arts, 580 Sixth St.
California, Los Angeles April 22–May 20 “ Hot Tea
2006” ; at del Mano Gallery, 11981 San V icente B lvd.
California, Sacramento April 6–29 “ Matters of
Interpretation,” including ceramics by Nina E lse; at
exploding head gallery, 924 12th St.
California, San Diego through April 23 “ Norway— Art of the Land and the People” ; at Mingei
International Museum, 1439 E l Prado, B alboa Park.
California, San Francisco through June 18 “ International Arts and Crafts” ; de Young Museum, 50
Hagiwara Tea Garden Dr., Golden Gate Park.
D.C., Washington through May 29 “ Freer and
Tea: 100 Years of the B ook of Tea.” “ Artists of the E do
1800–1850” ; at the Freer Gallery of Art, Smithsonian
Institution, Jefferson Dr. at 12th St., SW.
Georgia, Moultrie May 4–June 30 “ E ssential Nature: Asian Inspired Painting and Sculpture,” including
ceramics by Mark Fletcher; at Colquitt County Arts
Center, 401 Seventh Ave., SW.
Illinois, Chicago May 26, 2006–January 1, 2007
“ Tutankhamun and the Golden Age of Pharoahs” ; at
the Field Museum, 1400 S. Lake Shore Dr.
Iowa, Sioux City April 1–June 18 “ Opening the
V ault: Selections from the Permanent Collection 1980
to the Present” ; at the Sioux City Art Center, 225
Nebraska St.
Massachusetts, Brockton through April 30 “ The
E dges of Grace: provocative, uncommon craft” ; at
Fuller Craft Museum, 455 Oak St.
Massachusetts, Cambridge through June 30, 2007
“ The Moche of Ancient Peru: Media and Messages” ; at
the Peabody Museum, Harvard University, 11 Divinity Ave.
Minnesota, Duluth through January 7, 2007
“ Across Space, Time and Meaning” ; at Tweed Museum of Art, University of Minnesota Duluth, 1201
Ordean Ct.
Missouri, St. Louis through April 23 Two-person
exhibition including ceramics by Jeri Au. April 28–June
4 Two-person exhibition including ceramics by Yael
Shromoni; at Craft Alliance, 6640 Delmar B lvd.
Montana, Helena through April 16 “ Willem
V olkersz: The Nature of Collecting” ; at Holter Museum
of Art, 12 E . Lawrence St.
New Hampshire, Manchester through June 26
“ V oces y V isiones: Highlights from E l Museo del B arrio’s
Permanent Collection” ; at Currier Art Museum, 201
Myrtle Way.
New York, Brooklyn through April 21 “ Good
Nudes,” including ceramics by Gloria K ennedy; at
Gloria K ennedy Gallery, 28 Old Fulton St., # 4M.
New York, New York through April 23 “ Solos:
New Design from Israel.” May 5–October 29 “ Feeding
Desire: Design and the Tools of the Table, 1500–2005;
at the Cooper-Hewitt National Design Museum, 2 E .
91st St.
through April 30 “ The Super ‘ B owl’ Show,” including ceramics by Lucie Rie, B eatrice Wood; at Resnicow
Schroeder Associates, 1995 B roadway, 11th fl .
through September 3 “ A Passion for Asia: The
Rockefeller Family Collects” ; at the Asia Society, 725
Park Ave.
North Carolina, Charlotte through August 6
“ Crosscurrents: Art, Craft and Design in North Carolina.” April 22–November 26 “ Mint Menagerie: Critters from the Collection” ; at Mint Museum of Craft +
Design, 220 N. Tryon St.
Ohio, Columbus through April 9 Two-person exhibition including ceramics by B ill Hunt; at Cultural Arts
Center, 139 W. Main St.
Ohio, Westerville through June 2 “ The Arts of
West Africa, cô te d’ivoire, liberia, burkino faso, mali
and sierra leone” ; at the Frank Musuem of Art, 39 S.
V ine St.
Pennsylvania, Lancaster April 8–May 21 “ Crafts
National” ; at Lancaster Museum of Art, 135 N. Lime St.
Pennsylvania, Philadelphia through May 21 “ A
Delicate Constitution: Reconsidering the Decorative
Aesthetic,” including ceramics by Linda Cordell and
Colleen Toledano; at Philadelphia Art Alliance, 251 S.
18th St.
Texas, Dallas through May 7 “ The Origins of
Sacred Maya K ingship” ; at Dallas Museum of Art,
1717 N. Harwood St.
Wisconsin, Racine through May 21 “ Let’s E nj oy a
Laugh: Humor and Whimsy in RAM’s Collection” ; at
the Racine Art Museum, 441 Main St.
Fairs, Festivals and Sales
California, San Diego May 21 “Mudfest Clay
Olympics” ; along the 3800 block of Ray St.
California, Santa Monica May 13–14 “ Santa
Monica Indian Art Show” ; at Santa Monica Civic
Auditorium, 1855 Main St.
Colorado, Boulder May 4–7 “ B oulder Potters Guild
Spring Sale” ; at B oulder County Fairgrounds, Hover Rd.
Connecticut, Tolland May 12–14 “ 20 Anniversary
Invitational Pottery E xhibition/Sale” ; at Tolland Arts
Center, Tolland Green.
Florida, Cedar Key April 8–9 “ 2006 Old Florida
Celebration of the Arts” ; on Second St.
Georgia, Duluth April 21–22 “ Spring Arts Festival;
corner of Jones B ridge and Sargent rds.
Georgia, Macon through April 9 “ Fired Works— A
Regional E xhibition and Sale” ; at Shrine Temple, 745
Poplar St.
Maryland, Gaithersburg April 7–9 “ Sugarloaf
Crafts Festival” ; at Montgomery County Fairgrounds,
16 Chestnut St.
Maryland, Timonium April 28–30 “ Sugarloaf
Crafts Festival” ; at Maryland State Fairgrounds, 2200
York Rd.
Massachusetts, Amherst April 29–30 “ Asparagus V alley Annual Pottery Trail.” For further information, e-mail high_ [email protected]
Massachusetts, Worcester April 28–30 “ Fourth
Annual Pottery Invitational Plus: A Total Pottery E xperience Curated by Mark Shapiro” ; at Worcester Center
for Craft, 25 Sagamore Rd.
Michigan, Detroit April 21–23 “ Annual Spring
Sale of Overruns” ; at Pewabic Pottery, 10125 E .
Jefferson.
Michigan, Novi April 21–23 “ Sugarloaf Crafts
Festival” ; at the New Novi E xpo Center, 46100 Grand
River Dr.
Minnesota, St. Croix Valley May 13–14 “ 14th
Annual Pottery Studio Tour & Sale.” For further information, see www.minnesotapotters.com.
Missouri, Clarksville, Hannibal and Louisiana
April 29–30 “ 50 Miles of Art.” For further information,
see www.50milesofart.
New Jersey, New Brunswick April 29 “ 32nd
Annual New Jersey Folk Festival Juried Craft Market” ;
Rutgers, State University of New Jersey, 131 George St.
New York, New York May 27–29 and June 3–4
“ Washington Square Outdoor Art E xhibition” ; on
University and Washington places.
New York, Water Mill April 29–May 21 “ Spring
Pottery Sale” ; at Celadon, A Clay Art Gallery, 41 Old
Mill Rd.
North Carolina, Charlotte May 13 “ North Carolina Pottery & Craft Sale” ; at Historic Rosedale, 347 N.
Tryon St.
Oregon, Portland “ Ceramic Showcase 2006” ; at
the Oregon Convention Center, 777 N.E . Martin Luther
K ing Jr. B lvd.
Pennsylvania, Philadelphia April 28–20 “ Philadelphia Furniture & Furnishings Show” ; at Pennsylvania Convention Center, 12th and Arch sts.
Pennsylvania, Indiana County May 6–7 “ Indiana
County Potters Association Studio Potters’ Tour.” For
further information, see www.potterstour.com; or
telephone (814) 257-9879.
Texas, Austin May 13–14 “ 3rd Annual Art of the
Pot StudioTour & Sale.” See www.artofthepot.com.
Texas, Fayetteville May 6–7 “ 7th Annual
Fayetteville Art Walk” ; on the Town Square.
Texas, Round Top April 29–30 “ Spirit E choes
Third Annual Art Festival, The Finer Things . . . in Round
Top, TX ” ; in Henkel Square, Pioneer V illage.
