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M o n t h l y
Lorna Meaden
More is More
focus college clay
September 2009 $7.50 (Can$9)
www.ceramicsmonthly.org
Ceramics Monthly September 2009
1
M o n t h l y
Publisher Charles Spahr
Editorial
[email protected]
telephone: (614) 895-4213
fax: (614) 891-8960
editor Sherman Hall
assistant editor Holly Goring
assistant editor Jessica Knapp
editorial assistant Erin Pfeifer
technical editor Dave Finkelnburg
online editor Jennifer Poellot Harnetty
Advertising/Classifieds
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telephone: (614) 794-5834
fax: (614) 891-8960
classifi[email protected]
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advertising services Jan Moloney
Marketing
telephone: (614) 794-5809
marketing manager Steve Hecker
Subscriptions/Circulation
customer service: (800) 342-3594
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Design/Production
production editor Cynthia Griffith
design Paula John
Editorial and advertising offices
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Westerville, Ohio 43082
Editorial Advisory Board
Linda Arbuckle; Professor, Ceramics, Univ. of Florida
Scott Bennett; Sculptor, Birmingham, Alabama
Val Cushing; Studio Potter, New York
Dick Lehman; Studio Potter, Indiana
Meira Mathison; Director, Metchosin Art School, Canada
Bernard Pucker; Director, Pucker Gallery, Boston
Phil Rogers; Potter and Author, Wales
Jan Schachter; Potter, California
Mark Shapiro; Worthington, Massachusetts
Susan York; Santa Fe, New Mexico
Ceramics Monthly (ISSN 0009-0328) is published monthly,
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September 2009 / Volume 57 Number 7
M o n t h l y
focus college clay
29 2009 Undergraduate Showcase
Clearly, the shaping of the next generation of ceramic artists is in confident
hands—those of the instructors as well as the students. After all, isn’t a
student the party most responsible for his or her own education?
40 2009 NCECA Regional Student Juried Exhibition
Reflections on the past and future of one of the most prestigious student
ceramic exhibitions, including statements from this year’s jurors, and NCECA’s
plans to open the RSJE to national competition in 2010 and beyond.
50 MFA Factor: Tyler School of Art, Temple University
Kicking off this year’s series of graduate program profiles is an urban
school located in the City of Brotherly Love. Clay love is more like it!
features
46 More is More: Lorna Meaden by Stephanie Lanter
We talk about the celebration of function a lot, but few potters
turn that around into the function of celebration. With highly
ornate forms and bright soda-fired surfaces, Meaden explores
the social dynamics of groups—particularly parties!
monthly methods A Very Fine Line by Lorna Meaden
53 Otto Heino, 1915–2009 by Don Pilcher
In response to the passing of one of the greats in a generation,
a former student reflects on the importance and impact of a teacher
and pioneer of studio ceramics.
54 Down to Earth: Joseph Pintz’s Hand-Hewn Pots
by Casey Ruble
Grounded in a family history of handwork and connection to the earth,
the pots and objects Pintz makes speak of the direct, honest pursuit
of everyday living.
monthly methods Hand-Hewn Pottery by Joseph Pintz
cover: Lidded sugar bowl, 9 in.
(23 cm) in height, thrown and
altered porcelain, soda fired
to cone 10, 2008, by Lorna
Meaden, Durango, Colorado;
page 46.
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40
54
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Photo: Matthew S. Mickel
departments
8 from the editor
10 letters from readers
12 answers from the CM technical staff
14 suggestions from readers
14 Tip of the Month: way cool wads!
16 upfront reviews, news and exhibitions
58 call for entries
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60
60
International Exhibitions
United States Exhibitions
Regional Exhibitions
Fairs and Festivals
62 new books
Vessel | Sculpture
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German and International Ceramics Since 1946
edited by Olaf Thormann
64 calendar
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64
67
68
70
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Conferences
Solo Exhibitions
Group Ceramics Exhibitions
Ceramics in Multimedia Exhibitions
Fairs, Festivals and Sales
Workshops
78 classified advertising
79 index to advertisers
80 comment
The Perfect Match by Lily Zopfi
online
www.ceramicartsdaily.org
information and inspiration from inside the artist’s studio
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Features
Tips, techniques, profiles and more—delivered to your inbox.