Texas, San Antonio April 22–23 “ 33rd Annual
Fiesta Arts Fair” ; at Southwest School of Art and Craft,
300 Augusta.
Virginia, Chantilly May 5–7 “ Sugarloaf Crafts
Festival” ; at the Dulles E xpo Center, 4320 Chantilly
Place Center.
Workshops
Alabama, Tuscaloosa May 15–June 2 “ Z en and
the Art of Tea,” making and firing teaware with W.
89
Annies Mud
Pie Shop
• Ceramic Supplies
& Equipment
Standard Clays, Skutt,
AMACO, Brent, Orton,
North Star, Kemper,
Giffin Tec, Aftosa,
Spectrum, L&L,
Mid South
• Raw Materials
• Classes
• School Discounts
(Unified Purchase Approval)
• Open 6 days a week!
(Closed Thursday)
3180 Wasson
Cincinnati, OH 45209
Call Toll Free
1-866-GET-CLAY (438-2529)
www.anniesmudpieshop.com
calendar
workshops
8290 N. DIXIE DR.
DAYTON, OHIO
45414
(937) 454-0357
GEIL KILNS
Fires Even and Easy!
CONTEMPORARY CERAMIC
FORMULAS
John W. Conrad
Re-released now as a paperback.
149 clay, 25 leadless earthenware, 37
refractory, 88 single fire, 52 raw stain, 121
stoneware, and 66 aventurine, crystal, and
crystalline matt formulas. “The price of the
book is worth the section on crystal glazes
alone.” 165 pages, 8¹⁄₂" × 11".
$21.60 contact your distributor
FALCON COMPANY
P.O. Box 22569, San Diego, CA 92192
Lowell Baker and Dr. Cathy Pagani. Beginning through
advanced. Contact W. Lowell Baker, University of
Alabama, Box 870270, Tuscaloosa 35487-0270; e-mail
[email protected]; see www.art.ua.edu; or telephone (205) 348-3748.
Alaska, Fairbanks May 26–28 “Handbuilding”
with Judy Weeden. For further information, contact
Mary Gebhard, Fairbanks Potters Guild, 2635 Stellar
Way, Fairbanks 99712; e-mail [email protected];
see www.fairbankspotters.org; or telephone (907)
488-1800.
Arkansas, Mountain View April 27–29, May 6
“Primitive Clay Techniques,” handbuilding, burnishing, and building and firing primitive kilns with Helen
Phillips. Fee: $210, includes materials. Contact Terri
Bruhin, Ozark Folk Center, PO Box 500, Mountain
View 72560; see www.ozarkfolkcenter.com; or telephone (870) 269-3851.
California, Mendocino April 8–9 “Man & Beast:
Portraiture and Caricature” with Joe Mariscal. April
22–23 “Silk-Screening on Clay” with Sasha Reibstein.
April 29–30 “Slump Mold Pottery, Sculpture & Beyond” with Dennis Treanor. May 6–7 “Alchemy of the
Wheel” with Sam Clarkson. May 20–21 “The Cup”
with Karen Massaro. May 27–29 “Fire and the Beauty
of the Arch Form” with Kent Rothman. Fee: $275. Fee
(unless noted above): $175. Contact Mendocino Art
Center, PO Box 765, Mendocino 95460; see
www.MendocinoArtCenter.org; or telephone (800)
653-3328 or (707) 937-5818.
California, Rancho Cucamonga April 9 “Paper
Clay Workshop” with Rosette Gault. Fee: $55, includes lunch. Contact Mary Beierle, Chaffey College
Ceramic Club, Chaffey College, 5885 Haven Ave.,
Rancho Cucamonga 91737; telephone (909) 9412776; or e-mail [email protected].
California, San Jose May 27–28 “Animal Sculptures on the Wheel” with Judith Enright. Fee: $200;
Orchard Valley Clay Art Guild and Association of Clay
and Glass Artists, $180. Contact Judith Enright, Black
Leopard Clayware, 2213 Radio Ave., San Jose 95125;
e-mail [email protected]; telephone (408) 4484597; or see www.blackleopardclayware.com.
California, Santa Barbara April 22–23 “Mata
Ortiz Workshop.” Fee: $75; Ventura County Potters
Guild members, $65. Contact Bernie Sayers, Santa
Barbara City College, 721 Cliff Dr., Santa Barbara
93109; e-mail [email protected]; or telephone (805)
965-0581, x2586.
California, Solana Beach October 7–8 “Architectural Decorative Pillars in Clay” with Irene De Watteville.
Fee: $195. Contact Sheila Menzies, Tile Heritage Foundation, PO Box 1850, Healdsburg, CA 95448; e-mail
[email protected]; see www.tileheritage.org;
telephone (707) 431-8453; or fax (707) 431-8455.
Colorado, Boulder April 7–9 Workshop with
Ruthanne Tudball. Contact Todd Redmond, Boulder
Potters Guild, 3185 Sterling Cir., Boulder 80301; see
www.boulderpottersguild.com; or telephone (303)
427-6068.
Colorado, Carbondale April 28–30 “Meaningful
Vessels” with James Watkins. Contact Carbondale
Clay Center, 135 Main St., Carbondale 81623; e-mail
[email protected]; telephone (970) 963-2529;
see www.carbondaleclay.org; or fax (970) 963-4492.
Colorado, Snowmass Village September 9–22
“Developing Your Pottery Voice” with Doug Casebeer,
Alleghany Meadows, Aysha Peltz and David Pinto. Fee:
$1100, includes studio fee. Contact Anderson Ranch
Arts Center, PO Box 5598, Snowmass Village 81615;
or see www.andersonranch.org.
Connecticut, Brookfield April 8–9 “Salt Firing”
with John Jessiman. April 22–23 “Paper Kilns” with
90
Richard Launder. April 23 “PMC Pendants” with Pat
Gullet. April 30 “Japanese Tableware” with Takao
Okazaki. May 5–6 “Porcelain Throwing” with Angela
Fina. May 13–14 “Spanish Handbuilding Techniques”
with Louis Mendez. May 20–21 “Master Workshop”
with Jack Troy; or “PMC Boxes & Lockets” with CeCe
Wire. For further information, contact Brookfield Craft
Center, 286 Whisconier Rd., PO Box 122, Brookfield
www.brookfieldcraftcenter.org; telephone (203) 7754526; or fax (203) 740-7815.
Florida, Marco Island April 19–21, 24 and 26
“Glaze Chemistry Workshop” with Margaret Bohls
and Lana Wilson. Fee: $556; members, $500. Contact
Christine Neal, Art League of Marco Island, 1010
Winterberry Dr., Marco Island 34145; e-mail
[email protected]; or telephone (239)
394-4221.
Florida, St. Petersburg April 7–9 “Innovative Mold
Making” with Nan Smith. Fee: $245; students, $220.
October 2–7 and/or 9–14 “The International Architectural Ceramics Symposium,” hands- on workshop with
Peter King and Xinia Martin. Fee: 2 weeks, $1500;
students, $1400; 1-week, $795; students, $745. November 11–17 “Atmospheric Firing” with Chuck
Solberg. Fee: $350; students, $300. February 24–25,
2007 Workshop with Tom and Elaine Coleman. Contact Jennifer Lachtera, St. Petersburg Clay Company,
420 22nd St. S, St. Petersburg 33712; e-mail
[email protected]; see www.stpeteclay.com;
or telephone (727) 896-2529.
Florida, West Palm Beach April 28–30 “Crystalline Glazed Porcelain” with Xavier Gonzalez. Contact
Armory Art Center, 1700 Parker Ave., West Palm
Beach 33401; or see www.armoryart.org.
Florida, Winter Park October 14–15 Workshop
with Ron Meyers. Contact Crealdé School of Art, 600
St. Andrews Blvd., Winter Park 32792; see
www.crealde.org; or telephone (407) 671-1886.
Georgia, Decatur April 22–23 “Teapots ETC!”
with Mark Shapiro. Fee: $125. May 20–21 “Understanding Clay & Glaze Chemistry” with Ron Roy. Fee:
$125. September 16–17 “Thrown and Altered Majolica” with Posey Bacopoulos. Fee: $125. October 7–
9 “Dreaming in Clay with Metal” with Lisa Clague.
Fee: $275. November 3–5 “Ornament and Abstraction” Liz Quackenbush. Fee: $275. Contact MudFire
Clayworks, 175 Laredo Dr., Decatur 30030; see
www.mudfire.com; telephone (404) 377-8033.
Idaho, Boise April 5–6 Mold Making and Ceramic
Construction with David Furman. Fee: $25. Contact
Jim Budde, Boise State University, 1910 University Dr.,
Boise 83702; e-mail [email protected]; see
www.boisestate.edu/art; or telephone (208) 426-3608.
Illinois, Lake Forest April 29–30 Workshop with
Brad Schwieger. Fee: $186; residents, $155. All skill
levels. Contact Katie, Stirling Hall Arts Center, 60 E.
Old Mill Rd., Lake Forest 60045; e-mail
615-7480.
Maine, Deer Isle September 3–9 “Collaborations:
Exploring Form” with Karen Karnes and Mark Shapiro.
Fee: $365. For further information, contact Haystack
Mountain School of Crafts, PO Box 518, Deer Isle
www.haystack-mtn.org; telephone (207) 348-2306;
or fax (207) 348-2307.
Maryland, Baltimore April 10 “Garth Clark: Ceramics and the Modernists 1920–1950.” Free lecture.
Contact Maryland Institute College of Art, 1300 Mt.
Royal Ave., Baltimore 21217; or see www.mica.edu.
April 22–23 “Alternative Treatment on Ceramic
Forms” with Kyle and Kelly Phelps. Fee: $180; members, $160. April 28 Lecture by Richard Cleaver. Fee:
$5; members, free. Contact Baltimore Clayworks, 5707
Smith Ave., Baltimore 21209; telephone (410) 5781919; or see www.baltimoreclayworks.org.
Maryland, Frederick April 22–23 “Electric Kilns”
with Phil Berneburg. Fee: $170. May 6–7 “Chinese
Brushwork” with Xiaosheng Bi. Fee: $170. Contact
Hood College, Ceramics Program, 401 Rosemont Ave.,
Frederick 21701; telephone (301) 696-3456; or see
www.hood.edu/academic/art.
Massachusetts. Stockbridge May 20–21 “Garden Mosaics: Treasures from Shards” with Marlene
Marshall. Fee: $140, includes materials. All skill levels.
Contact IS183, Art School of the Berkshires, PO Box
1400, Stockbridge 01262; e-mail [email protected];
see www.is183.org; tel (413) 298-5252; or fax (413)
298-5257.
Massachusetts, Truro September 4–8 “Raku,
Smoke & Pit” with Ron Dean. September 11–15 “The
Marriage of Form and Surface” with Mary Barringer.
Fee/session: $450. Contact Truro Center for the Arts
Castle Hill, 10 Meetinghouse Rd., Box 756, Truro
02666; e-mail [email protected]; www.castlehill.org;
telephone (508) 349-7511; or fax (508) 349-7513.
Michigan, Kalamazoo May 12–14 “Tea Time: The
Art of the Teapot,” demos with Bennett Bean, Richard
Bresnahan, Fong Choo and Jeri Hollister. Fee: $100.
Contact Kalamazoo Institute of Arts, 314 S. Park St.,
Kalamazoo 49007; see www.kiarts.org; or telephone
(269) 349-7775 x3108.
Minnesota, Duluth April 18 “Art & Design,” lecture by Scott Rench. Contact Tweed Museum of Art,
University of Minnesota Duluth, 1201 Ordean Ct.,
Duluth 55812; e-mail [email protected]; see
www.d.umn.edu/tma; or telephone (218) 726-8222.
Minnesota, Luverne April 29–30 “Raku Refire
Madness” with Tom and Wanda Clark, and Steve
Hemmingson. Fee: $85. Contact Jerry or Kathy
Deuschle, 1294 131 St., Luverne 56156, e-mail
[email protected]; telephone (507) 283-8477.
Minnesota, Minneapolis April 18 “McKnight
Resident Artist Lecture” with Audrius Janu˘sonis. Free.
April 21–22 “Potters in the 21st Century,” demos with
Ayumi Horie, James Klein and David Reid. Contact
Northern Clay Center, 2424 Franklin Ave. E., Minneapolis 55406; e-mail [email protected];
see www.northernclaycenter.org; tel (612) 339-8007;
or fax (612) 339-0592.
Missouri, Kansas City April 8–9 Workshop with
Matthew Metz. Fee: $125. February 3–4, 2007 Workshop with Ron Meyers. November 3–4, 2007 Workshop
with Linda Christianson. Contact Red Star Studios Ceramic Center, 821 W. 17th St., Kansas City 64108; see
www.redstarstudios.org; telephone (816) 474-7316.
Missouri, St. Louis May 6 “Figurative Sculpture”
with David Millman. Fee: $60; members, $50. Contact
Craft Alliance, 6640 Delmar Blvd., St. Louis 63130; see
www.craftalliance.org; or telephone (314) 725-1177.
Montana, Belgrade May 19–21 “Portrait Class”
with Philippe Faraut. Contact Cathy Huyser, Art Castings of Montana, 20900 Frontage Rd., Ste. C1, Belgrade
59714; e-mail [email protected]; or telephone
(406) 388-1185.
Montana, Helena April 15–16 “Ceramic Sculpture,” handbuilding with Lawson Oyekan. Fee: $175,
includes firing. September 29–October 1 “New Directions and Endless Manipulations” with Doug Casebeer
and Eddie Dominguez. Fee: $350, includes materials
and firing. Skill levels vary. Contact Archie Bray Foundation for the Ceramic Arts, 2915 County Club Ave.,
Helena 59602; e-mail [email protected]; see
www.archiebray.org; telephone (406) 443-3502; or
fax (406) 443-0934.
New Hampshire, Northwood May 6–7 “Burnin’
Pots: Raku Glazing and Firing” with Jeff Brown. Fee:
$120, participants must bring bisqueware. Contact
Jeff Brown Pottery, 950 First NH Tpk., Northwood
www.jeffbrownpottery.com; or telephone (603)
942-8829.
New Jersey, Demarest April 29 or May 29 “Pre-
cious Metal Clay Jewelry” with Susan Kasson Sloan. Fee:
$105, includes firing. Beginning through advanced. For
further information, contact Lorraine Zaloom, the Art
School at Old Church, 561 Piermont Rd., Demarest
www.occcartschool.org; telephone (201) 767-7160; or
fax (201) 767-0497.
New Jersey, Layton May 20–21 “Mud Glorious
Mud: A Beginners Journey” with Sara Patterson. Fee:
$240. May 26–28 “Printing with Colored Clays” with
Mitch Lyons. Fee: $325. May 27–29 “The Basics and
Beyond,” throwing with Susan Beecher. Fee: $315.
September 2–4 “Alternative Mold Processes” with
Lynn Munns. Fee: $340. September 8–10 “Innovative
Handbuilding Techniques” with Lana Wilson. Fee:
$320. All include material and firing. Skill levels vary.
Contact Jennifer Brooks, Peters Valley Craft Center, 19
Kuhn Rd., Layton 07851; e-mail [email protected]; see
www.petersvalley.org; telephone (973) 948-5200; or
fax (973) 948-0011.
New Mexico, Santa Fe April 22–23 “Clay as
Canvas” with Christy Hengst. Fee: $180, includes silkscreen. April 29–30 “Post-Firing Techniques” with
Gretchen Ewert. Fee: $200. Contact Santa Fe Clay,
1615 Paseo de Peralta, Santa Fe 87501; see
www.santafeclay.com; or telephone (505) 984-1122.
New York, Dix Hills May 23–24 “Raku Fire” with
Ruth Sachs. Participants must bring up to 7 pieces of
bisqued raku clay or stoneware with grog. Contact
Ruth Sachs, Art League of Long Island, 1 Treeview Dr.,
Melville, NY 11747; see www.artleagueli.org; or telephone (631) 452-5400.
New York, Long Island City April 8 “Building with
Soft Slabs” with Sandi Pierantozzi. Fee: $65. Contact
Queensboro Potters, 42-26 28th St., #2E, Long Island
City 11101; or telephone (718) 729-4882.
New York, New York April 21–23 “Precious Metal
Clay Level One Artisan Certification.” Fee: $535, includes materials, firing, instruction book and membership in the PMC Guild. April 22–23 “Techniques in
Precious Metal Clay: Beginner/Intermediate.” Fee:
$275, includes materials and firing. Instructor/session:
Vera Lightstone. Contact Vera Lightstone, 347 W.
39th St., New York 10018; e-mail [email protected];
telephone (212) 947-6879; see www.silverclay.com.