Education
Listings of colleges, classes, guilds, workshops and residencies.
Galleries
Artist gallery pages, plus our comprehensive listing of museums
and galleries that showcase ceramic art.
Bookstore
Complete line of ceramic art books to inspire, inform and instruct.
Free Gifts
Handy downloadable resources for the studio, including projects,
recipes, our annual Buyer’s Guide and more!
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Magazines
Current and archived features, exhibition reviews, article index.
7
from the editor
I just read the little slip of paper that came
in the fortune cookie with my Chinese
take out food; it said, “You don’t have to
know where you are going to be headed in
the right direction.” My first thought was,
“that isn’t a fortune.” I mean, it’s insightful and thoughtful, but it says nothing of
what I can expect in the next five minutes
or the next five years; it doesn’t help me
plan my day or week. Apparently, the
manufacturers of these treats are losing
their nerve, so I think I’m going to start
calling them affirmation cookies. Usually,
I only pay attention to these “fortunes”
when they reinforce what I already believe,
or when they’re particularly off-the-wall,
like the one that said, “Lucky you, put on
your party clothes, you know, the clean
ones.” That one stayed taped to my mirror
for months (and I may have worn clean
clothes a little more often during that
time). But this particular piece of wisdom
today got me thinking about the difference
between plans and reality; what you try to
make happen and what actually transpires.
In my experience, with small concerns
in life, these can be one and the same (I
plan to go buy clay—I go buy clay), but
with larger concerns, like career aspirations, it’s difficult to plan beyond a certain
point. There are simply too many variables. In ceramics, it’s sometimes difficult
to plan all the way through a particular
piece, let alone an entire career. I imagine
this is true outside of ceramics as well,
but I’ll stick to what I know. Many of the
people I went to school with are no longer
involved in ceramics. It’s quite likely that
they decided it wasn’t what they wanted
after all, and I hope they chose something
else that was more fulfilling for them. At
the same time, there are many who never
studied ceramics but have discovered that
clay is what they need to be doing (so
much for that finance degree).
This issue is focused on those pursuing degrees in ceramics (check them out,
beginning on page 29), and my thoughts
here are especially directed toward them.
How many times have you been asked
what your plan is after graduating from
college—or high school, for that matter?
What are you going to do with it? Where
are you going to put it? How are you going
8
by Sherman Hall
to make a living? If we are to be artistically
productive, we can’t worry too much about
these things (at least not while we are in
the studio). Don’t forget about them entirely, but don’t dwell on them exclusively
or let them determine your artistic choices—just keep making your own work.
At the same time, we all have a plan of
some sort. Even the lack of a plan is a plan, it’s
just a really bad one. We need to have a direction, even if we know that’s going to change.
Your plan will require more effort and
time than you had hoped. It will take more
sweat, and perhaps tears, than you might
like. It will cost more money than you are
prepared to invest (especially if you have
school loans), but if you believe in the
direction you are heading, then there are
several destinations that will be available
and acceptable to you. And you don’t need
a fortune cookie to tell you that.
e-mail letters to [email protected]
9
letters
e-mail letters to [email protected]
American Clay in Good Hands
mentioned what “full time in the studio”
was. My wife and I work many long hours
as we have a studio,
gallery, shop, do our
work, teach classes,
and have a drawing
class. We rent two
studios out so we can
afford ours. We have
a home that needs
work (ca. 1895) and
six grandkids. How do we squeeze it all in?