New York, Port Chester April 9 or 30 “Raku” with
Denis Licul. Fee/session: $75. April 22–23 “Wheel/
Plaster Techniques” with Lisa Orr. May 20–21 “Animals in Clay” with Joe Bova. Fee (unless noted above):
$175. Contact Clay Art Center, 40 Beech St., Port
Chester 10573; or telephone (914) 937-2047.
New York, Water Mill April 22–23 “Taking the
Macho out of Big Ware” with Tony Clennell. May 6–7
“Handbuilding and Engobes” with Barbara Hanselman.
May 20–21 “Altering Methods for Functional Potters”
with Susan Beecher. September 16–17 “Raku” with
Bill Shillalies. October 14–15 “Tile Making” with Frank
Giorgini. Fee: $325; members, $250. Fee (unless noted
above): $275, members $200. Workshops held at
Celadon Gallery. Contact Clay Art Guild of the
Hamptons, 51 Round Pond Ln., Sag Harbor, NY 11963;
e-mail optonline.net; telephone (631) 899-3599; or
fax (631) 725-4605.
New York, White Plains May 24 “On and Off the
Wheel” with Mark Shapiro. $125; students, $85.
Beginning through advanced. Contact Lisa Santalis,
Westchester Art Workshop, 196 Central Ave., White
Plains 10606; e-mail [email protected]; see
www.sunywcc.edu/waw; or telephone (914) 606-7511.
North Carolina, Asheville April 7–8 “Handmade
Deer Tail Brushes” with Kent McLaughlin. Fee: $120,
includes materials. May 22–26 “Ornately Functional:
Form & Surface” with Kristin Kieffer. Fee: $425, includes registration. September 8–10 “Movin’ On”
with Cynthia Bringle. Fee: $200, includes registration.
September 22–24 “Everything in the Glaze Kitchen”
with Peter Pinnell. Fee: $200, includes registration.
91
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www.claydogs.com
Toll Free 1-877-454-3914
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in 15 minutes, 16"w x 24"h firing chamber.
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calendar
workshops
Summer Workshops
In Durham, North Carolina
MARTY FIELDING • June 12-16
BERNADETTE CURRAN • June 19-23
For complete details
Visit our web site
www.claymakers.com
or call for a brochure
919.530.8355
GEIL KILNS
Over 30 Years Experience
Behind the Kilns!
MOVING
SOON?
Please send your new address to:
Ceramics Monthly Circulation Department,
735 Ceramic Place, Suite 100
Westerville, OH 43081. Or Telephone:
(614) 794-5890; Fax: (614) 891-8960
Contact Odyssey Center for the Ceramic Arts, 236
Clingman Ave., Asheville 28801; e-mail
[email protected]; telephone (828) 2850210; or see www.highwaterclays.com.
North Carolina, Bailey November 4–5 “Forming
and Decorating Functional Pots” with Cynthia Bringle
and Bill van Gilder. Fee: $175. Contact Finch Pottery,
5526 Finch Nursery Ln., Bailey 27807; see
www.danfinch.com; or telephone (252) 235-4664.
North Carolina, Brasstown April 2–9 “Altered
Functional Pottery” with Rebecca Floyd. Fee: $610.
April 16–22 “Clay and Light” with Tali Waterman.
April 23–29 “Nature as Art” with Kaaren Stoner. May
7–13 “Baking Dishes and Other Kitchen Pots” with
Mary Dashiell. May 14–20 “Cone 6 Glazes” with Lucy
Hamilton and Eric Reichard. May 21–28 “Sum of the
Parts” with Shane Mickey. Fee: $610. Fee (unless
noted above): $412. Contact John C. Campbell Folk
School, 1 Folk School Rd., Brasstown 28902; see
www.folkschool.org; telephone (800) 365-5724; or
fax (828) 837-8637.
North Carolina, Creedmoor April 22–23 Demo
with Ron Meyers. Fee: $140, includes breakfast and
lunch. Contact Jennifer Dolan, Cedar Creek Gallery,
1150 Fleming Rd., Creedmoor 27522; telephone (919)
528-1041; e-mail [email protected]; or see
www.cedarcreekgallery.com.
North Carolina, Lewisville May 5–7 “Portrait
Class” with Philippe Faraut. Contact Rebecca StoneDanahay, Forsyth Country School, 5501 Shallowford
Rd., PO Box 549, Lewisville 27023-0549; e-mail
945-2134 x423.
Ohio, Wooster April 5–8 “Functional Ceramics
Workshop” with Cathi Jefferson, John Neely and Mark
Talbert. Contact Phyllis Blair Clark, 2555 Graustark
Path, Wooster 44691.
Pennsylvania, Lancaster April 22–23 Demonstration with Tom Coleman. Fee: $160. Contact the Pennsylvania Guild of Craftsmen, 10 Stable Mill Tr., Richboro
PA 18954; or telephone (215) 579-5997.
Pennsylvania, Pittsburgh May 20 “Zoomorphic
Forms: Functional & Sculptural” with Bernadette
Curran. Fee: $105; members, $95; includes materials,
must bring bag lunch. Contact the Society for Contemporary Craft, 2100 Smallman St., Pittsburgh 15222;
e-mail [email protected]; telephone
(412) 261-7003; see www.contemporarycraft.org.
Tennessee, Gatlinburg April 2–8 “A Wet Ware
Tile Decorating Buffet” with Angelica Pozo. April 9–15
“The Figure in Clay” with Laura Jean McLaughlin. Fee/
session: $375. Contact Arrowmont School of Arts &
Crafts, 556 Parkway, Gatlinburg 37738; telephone
(865) 436-5860; e-mail [email protected]; see
www.arrowmont.org.
Texas, Dallas September 8 (lecture)–10 Handson workshop with Linda Christianson. Contact the
Craft Guild of Dallas, 14325 Proton Rd., Dallas 75244;
see www.craftguildofdallas.com; or telephone (972)
490-0303.
Texas, Ingram May 18–19 “Tile: Making, Decorating, Marketing.” May 20–21 “Glaze Chemistry, Beginning to Advanced.” Instructor/session: Paul Lewing.
Fee/session: $70; members, $65. Contact Debbie Luce,
Hill Country Arts Foundation, PO Box 1169, Ingram
78025; e-mail [email protected]; or telephone (830) 367-5121.
Texas, San Antonio May 3–7 “Architectural Ceramics Intensive” with Peter King. Fee: $700. Contact
Southwest School of Art and Craft, 300 Augusta, San
Antonio 78205; e-mail [email protected]; see
www.swschool.org; telephone (210) 224-1848; or fax
(210) 224-9337.
92
Virginia, Amherst May 12, 20 and 27 “Hikarigama
Firing at Tye River Pottery” with Kevin Crowe. Fee:
$250. Contact Hood College, Ceramics Program, 401
Rosemont Ave., Frederick 21701; telephone (301)
696-3456; or see www.hood.edu/academic/art.
Virginia, Arlington April 6–May 11, Thurs. “A
Renaissance of Clay and Materials” with Alfredo
Ratinoff. Fee: $220. April 22–23 “Aesthetics of Pleasure, Tile Making” with Sin-ying Ho and Philip Read.
Fee: $220. May 6–7 “Raku Kiln Building” with Ramon
Camarillo. Fee: $475. May 20 “Dancers, Horses and
the Translation of Movement into Sculptural Forms”
with Susan Whittier. Fee: $85. Contact Darlene
Tsukamoto, Lee Arts Center, 5722 Lee Hwy., Arlington 22207; e-mail [email protected]; see
www.arlingtonarts.org/leearts.htm; telephone (703)
228-0558; or fax (703) 228-0559.
International Events
Australia, Victoria, Shepparton through April 30
“Sidney Myer Fund International Ceramics Award”; at
Shepparton Art Gallery, Eastbank Centre, 70 Welsford
St., Shepparton, Victoria.
Belgium, Brasschaat October 14–15 “Silk-Screen
Printing on Ceramics” with Ivo Nijs. Fee: C125 (US$150),
includes materials and meals. November 18–19 “Slip
Casting with Bone China” with Sasha Wardell. Fee:
C125 (US$150), includes materials and meals; or “Painting with Smoke” with David Roberts. Fee: C135
(US$160), includes materials and meals. Intermediate
through professional. Contact Patty Wouters, Atelier
Cirkel, Miksebaan 272, 2930 Brasschaat; e-mail
[email protected]; see www.ateliercirkel.be;
tel./fax (32) 36 33 05 89.
Canada, Alberta, Calgary through April 22 Linda
Sormin, “Cheh-ae Siah”; at Alberta College of Art &
Design, 1407-14 Ave. NW.
Canada, British Columbia, Vancouver April 6–
May 1 “BC in a Box”; at Gallery of BC Ceramics, 1359
Cartwright St., Granville Island.
Canada, Ontario, Guelph May 27–28 “Second
Annual Potters Market”; Goldie Mill Park, Cardigan St.
Canada, Ontario, Toronto May 16–28 “blooming”; at Distill, 55 Mill St., #56.
Denmark, Copenhagen through April 8 Morten
Løbner Espersen”; at Galerie Nørby, Vestergade 8.
Denmark, Skælskør April 28–29 “Photographing
Ceramic Work” with Ole Akhøj. Fee: DKr 1100
(US$181); members, DKr 900 (US$148); students, DKr
700 (US$115). May 1–3 “Centering” with Elisa HellandHansen. Fee: DKr 1100; members, DKr 900; students,
DKr 700. May 7–11 “Wood and Soda Firing” with
Ann-Charlotte Ohlsson. Fee: DKr 1900 (US$312). May
22–26 “Building a Gas Kiln” with Pekka Paikkari. Fee:
DKr 1900; members, DKr 1700 (US$279); students,
DKr 1200 (US$197). September 18–22 “Media Hybrids” with Brian Bolden and Colby Parson-O’Keefe.
Fee: DKr 1900; members, DKr 1700; students, DKr
1200. October 7 “Creativity as Play” with Sandy Brown.
Fee: DKr 350 (US$58); members/students, DKr 200
(US$33). October 23–27 “Vitrified Print III” with Paul
Scott. Fee: DKr 1900; members, DKr 1700; students,
DKr 1200. Contact Guldagergård, International Ceramic Research Centre, Heilmannsvej 31 A, 4230
Skælskør; e-mail [email protected]; see
www.ceramic.dk; telephone (45) 5819 0016; or fax
(45) 5819 0037.
England, Bovey Tracey, Devon April 29–May 31
Garden ceramics by Kate Mellors; at Devon Guild of
Craftsmen, Riverside Mill.
June 9–11 “Crafts at Bovey Tracey”; at the Mill
Marsh Park.
England, Bury St. Edmunds, Suffolk May 13–
June 24 “Elemental Insight”; at Bury St. Edmunds Art
Gallery, Market Cross.
England, Ely, Cambridgeshire through April 16
“ A Collaborative E xhibition,” including ceramics by
Jane Perryman; at the Ronald Pile Gallery, 38a St.
Marys St.
England, Hanley, Stoke-on-Trent through April
23 “ Sculpture/Obj ect” ; at the Potteries Museum & Art
Gallery, B ethesda St.
England, Hundon May 27–28 “ Smoke and Saggar
Firing Workshop” with Jane Perryman. Fee: £ 180
(US$313), includes materials, firing and lunch. All
skill levels. For further information, contact Jane
Perryman, Wash Cottage, Clare Rd., Hundon, Suffolk
CO10 8DH; e-mail j [email protected];
see www.j aneperryman.com; or tel./fax (44) 1440
786 228.
England, Leeds, West Yorkshire April 8–July 30
Rebecca Appleby; at the Craft Centre & Design Gallery,
City Art Gallery, The Headrow.
England, Liverpool through April 22 “ Northern
Soul,” K risti Hannah B rown, Christine Cummings,
Catrin Mostyn Jones, John K ershaw, Julie Miles, Anne
and Phillip Plant, Rosalind Rosenblatt, Simon Shaw; at
the B luecoat Display Centre, B luecoat Chambers, College Ln.
England, London through April 22 Richard Slee.
April 28–June 10 Robert Marsden; at B arrett Marsden
Gallery, 17-18 Great Sutton St.
through April 27 “ Three Potters: Rob B arnard,
Dylan B owen & Jane Hamlyn” ; at Galerie B esson, 15
Royal Arcade, 28 Old B ond St.
through September 3 “ The Road to B yzantium:
Luxury Arts of Antiquity” ; at Hermitage Rooms, South
B ldg., Somerset House.
England, Sherborne April 8–May 13 Three-person show including ceramics by Steve Sheridan May
20–June 17 Three-person show including ceramics by
Richard B atterham; at Alpha House Gallery, South St.
France, Cordes sur Ciel May 7–14 “ Ceramics and
E rotics” with Ottakar Sliva. Fee: C440 (US$527), includes materials and meals. Instruction in E nglish,
French, German and Hungarian. September 3–9
“ Throwing and Raku” with Frank Theunissen. Fee:
C395 (US$474), includes materials, firing and meals.
Instruction in Dutch, E nglish, French and German.
B eginning through advanced. Contact Frank
Theunissen, LaCé ramique, La Plaine, Cordes sur Ciel
81170; e-mail [email protected]; telephone (33)
5 63 53 72 97; www.laceramique.com.
France, Lot et Garrone September 4–9 “ Paper
Clay” with K arin Heeman. Fee: C250 (US$299), includes materials, firing and lodging. Instruction in
Dutch, E nglish, French and German. Contact Centre
de Cé ramique International, Châ teau de B arry,
Auradou, Lot en Garonne 47140; e-mail
[email protected]; telephone (33) 5 53 40 64
88; or see www.karinheeman-ceramics.com; .
France, Nançay through July 2 Three-person exhibition including ceramics by Andoche Praudel; at Galerie
Capazza, Grenier de V illâ tre.
Germany, Berlin-Charlottenburg through August 7 “ New Acquisitions.” through September 30
“ Teabowls and Ceramic Tea Utensils” ; at K eramikMuseum B erlin (K MB ), Schustehrusstr. 13.
Germany, Koblenz April 29–June 5 “ Salt Glaze
2006” ; at Galerie Handwerk K oblenz, Service et Messe
GmbH der Hanwerkskammer K oblenz, Rizzastraß e
24–26.
Hungary, Kecskemét May 8–29 “ Clay, Wood,
Fire & Salt” with Svend B ayer and Makoto Hatori.
September 6–28 “ Narrative Sculpture” with James
Tisdale. Contact International Ceramics Studio
K ecskemé t, K á polna u. 11, K ecskemé t H-6000; e-mail
[email protected]; or telephone (36) 76 486 867.
Italy, Certaldo (Florence) April 10–15 “ Raku and
Raku Glazes” with Pietro Maddalena. April 31–May 13
“ Clay, Gnocchi & More” with Pietro Maddalena. September 4–9 “ Soda Firing” with Terry Davies. For further information, contact La Meridiana, Loc. B agnano
135, 50052 Certaldo; telephone/fax (39) 0571 660084;
see www.lameridiana.fi.it.
Italy, Tuscany May 13–29 Five-day hands-on handbuilding and surface treatment workshop with Denys
James and Pietro Maddalena; five-day terra sigilatta
workshop with Giovannni Cimmati. Fee: CAN$4975
(US$4261), includes airfare, lodging, some dinners,
materials and tours; without airfare, CAN$3546
(US$3037). Contact Denys James, Discovery Art Travel,
182 Welbury Dr., Salt Spring Island, B ritish Columbia
V 8K 2L8 Canada; e-mail denys@denysj ames.com; see
www.denysj ames.com; or telephone (250) 537-4906.
Japan, Gifu through October 16 “ E uropean Noble
Wares” ; at Museum of Modern Ceramic Art, Gifu, 42-5 Higashi-machi, Taj imi-shi.
Mexico, Valle de Guadalupe November 11–13
“ South of the B order Talavera Tile Painting Retreat”
with Ivette V aillard. Fee: $350. Limit of 10 participants.
Contact Sheila Menzies, Tile Heritage Foundation, PO
B ox 1850, Healdsburg, CA 95448; e-mail
[email protected]; telephone (707) 4318453; see www.tileheritage.org; fax (707) 431-8455.
Netherlands, Den Haag through July 2 “ B irdwatching” at Gemeentemuseum De Haag, Stadhouderslaan 41.
Netherlands, Deventer through April 22 Mireille
Moser and Jean-Franç ois Pereñ a; at Loes & Reinier,
K orte Assenstraat 15.
Vessel by Rebecca Appleby; at Craft Centre & Design
Gallery, City Art Gallery, the Headrow, England.
Netherlands, Leeuwarden through September
17 “ Mysterious Celadon.” April 9–August 27 Sonj a
Landweer; at Princessehof Leeuwarden, Grote
K erkstraat 11.
Scotland, Fife through June 4 “ Craft Showcase,”
including ceramics by V irginia Graham and Susan McGill;
at Crawford Arts Centre, 93 North St., St. Andrews.