It would be nice to have a maid, gardener,
cook, mechanic, doctor, chauffer, and
personal secretary. To what extent do your
authors have outside responsibilities and
help? I am lucky if I get 12 hours per week
to call my own, with only the whir of the
arrived. American clay is vibrant due to
wheel to keep me company. Good magaartists at the level of Eshelman. I am cerzine. Thanks!
tain that CM readers will agree.
Tim Sawyer, St. Charles, Missouri
Tom Turnquist, Denver, Colorado
The article on Paul Eshelman is great
[“Work and Play: The Potter’s Life,” June/
July/August 2009]. The forms and designs
are superb. His work is a mix of ikebana
and mid-century modern. I went through
the article four times the day that my CM
Time and Energy
Correction
I really enjoyed the articles about working potters [“Work and Play: The Potter’s
Life,” June/July/August 2009]. With the
exception of Mark Hewitt, no one really
On page 16 of the May issue, we presented
a piece by Dirk Romijn, entitled Tear for
the Ordinary Muslim, as part of our coverage for the show “Tulip Vases from Twelve
10
Dirk Romijn’s Tear for the Ordinary Muslim, 15 in. (37
cm) in height, stoneware, 2008. Photo: Ron Zijlstra.
Designers.” While Romijn’s work was on
display at Gallery Terra (www.terra-delft.
nl), it was not part of this exhibition. Below is another interesting piece by Romijn,
which takes advantage of the fact that
tulips cut before they bloom will continue
to grow in the vase.
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aragon Janus-series kilns can fire
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answers
From the CM Technical Staff
Q I make my own porcelain grog by crushing
up bisque porcelain scrap in a hammer mill. I
wedge this grog back into the same porcelain
body, so I can put in as little or as much grog as
a particular project calls for and my work ends
up coming out of the high-fire the same, with
the same look, same glaze fit, etc. There is one
mystery that I haven’t been able to figure out.
The more grog I add, the higher the shrinkage
from bisque to cone 10. Why is this?—A. B.
Since grog can be any relatively coarse material
added to a body, and much of what is commonly
used as grog is vitrified clay or dense minerals,
the typical result is that grog lowers both wet
to dry shrinkage and firing shrinkage. I suspect
the answer to your mystery is in the “porcelain
scrap” that you bisque to make your grog. Most
finished porcelain pieces have been tooled in
some way well into the drying process, and this
tooling compresses the porcelain, pressing clay
particles into space that has been emptied by the
evaporating water. If the scrap that you bisque to
make your grog from has not been subject to any
tooling, then it is less dense than most of your
work and has more empty pore space to close
up during vitrification during the high-fire, so
it shrinks more and thereby increases the overall
e-mail technical questions to [email protected]
shrinkage of the body. While compression of your
work is important to prevent cracks at joints and
in flatter areas, the lack of it in your grog probably isn’t making any difference in your results
beyond making it more difficult to predict your
firing shrinkage exactly.
David Pier
Ceramics Consultant
Chapel Hill, North Carolina
Q
I was wondering if anyone has knowledge on
the subject of slip-casting porcelain in a vacuum. Is
there any added strength achieved when casting
in a vacuum environment (much like the lost-wax
casting process of pouring molten metals from a
crucible into a vacuum sealed investment flask)?
I was thinking if the multiple-part plaster mold
was sealed on my vacuum table it would pull the
slip (under pressure) to create tighter fitting clay
particles, resulting in a stronger cast. Have any
tests been done in this area?—J. W.
It may be possible to vacuum slip cast.
Industry is now moving to permeable resin
dies and molds that are used in a process called
pressure casting. Sanitary ware such as sinks,
toilets, urinals, etc., are being pressure cast, as is
a good segment of ceramic tabletop ware. How
it would function in a studio with a vacuum
table, I don’t know.
Plaster is water permeable, so you would
need to find a way for the water to flow outside
of the vacuum table. I also do not think that a
vacuum table could pull enough vacuum over
on entire piece to be effective.