South Korea, Gyeongsangnam-do through October 1 “ International Architectural Ceramic E xhibition” ; at Clayarch Gimhae Museum, 358, Songj eong-ri
Jillye-myeon, Gimhae-si.
Spain, Zaragoza May 4–7 “ Cerco 2006, Feria
Internacionel de Cerá mica Contemporá nea” ; in the
multipurpose room of the Z aragoza Audtiroium.
Turkey, Istanbul, Cappadocia, Ankara September 14–October 5 “ Turkey 2006 E xcursion,” hands-on
workshop including handbuilding, colored porcelain
and decals with Mehmet K utlu, then hands-on workshop with E rdogan Gulec, tours, and studio visits. Fee:
CAN$4685 (US$3975), includes airfare, lodging, breakfast; without airfare, CAN$2935 (US$2500). Deposit
due: May 15. For further information, contact Denys
James, Discovery Art Travel, 182 Welbury Dr., Salt
Spring Island, B ritish Columbia V 8K 2L8 Canada; e-mail
denys@denysj ames.com; see www.denysj ames.com;
or telephone (250) 537-4906.
For a free listing, submit announcements at least two months
before the month of opening. Add one month for listings in July and
one month for listings in September. Submit listings online at
www.ceramicsmonthly.org; mail to Calendar, Ceramics
Monthly , 735 Ceramic Pl., Suite 100, Westerville, OH 43081; e-mail
[email protected]; or fax (614) 891-8960.
93
www.ceramics.org
classified advertising
Ceramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events, Opportunities,
Personals, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted advertisements will be inserted
into the first available print issue and posted on our website (www.ceramicsmonthly.org ) for 30 days at no
additional charge! See [email protected] for details.
buy/sell
Ceramic art tile business for sale. Well-established, 18 years, national distribution. Three full decorative lines well developed with fields and decorative
tiles. Ceramic relief, glass and mosaic. Equipment
includes 60-ton Ram press, dies, extruder, 500-gallon
slip casters, extensive glazes and much more. Owner
retiring. Call for details, (773) 368-4978.
Refractories/firebrick. Steel mill in Utah has gone
out of business. Thousands of pallets of new hightemperature brick, all shapes and sizes, 40–70%
alumina content. Other miscellaneous refractories also
available. Must sell, salvage prices. Call Cristina at
(801) 420-5764.
For sale: All The Hands—Ceramic Play and
Profound Incidentals, in Phoenix, Arizona. Not your
typical studio; come see at allthehands.com/Sale.htm.
Wanted: clay mixer. No Soldners. No pugmills.
150- or 300-batch size. Contact Kevin Thomas at
[email protected].
For sale: Swindell Dressler Dyna Flame, fiberlined, shuttle kiln. 48 burners, Current maximum temperature: 2300°F. Built in 1991 with Micromax computer
control system. Kiln holds 8 cars, total of 16, with firing
chamber 42×16×8 feet. Spare parts and extra furniture available. For more information, please contact
[email protected].
Slab Building Illustrated (eBook) by Roberta
Laidman, $24.50. Revised 2006, 90 pages, 100+
illustrations. Download 5 MB, printable Adobe PDF
file: www.laidmanproductions.com/SBI_laidman.htm.
Questions, e-mail [email protected].
Cobalt carbonate and cobalt oxide. We have the
most competitive prices available. Quality guaranteed. Call for prices. (208) 521-0910.
For sale: Bailey 4-inch extruder with 30-piece die
set, $125; Giffin Grip, $85, centering arm wheel attachment, $75. All in excellent condition. New York/
New Jersey area. Contact Edna at (845) 359-0733;
[email protected].
Wanted to buy: unused Narco or Fountainette
nonsubmersible fountain pumps: 2.75x1.75 inches.
Pumps: 10 inches high. Call or e-mail Edna at (845)
359-0733; [email protected].
Production potters: full-time, year-round positions for skilled potters who are serious about throwing
salt-glazed production ware. Benefits. Send résumé
to Salmon Falls Stoneware, PO Box 452, Dover, NH
03821-0452; or [email protected]. We’re located
90 minutes north of Boston.
Baltimore Clayworks seeks organized, creative
individual with excellent administration, writing and
PC skills, to fill the part-time position of Exhibitions
Director. Position starts late spring. Knowledge of
contemporary ceramics is mandatory. Check website
at www.baltimoreclayworks.org. For full description,
e-mail Deborah Bedwell, Executive Director,
[email protected].
Volunteer Technical Assistant wanted. Studio, materials, firing provided in exchange for 10
hours work per week. Starting August 2006. Application deadline: April 24. Send 10 slides of work, résumé,
statement of professional goals, 3 references with
phone numbers and SASE to Chuck Johnson, Art
Department, Edinboro University, Edinboro, PA 16444;
[email protected].
Ceramics teacher needed for northeastern Pennsylvania sleep-away camp for children with attentional
issues, June 22–August 20, 2006. Small groups, modern shop and equipment, and full-time assistant. Process as important as product. Nurturing and motivated
teachers only—with loads of patience. Excellent salary in addition to room and board. Learn more about
us at www.summitcamp.com. Call (800) 323-9908;
e-mail [email protected]; or fax résumé to (212)
689-4347. We make a wonderfully positive difference!
100 Summer jobs—2006. Teach ceramics,
jewelry, painting, drawing, crafts, photography,
batik, etc. 50 private summer camps—New York,
Pennsylvania, New England. You choose!
Arlene Streisand. Free Professional Recruitment.
www.summercampemployment.com; Call toll free
(800) 443-6428, USA; (516) 433-8033, Canada; e-mail
[email protected].
Instructors needed for wheel throwing and
handbuilding shops in premier childrens’ sleep-away
camps in the Pocono Mountains, Pennsylvania. Excellent facilities and equipment. 90 minutes from New
York City. Excellent salary. From 6/20–8/17/06. Send
résumé to [email protected]; fax (973) 575-4188;
phone (973) 575-3333 ext. 124.
For sale: new Venco pugmill Super Twin Modular System. Comes with all accessories, plus roller
ramp and hollow die cut special ordered from Australia. Used only once. Will sell for 20% off the invoice
price. Request pictures. Pick up preferred but will help
make arrangements. Contact Ling, (386) 627-5868;
[email protected].
Hiring artists/crafters. Girls’ lakeside Maine summer camp. 12 architect-designed studios; generous
materials budget. Work with creative, energetic instructors, teach children. Your ideas become
Kippewa’s classes. Nonsmokers only. Apply today at
www.kippewa.com to work June 16 through August
18. 1 Kippewa Dr., Monmouth, ME 04259-6903, USA;
(207) 933-2993; fax (207) 933-2996.
employment
events
Excellent opportunity for exploring wood
firing in a natural Ozark forest setting. Studio assistant desired in exchange for room, board, small stipend, studio space and kiln space—anagama,
noborigama. For details, contact Joe Bruhin
(870) 363-4264.
Fong Choo—5-day workshop at the Mary Anderson Center in beautiful southern Indiana. View details
at www.MaryAndersonCenter.org. To register, call
(812) 923-8602.
Instructor needed for children’s and adult wheel
throwing and handbuilding on Long Beach Island,
New Jersey. From 7/3–9/1/06. Phone (609) 494-1241;
or e-mail [email protected].
Val Cushing will have his 2nd annual kiln opening/
sale beginning Friday, May 5, 4–9 pm; Saturday–
Monday, May 6, 7 and 8, 10 am–5 pm; and by appointment from May 8 to May 12. VC Pottery, 1497 Water
Wells Rd., Alfred Station, NY 14803; telephone
(607) 587-9193.
94
Pottery course Spain: Seth Cardew and Simon
Leach team up to teach from the wheel. Great Spanish experience! Also at the pottery, a fully furnished
4-bedroom house is available to rent by the week.
www.cardew-spain.com; or e-mail for details
[email protected].
Wyoming, Sheridan. “Big West Arts Festival.” August 5–6, 2006. Fine arts and fine crafts. Contact
Sheridan College, PO Box 1500, Sheridan, WY 82801;
or visit www.bigwestartsfestival.com.
Ireland pottery courses. Summer 2006:
3 salt glaze/1 wood fire fully residential courses,
guest tutors and many extras. Marcus O’Mahony,
Glencairn Pottery, Waterford, Ireland. 353 58 56694;
for information, e-mail [email protected]
or [email protected]; view the website at
www.marcusomahony.com.
Workshops in France and Italy: Silvie Granatelli,
May 29–June 9, 2006, “Pottery and the Foods of
France,” Cordes sur Ciel, near Toulouse; Glenn Dair in
Tuscany, Italy, “Pots of Place,” October 1–15, 2006.
Pottery Abroad, LLC, phone (706) 377-2986;
e-mail [email protected]; or view the website at
www.potteryabroad.com.
“ClayScapes—Potters Council Surface
Design Conference.” Sunnyvale, California, April
20–23, 2006. For more information, please visit
www.potterscouncil.org/clayscapes or contact the
Potters Council at (614) 794-5827.
“Second Annual Vasefinder Nationals.” Please
see www.vasefinder.com for details.
opportunities
Study with master potter Tom Turner in a oneto-one teaching and learning experience. Information
is available at www.tomturnerporcelain.com.
Summer assistantship for ceramics artist/student. Sugar Maples Center for Arts and Education.
Assist faculty and staff, studio maintenance, events,
more. www.sugarmaples.org. Windham, New York.
June–August, 2006. Housing, $100/week stipend, and
studio access. Please contact Ellie Cashman,
executive director, [email protected];
(212) 593-6430.
Denver area guild memberships available. Individual studios, gas, raku and electric kilns, plus other
equipment. Gallery! Arvada Ceramic Arts Guild,
5870 Olde Wadsworth Blvd., Arvada, CO 80003;
(303) 423-0448; www.arvadaceramicarts.org.
Potter’s retreat. Tucson, Arizona. Furnished
cottages for rent on a private estate. Share a large
ceramics studio, kilns, pool and spa. The Hummingbird House. Call (520) 742-3969; or toll free
(877) HUMMING; www.hummingbirdhouse.com.
products
Neil Estrick Gallery, LLC. New website! See the
entire gallery inventory and shop online at
www.neilestrickgallery.com. Classes for kids and
adults—large studio with gas kiln. Studio space available with 24-hour access. Grayslake, Illinois.
(847) 223-1807.
pubs/videos
Taking the Macho Out of Bigware. New
video by Tony Clennell. Bigger Pots Made Easy!
Cost is $39.95 plus $5.00 S/H. See review in June 2005
CM. To order, phone (905) 563-9382; fax (905) 5639383; e-mail [email protected].
Throwing One Piece Goblets on the Wheel.
Step-by-step instruction. 45-minute DVD or VHS.
$34.50 to Montrose Pottery, PO Box 705, Montrose,
CO 81401.
EXTRUDE IT! Getting the Most From Your
Clay Extruder, new instructional videos by David
Hendley. Volume I—extrusions as handles, feet and
additions; Volume II—two-part dies for hollow extrusions; Volume III—the expansion box and extrusions
as building components. $40 each or $100 for the set
(more than four hours of video). (903) 795-3779;
www.farmpots.com.
real estate
House and studio, Warner, New Hampshire. 2bedroom log home with appliances on 2.5 sunny
acres, and 2650-square-foot, well-equipped pottery
studio. Many studio extras! Close to Concord, Mt.
Sunapee, Hanover/Dartmouth. Private and peaceful,
yet easy access to I-89. $205,000. Contact
[email protected]; (603) 568-6828.
services
travel
Ceramics Consulting Services offers
technical information and practical advice on
clay/glaze/kiln faults and corrections, slip casting,
clay body/glaze formulas, salt glazing,
product design. Call or write for details. Buy
What Every Potter Should Know , $31.20 and
Safety in the Ceramics Studio, $25.50. Jeff Zamek,
6 Glendale Woods Dr., Southampton, MA 01073; phone
(413) 527-7337; e-mail fi[email protected]; or
www.fixpots.com.
Ceramics residency in Ghana. Learn indigenous techniques. Fee of $2100 includes equipped
studio, materials, tours, lodging and meals for 3 weeks
(airfare additional). www.studiomateceramics.com
Molds custom made for potters, ceramics manufacturing companies and hobby ceramics. Contact
Reach Molds, 20 Camp Rd. 41, Ogdensburg, NY
13669; (315) 393-6065.
David Roberts, pioneer of naked raku, workshops
in the south of France: June 5–9 and July 17–23. C580;
possibility of bed and breakfast accommodations for
an additional C200–C250 per person for 6 nights.
Contact Natacha Lozes, 41 79 680 62 68;
[email protected].
Craft and folk art tours. Mexico, Bulgaria, Romania, Maramures Winter Festival, Morocco, India, Burma,
Turkey, Central Asia. Small, personalized groups.
Craft World Tours, 6776CM Warboys, Byron, NY 14422;
(585) 548-2667.
rentals
Custom kilnbuilding and repair of electric, gas,
wood and salt kilns. Repairs on all makes of ceramics
and refractory equipment. Welding. Mold making.
Consulting for all ceramics needs. Serving the Hudson
Valley, New Jersey, New England and beyond. For
more information contact David Alban at
[email protected]; (845) 351-5188.
Fully equipped basement ceramics studio,
private small yard. Soho, Manhattan, NYC. No living
space. $1000 monthly + electricity. Sharing is possible. Contact Marek Cecula, phone/fax (212) 9663151; [email protected].
Accept credit cards in your ceramics retail/wholesale/home-based/Internet and craft-show business.
No application fee. No monthly minimum. No lease
requirement. Retriever/First of Omaha Merchant Processing. Please call (888) 549-6424.
Studio space available in Brooklyn, 10 minutes from Manhattan: 16 wheels, slab roller, extruder,
tile press, mold-making equipment, lots of space and
affordable. Call (718) 218-9424.
Master Kiln Builders. Twenty-one years
experience designing and building beautiful,
safe, custom kilns for universities, colleges, high
schools, art centers and private clients.
Soda/salt kilns, wood kilns, raku kilns, stoneware kilns,
sculpture burnout kilns, car kilns and specialty electric kilns. Competitive prices. Donovan. Phone/fax
(612) 250-6208.
Evanston, Illinois. Recently renovated fully equipped
private studio space available. 24/7 access. Darrow
Street Studios, (847) 332-1730; or [email protected].
Camden, Maine. July 2006 ceramic workshops.
Wheel and handbuilding, glazing and decorating,
majolica, weekly, all inclusive. Call Arts Alive
(207) 236-8000.
Overseas ceramics workshops and tours—
Italy, Tuscany: 5/13–5/29/06, workshops with Denys
James and Giovanni Cimatti. Turkey, Istanbul and
Cappadocia: 9/14–10/4/06, workshops with Mehmet
Kutlu and Erdogan Gulec. Small, culturally sensitive
groups using local translators and experts. Discovery
Art Travel, Denys James, Canada; (250) 537-4906;
www.denysjames.com; [email protected].
China ceramic tours: June 7–21, 2006. Beijing,
Xi’an, Jingdezhen, Hangzhou, Yixing and Shanghai.
Cost: $2650. www.chineseclayart.com. Contact Chinese Ceramic Art Council USA, PO Box 1733,
Cupertino, CA 95015; telephone (800) 689-2529; fax
(408) 777-8321; e-mail [email protected].