While it might be interesting to try this as an
experiment, I would rely on the well established
methods of slip casting in plaster molds. Slip cast
pieces are very dense as the water hull completely
surrounds the flat clay particle and is pulled out
from around these minute particles quite evenly by
I do not know of anyone using a method a well-designed plaster mold. The clay particles do
you describe. It could very well work for you, line up parallel to the walls of the mold, resulting
but my tendency is to look at added strength in in a very dense and strong ceramic casting.
Jonathan Kaplan
a casting body as a function of ingredient selecCeramic Design Group
tion and firing, rather than pressure during the
Denver, Colorado
casting process.
12
13
suggestions
e-mail suggestions to [email protected]
tip of the month
Way Cool Wads!
Begin by filling a small bucket with
2800 grams of clay slop. Weigh out
200 grams of alumina hydrate and fill
up a second small bucket with very fine
sawdust (fine enough to fall through a
20 mesh screen). Add the sawdust and
the alumina hydrate a handful at a time
to the clay slop. Continue blending the
mixture until it becomes a workable clay
consistency, then proceed to wedge the
mixture until it is fully blended.
Break the wadding mixture up into
manageable chunks or balls and roll out
approximately 3/8-inch thick slabs onto
a canvas sheet (thicker slabs can be
made for use with larger and/or heavier
pieces). Use ruler guides or a slab roller
to ensure even thickness throughout
each slab. Next, lay another canvas mat
on top of the slab. Carefully flip the slab
over and trim off any cracked edges.
Place a translucent plastic sheet over the
slab. With the use of a pizza cutter and a
straight edge, impress vertical grooves into
the clay. After the vertical lines have been
made, impress horizontal lines to create a
grid. Remove the plastic sheet and allow
the slab to dry.
Break the slab into smaller manageable sections
and bisque
fire. Break the
fired sections
into individual
squares using
the grooves
as score lines
(in much the
same way as
two pyrometric cones are
separated).
14
Congratulations to
Jason Doblin of
Tuscaloosa, Alabama.
Your subscription
has been extended by
one year!
15
upfront
exhibitions and reviews
exhibitions
16 The Welsh Table
The Smithsonian Institution’s Ripley Center,
Washington, DC
17 Resident Artist Exhibition
Archie Bray Foundation for the Ceramic Arts,
Helena, Montana
17 Artists of Northern Clay Center
Northern Clay Center, Minneapolis, Minnesota
17 Melissa Mytty: Pickles and Pop
The Clay Studio, Philadelphia, Pennsylvania
18 Curiosities
Santa Fe Clay, Santa Fe, New Mexico
18 Akaji Ken
Gallery Carla Koch, Amsterdam, The Netherlands
18 Figuration
Jam Factory Contemporary Craft and Design,
Adelaide, Australia
20 The Watershed Gala Wood-Fire Exhibition
Gustin Ceramics, South Dartmouth, Massachusetts
20 Ben Jackel: Compliance Solutions
LA Louver, Venice California
20 Draw + Decal
Mudfire Clayworks and Gallery, Decatur, Georgia
22 Harp Overt
Myrna Loy Center for the Performing and Media Arts,
Helena, Montana
22 Looking Forward/Looking Back:
Japanese/American Ceramics
The Artisan Gallery, Northampton, Massachusetts
reviews
24 Androgyny: New Work by Sergei Isupov
by Tony Merino
Mesa Contemporary Arts Center, Mesa, Arizona
26 Object Factory: The Art of Industrial Ceramics
by Casey Ruble
Museum of Arts and Design, New York, New York
The Welsh Table
Works by ten artists who build on and reinterpret traditional Welsh styles of pottery and their
decoration are on view through September 21 at the Smithsonian Institution’s Ripley Center
(www.si.edu/ripley) in Washington, DC.
The exhibition, which originated at the Ruthin Craft Center in Wales and was curated
by Jill Piercy, includes works by Justine Allison, Lowri Davies, David Frith, Margaret Frith,
Virginia Graham, Morgen Hall, Walter Keeler, Claudia Lis, Micki Schloessingk, and James
and Tilla Waters.