index to advertisers
A.R.T. Studio ..................................... 57
Aardvark ........................................... 75
ACerS Books ............................... 30, 85
Aftosa ................................................. 2
Amaco and Brent ........................ 24, 25
Amer. Museum of Ceramic Arts ........ 17
Anderson Ranch ............................... 69
Annie’s Mud Pie Shop ....................... 89
Asian Art Museum ............................. 19
Axner Pottery ..................................... 29
Bailey Pottery ..................... 1, 8, 9, 31
Bamboo Tools ................................... 90
Bennett’s Pottery ................................ 7
BigCeramicStore.com ....................... 68
Bracker’s ........................................... 66
Brickyard ........................................... 86
Canton Clay Works ........................... 64
Carbondale Clay ............................... 70
Carolina Clay Connection ................. 74
Ceramic Services .............................. 71
Ceramic Shop ................................... 74
Ceramic Supply Chicago .................. 66
Ceramic Supply Company .......... 72, 77
Chinese Clay Art ............................... 73
Classifieds ......................................... 94
Clay Art Center (NY) .......................... 76
Clay Art Center (WA) ......................... 81
Clay Planet ........................................ 85
Clay Studio of Missoula ..................... 59
Claymakers ....................................... 92
Clayworks Supplies ........................... 70
Continental Clay ................................ 28
Cornell ............................................... 90
Coyote Clay & Color .......................... 30
Crafts at the Castle ............................ 64
Creative Industries ............................ 83
Cress ................................................. 10
Davens .............................................. 70
Del Val ............................................... 93
Discovery Art Travel .......................... 92
Display Your Art by Glassica ............. 89
Dolan Tools ....................................... 88
Echo Ceramics .................................. 87
Euclid’s ............................................. 62
Falcon ............................................... 90
Flat Rock ........................................... 72
Geil Kilns ............................. Cover 2, 60
Georgies ........................................... 63
Giffin Tec ........................................... 61
GlazeMaster ...................................... 90
Great Lakes Clay .............................. 82
Handmade Lampshades .................. 68
Herring Designs/SlabMat .................. 92
Hotchkiss School .............................. 71
Hummingbird .................................... 75
Idyllwild Arts ...................................... 69
Japan Pottery Tools ........................... 66
Johnson Gas Appliance .................... 93
Kalamazoo Institue of Arts ................ 67
Kent State/Blossom Ceramics ........... 71
Kentucky Mudworks .......................... 68
Kickwheel .......................................... 26
L&L ..................................................... 4
L&R ................................................... 91
Laguna Clay .......................... 13, 63, 65
Larkin Furnace .................................. 79
Main Line Art Center ......................... 76
Master Kiln Builders .......................... 93
Mastering Cone 6 Glazes .................. 73
Metchosin .......................................... 64
Mid-South Ceramic Supply ............... 56
Mile Hi Ceramics ............................... 58
Minnesota Clay ................................. 81
MKM Pottery Tools ...................... 77, 91
Mudshark .......................................... 87
Mudtools ........................................... 63
Nabertherm ....................................... 83
Nevada Dan’s Pottery ....................... 74
New Mexico Clay .............................. 64
Ninety-Second St Y ........................... 67
North Star Equipment ................... 3, 67
Odyssey/Highwater ........................... 69
Olsen Kilns ........................................ 72
Olympic Kilns .................................... 55
Ox-Bow Summer School ................... 73
Paragon ............................................ 27
PCF Studios ...................................... 72
Peter Pugger ..................................... 79
95
Potters Council ............................ 65, 77
Potters Shop ...................................... 88
Pottery Northwest .............................. 72
PotteryVideos.com ............................ 80
Sapir Studio ....................................... 81
Shakerag Workshops ........................ 64
Sheffield Pottery ................................ 79
Shelburne Art Center ......................... 66
Shimpo .............................................. 23
Sierra Nevada ................................... 66
Skutt .......................................... Cover 4
Smith-Sharpe .................................... 75
SOFA ................................................. 21
Soldner Clay Mixers .......................... 70
Spectrum Glazes .............................. 12
Speedball Art Products ........... Cover 3
Standard ........................................... 84
Thomas Stuart Wheels ...................... 11
Trinity ................................................ 78
Truro/Castle Hill ................................. 68
Tucker’s Pottery ................................ 83
U.S. Pigment ..................................... 83
Venco ................................................ 65
Ward ................................................. 74
West Coast Kiln ................................. 68
Westerwald ....................................... 86
Whistle Press ..................................... 74
Wise Screenprint ............................... 70
Worcester Center .............................. 65
Comment
workshops: a different kind of schooling
After years of attending workshops, I find
myself learning more than the details of the
demos. For instance, I have come to recognize different patterns among workshop presenters, especially between studio potters and
academic potters. Somebody once said that
when the only tool you have is a hammer,
everything looks like a nail. It’s interesting to
see how different potters teach from their
different vantage points and the assumptions
they make about who potters are in general. I
don’t intend to truck out the attitudes that
have ruffled feathers in the past; the worn
stereotypes that “academics are snobs and
elitists,” or “studio potters are artless sellouts.” But at any venue where I can see the
potter, work and context in one place, I am
making observations, which (while maybe
long obvious to others) are new to me.
First: where you work and make your
living determines what you make and how
big, how detailed, how time consuming, how
traditional or cerebral, popular or puzzling
your work is. A potter would be more likely
to make sculptural work on a large scale,
going through more layers of trial and error,
if there was a car kiln, a big clay mixer, and a
student to wedge and recycle clay. A potter
would have a wider palette of glazes to choose
from if there was a glaze tech, huge glaze
bins, a spray booth and somebody mixing
tests. Studio potters might make different
glaze decisions, too, if they had equipment
and materials funded and didn’t have to
nickel-dime the cobalt and stains. I know I
would be more likely to value personal expression and narrative vision if I didn’t have
to worry about what would sell in the street.
And if I had a paycheck with bennies, I
would likely never learn to make the boring
repetitious little pots that sell like hotcakes.
Academic potters, when they talk about
pricing and self promotion, seem to share a
few perspectives in common. One is: Price
your work low, let it go be used somewhere
and make new work. This is good advice for
students or relative beginners who otherwise
price as if they were V oulkos.
Meanwhile, though, studio potters are saying that this undercuts potters trying to make
a living, and just because you can afford to
consider it a hobby doesn’t give you the right
to undervalue pottery in the public eye by
pricing like it’s a garage sale.
Another academic theme seems to be that
self-promotion and marketing are a way to
sell work not worthy of its position; that we
should be above prostituting ourselves for
something as common as money. It’s an important perspective, but most practical for
those who are well fed by another hand.
Studio potters often see two parts of the
same equation: there are pots made to pay
the bills/feed your kids, and pots made to
bring you joy/feed your soul. There also are
potters who have successfully negotiated that
old formula: sell 1000 $ 10 pots a year, or one
$ 10,000 pot.
And as popular as it is to pick on those
more financially comfortable— the trust-fund
babies and dilettantes— many of history’s famous artists and composers were not
ditchdiggers or rag pickers, but grew up in
relative luxury, were educated formally, and
thus were able to give the world the gift of
their creativity. Some of the most interesting
work I am seeing these days is coming from
academics whose jobs allow them to focus
on, read about, and write about what they
are doing and why, and who spend their days
surrounded by others with the same focus.
How could they not move farther, faster, than
those of us who steal hours and energy from
other jobs/roles to be in the studio? W hen
studio potters act like cash flow is the only
yardstick of success, they are wrong. But when
clay professors assume that the most talented
kids will go on to B.F.A./M.F.A. and end up
as professors with their pots on the cover of
CM, or when they write off all others as “just
hobbyists” who will fade away, well, they are
wrong too.
I have attended workshops by potters
who make a living at potting. They are often without formal degree or pedigree, and
I appreciate their balance between dreaming and logic, extravagance and frugality,
imagination and practicality. There are some
things I may never know if I don’t pursue
the B.F.A./M.F.A. road. But there are also
things no university program can teach;
things I have learned from potters who have
96
by Kelly Averill Savino
worked, often in solitude, year after year,
making and making and making; things their
own hands taught them, like how a pot can
be beautiful yet time-efficient. How it can be
well crafted, yet artful, yet easily reproducible, yet marketable.
The potters whose voices echo in my head
years later are those who shared their
“lightbulb” moments— every repeated step
of the way, from centering to trimming to
board to kiln to glaze to EZ -Up or website or
gallery or pot-shop. This tip, trick, tool; this
bucket, twist; this ritual born of intention
and practice. This is not to say I would pick
one workshop over another based on
whether the potter came from a big university or from a patch of woods on a riverside
where wood smoke rises from a handmade
kiln. Potters differ more from one to another
than they do by category.
I can think of a handful of potters who
are truly in touch with both academic and
studio experience. I enjoy the insights of those
who went from working on their own to an
academic role later in life. They seem to make
interesting work and have the ability to talk
about it. They challenge themselves, push the
envelope, but are firmly grounded in a solid
work ethic and mastery of craftsmanship.
As a potter in my in my forties, I was
recently heartened to hear Ohio University
professor Brad Schwieger tell a workshop audience, “Y our art is supposed to be about
your life. If you are nineteen years old and
thinking about a B.F.A., you need to get out
in the world first and have some life experience.” In the end, the measure of a potter as
a workshop presenter seems to have more to
do with the heart than the head. If you are
passionate about what you do; if you talk to
a room full of potters with respect, as your
peers and not your students; if you keep
moving forward, breaking new ground with
your work; if you know that the way you
twist a cutoff wire can mean as much as what
inspired your thesis show; if you can tell a
good story and laugh at yourself once in a
while, then I’ll pay to sit on a hard metal
chair for two days and drink gray coffee just
to watch you make pots, when I should be at
home making my own.
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