“Lowri Davies draws upon Welsh domestic life and culture to inspire the surface decoration on
her slip cast, bone china and porcelain tableware, explains Jill Piercy. “Her work has always been
inspired by the objects people collect . . . . The bird series was inspired by the taxidermy work
produced by the Hutchings family of Aberystwyth from the 1860s up until 1942. It was popular
to display stuffed birds and animals in glass cases with realistic backgrounds and skies. In Lowri’s
series, delicate drawings of birds decorate both the exterior and interior of cups, jugs, and bowls
which are tinted with the reminiscent eggshell colors of white, pale blue, and yellow.
“The ceramic collection range references the Swansea and Nantgarw porcelain produced in
the 19th century that is displayed in the National Museum of Wales. Whereas the original is
precisely decorated in a formal manner, Lowri picks up details and flourishes which give a sense
of the period. . . . Her pieces are decorated with enamel transfer, digital transfer, and gold and
silver luster. On the interior and exterior of the forms are delicate drawings of the cups, vessels,
and floral decoration taken from the collections. The colored line drawings are fluid and delicate,
lifted straight from the sketchbook. While her designs draw upon the rich heritage of Wales, they
have a fresh and contemporary feel.”
Above: Lowri Davies’ cups and small dish, bone china, enamel transfer, digital transfer, and luster.
Below: Detail of enamel transfer and digital transfer imagery. Photos: Dewi Tannat Lloyd.
16
Resident Artist Exhibition
Works by the full-time and summer residents at the Archie Bray Foundation for the Ceramic Arts (www.archiebray.org) in Helena, Montana
were recently on view at the Foundation’s Warehouse Gallery.
“I am particularly excited by what has been an intensive investigation of color and surface texture as they relate to my pots within
the realm of what I call domestic intimacy,” explains Birdie Boone.
“In sensual terms, many of us experience recognition of domestic
intimacy through our emotional connections to the act of nourishing
ourselves physically. My pottery forms and surfaces are subtle emotional translations or expressions of both a combination of memories
of past domestic experience and of the current domestic realities that
ultimately shape my identity both physically and mentally.
“Although utility is what I ultimately engage in celebrating through
my ceramic work, I also present ‘assemblages’ of my pots in order
to encourage the viewer to consider the possibility that pots are so
much more than the current reality of how they are perceived. These
assemblages also serve as an objective expression of my own intuitions
about the dual nature of physical and emotional nourishment.”
Roberta Massuch’s, yellow bowl, 12 in. (30 cm) in length, earthenware,
2008. Image courtesy of Northern Clay Center.
Artists of Northern Clay Center
The Northern Clay Center (www.northernclaycenter.org) in
Minneapolis, Minnesota recently held an exhibition of works
by its affiliated artists.
“I handbuild with a combination of firm and soft slabs:
pressing and folding each component together, easing the clay
into place,” states Roberta Massuch. “This technique creates
tension within the form, allowing soft pillowing areas to flow
into more defined seams and contours. I cast my focus on line
and volume, almost as if each piece I create is a contour drawing brought to life. I intentionally leave the unglazed clay as
the primary surface because it allows the quality of leather-hard
clay to be carried into the finished piece. I enjoy how it draws
you in, inviting you to investigate each object through touch,
through use.
“Function is truly important in my work, in both my utilitarian and my sculptural endeavors. I am interested in eliciting
a feeling of comfort and childhood for the viewer/user through
the creation of soft, playful forms. I want to convey the precious
nature of each clay object, and its need to be carefully handled,
yet treasured and cherished through its use.”
Birdie Boone’s Kitchen Sink for One, 11 in. (28 cm) in diameter, mid-range
redware, slip, and glaze, oxidation fired.
Melissa Mytty: Pickles and Pop
A solo exhibition of sculptural cup and saucer forms by Melissa Mytty
was recently on view at the Clay Studio (www.theclaystudio.org) in
Philadelphia, Pennsylvania.
Mytty’s cups are the size of traditional teacups or demitasse cups. In contrast, the scale, volume, and interpretations of the saucers varies widely.
“The cup as an object has been the focus of my investigation as a
designer,” states Mytty. “My inspiration comes from historical ceramic
teacups and saucers, the form as it functions, and its place in every day
life. I am driven by contemporary music, from country to hip hop, and
fashion design from high-end couture to thrift stores.
“Currently I am focused on teacup designs that will function beautifully yet be a contemporary cultural signifier, a blending of street style
with the grandma aesthetic of traditional teacups. My work draws from
the rich history of ceramics while injections of contemporary culture
are critical and keep my work pushing the boundaries of the material
and the format of the cup.”
Melissa Mytty’s Delicious, 7 in. (18 cm) in height, porcelain, Plexiglas, 2008.
17
exhibitions
Curiosities
Kate MacDowell’s Buzz, 14½ in. (37 cm) in height, handbuilt porcelain, acrylic gel, 2008.
An exhibition of works by Lindsay Feuer, Kate MacDowell, Andy Rogers, and Kathleen
Royster Lamb was recently on view at Santa Fe Clay (www.santafeclay.com) in Santa Fe,
New Mexico.
“The work of these artists has the common thread of addressing the world around us.
Nature, including human, botanical, and animal forms is the focus of these artists’ sculptures,
and issues of growth, decay, and metamorphosis are addressed,” states Santa Fe Clay’s director,
Avra Leodas. “From richly varied and hybridized fruits, flowers, animal, and human forms,
each artist in this group comments on man’s relationship to our environment. Each of these
artists works in an intimate scale, with attention to intricate detail and surface.”
“In my work this romantic ideal of union with the natural world conflicts with our
contemporary impact on the environment,” states Kate MacDowell. “These pieces are in
part responses to environmental stressors including climate change, toxic pollution, and
genetically modified crops. They also borrow from myth, art history, figures of speech,
and other cultural touchstones. In some pieces, aspects of the human figure stand in for
ourselves and act out sometimes harrowing, sometimes humorous transformations that
illustrate our current relationship with the natural world. In others, animals take on
anthropomorphic qualities when they are given safety equipment to attempt to protect
them from man-made environmental threats. In each case, the union between man and
nature is shown to be one of friction and discomfort, with the disturbing implication that
we too are vulnerable to being victimized by our destructive practices. . . . I see each piece
as a captured and preserved specimen, a painstaking record of endangered natural forms
and a commentary on our own culpability.
Akaji Ken
Figuration
A solo exhibition of new work by Akaji Ken was recently on view at Gallery Carla Koch (www.carlakoch.nl) in Amsterdam, The Netherlands.
“Even though the work of Akaji Ken is clearly influenced by Japanese tradition, he has developed a completely unique and distinctive
style,” states gallery director Carla Koch. “Akaji Ken has become
Figurative ceramics by Stephen Bird, Michael Doolan, Jenny
Orchard, and Mark Thompson were recently on view at Jam Factory Contemporary Craft and Design (www.jamfactory.com.au)
in Adelaide, Australia.
“My choice of woodland animals and scenarios uncovers the
darker underbelly of the childhood narrative experience,” states
Michael Doolan. “Groupings of imaginary talking animals, stripped
of facial features and set amongst anthropomorphized woodland
settings, are set to recall the Gothic undertow of children’s fairy tales.
The arrested development of the creatures generates metamorphic
possibility. My
most recent experiments involve
camouflaging the
ceramic surface of
my subjects and
environments, including Woodcutter
Rabbit and Grandma’s House, in a
second nylon skin.
My material deception, achieved
by d i s g u i s i n g
clay . . . implies
another level of
deception, offering
Michael Doolan’s Red Story (Woodcutter Rabbit), 19
a cautionary note in. (48 cm) in height, ceramic, nylon, wood. Photo:
Graham Baring.
to my viewers.”
Akaji Ken’s lidded box, 12 in. (31 cm) in length, porcelain, overglaze, 2008.
Photo: Tom Haartsen.
known through his red overglazed objects and his subtle and consistently applied decorations. Akaji’s shapes stem directly from Japanese
tradition. He produces sake cups, stackable boxes, and sushi dishes,
whose shapes hardly differ from every-day Japanese utensils. However,
through his decoration techniques these objects transcend their daily
functions, even though they can still be used.”
The boxes in this exhibition are derived from traditional brush
boxes and food boxes, a single object or several stacked forms. These
have intriguing decorations on the outside with heavy brush strokes
in red overglaze and very delicate decorations in silver and gold on
the inside. A translation of the traditional shapes to contemporary
objets d’art.”
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exhibitions
Ben Jackel: Compliance Solutions
The first solo exhibition of Los Angeles-based artist Ben Jackel was recently on view at LA
Louver (www.lalouver.com) in Venice, California.
“Ben Jackel’s sculptures blend the artist’s interest in history, particularly the history of
war, and an attraction to the beauty of man-made objects, with his sophisticated handling of
clay and wood, states Elizabeth East, a director at LA Louver. “The forms that Jackel creates
range from simple devices, to highly technical and refined machines; from objects that are
life-size, to those many times smaller or larger than their real-life equivalent.
“The centerpiece of the exhibition is an installation of 256 Greek warriors created from
clay, titled Syntagma, 2008–2009. The 6-inch-high figures—each a unique combination
of stance, helmet, breastplate, and shield—hold a metal-tipped mahogany spear, and are
presented in battle formation.
“In the series Miles to Go Until We Sleep, 2008-2009, seven naval destroyers plow through
a gallery wall and are perceived by the visitor in aerial view. Each vessel re-imagines an original
warship from the Battle of Leyte Gulf, the largest naval battle of WWII. In lyrical counter-
Above and left:
Bruce Winn’s
tulipiere, 10
in. (25 cm) in
length, wood-fired
porcelain, 2009.
The Watershed Gala
Wood-Fire Exhibition
Wood-fired works by 120 invited artists
from the US, Canada, and Australia were
on display earlier this year at Gustin
Ceramics (www.gustinceramics.com),
South Dartmouth, Massachusetts.
All of the works included in the
exhibition were shipped or delivered
unfinished and fired together in Chris
Gustin’s three-chambered anagama kiln.
An online auction of selected works,
including the tulipiere by Bruce Winn,
shown here, was organized in addition
to the exhibition. All proceeds from the
sale of the works were donated to the
Watershed Center for the Ceramic Arts
in Newcastle, Maine.
Ben Jackel’s Sprinkler Heads, 14 in. (36 cm) in length, stoneware, ebony, 2008–2009.
balance to the ships, with In the Hearts of Men, 2008-2009, Jackel interprets the shrouded,
winged figure created by Daniel Chester French (1850-1931) in 1922, to commemorate
the Massachusetts dead of WWI.
“A fire extinguisher, a fire hose, and a box of sprinkler heads comprise a group of functional
objects that are generally taken for granted, until crisis commands attention to their necessity. These Jackel renders functionless, with each meticulously executed sculpture presented
in an ebony box that absorbs light and creates stillness around the object; our attention is
driven to the quiet elegance of their forms.”
Draw + Decal
The work of thirteen contemporary clay artists who use imagery and narrative on vessel forms was
recently on view at Mudfire Clayworks and Gallery (www.mudfire.com) in Decatur, Georgia.
It is impossible to grace the surface of clay without acknowledging thousands of years of
history,” states Erik Haagensen, co-director at Mudfire. “Many of the techniques and materials in use today were developed millennia ago, but those leading the field are combining new
technologies with fresh viewpoints on design and illustration.”
“I am interested that pottery speak about the world,” states Stefan Ritter. “We are surrounded today with sights and sounds, words and culture like never before. I am interested
in pottery that reflects this, and is ultimately about us, about human beings, and in reflecting
this responds to us emotionally and intellectually. To me a good pot is a sort of poem you can
fill with a drink.”
Stefan Ritter’s Create Your Own Freedom, 9 in. (23 cm) in height, porcelain
with underglazes and glaze, multiple firings to cone 04, 2008.
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exhibitions
Harp Overt
A solo exhibition of new work by Nicolas Darcourt was recently on view at the
Myrna Loy Center for the Performing and Media Arts (www.myrnaloycenter.com) in
Helena, Montana.
“My work deals with the figure set in a decentered and often compromised context,”
states Darcourt. “More non-narrative than narrative, I consider them sculptural collages
of hand-built figuration and press molded shapes. These shapes reference architecture,
monument, and ornamentation. They make up both the three-dimensional support and
act as compositional signifiers of time and place.”
“The press molded surface also
compliments the handmade, gestural
quality I employ when rendering the
figure. While one offers exactitude,
the other offers spontaneity. I prefer to
leave the mark of the hand as I’m hand
building figurative elements. I feel it
allows for a more personal connection
between the viewer and the personality
of the piece.
“I render the figure according to
ideas of balance and rest. But upon
further inspection, one begins to
recognize moments of tension, strain
and limitation.
“In my most current body of work,
I use the abstracted musical harp as a Nicolas Darcourt’s Sustained Pitch, 20 in. (50 cm) in height,
format to further explore combining stoneware, slips, stains, fired to cone 6, 2009.
figuration and ornamentation. It’s relevance lies in my view of the harp relating to tension and balance: as it is a stringed instrument,
Nicolas Darcourt’s Intermission, 18 in. (46 cm) in
height, stoneware, slips, stains, fired to cone 6, 2009.
tightened and tuned, and as it commonly stands, upright as a self supporting object.”
Looking Forward/Looking Back:
Japanese/American Ceramics
A group exhibition of works by Naoko Gomi, Ayumi
Horie, Hiroshi Nakayama, Akira Satake, and Ikuzi Teraki is on view through September 20 at The Artisan Gallery
(www.theartisangallery.com) in Northampton, Massachusetts.
“This exhibit features the exuberant and meditative work of
ceramic artists of Japanese decent who honor their ties to a rich historical tradition while extending the reach and possibilities of their own
ceramics expression,” states the gallery’s director, Patty Arbour.
“My goal is to find a voice in creating pieces that are based
on my Japanese heritage, explains Hiroshi Nakayama. “I grew
up in a quite traditional Japanese house, very basic, simple and
beautiful, though I did not feel this way when I was living there.
But now I realize this atmosphere deeply influenced me.
“I aim for the Japanese idea of beauty, Shibui, a quality of
understated elegant simplicity that speaks quietly for itself with
inherent meaning and utility, unobtrusive sophistication, refined
maturity, spirituality rooted in the quiet appreciation of nature.
I am also influenced by the design aesthetics of various countries
where I have traveled and lived since leaving Japan at age 25.”
Hiroshi Nakayama’s vase form, 11 in. (28 cm) in diameter, stoneware, wood ash
glazes, multiple firings, fired to cone 11 in reduction.
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reviews
reviews
Pieces depicted in rows (from left to right): Victorious, 26 in. (66 cm) in height, 2009; Busker, 28 in. (71 cm) in height, 2009; Invisible Man, 34 in. (86 cm) in height, 2009;
Tom Thumb, 34 in. (86 cm) in height, 2009. Images courtesy of the artist and Ferrin Gallery.
Androgyny: New Work by Sergei Isupov
by Tony Merino
that of American painter, Grant Wood. And, like the Russian painter,
Marc Chagall, Isupov’s stories are more cryptic than absurd. In Victorious, for example, he paints two lance wielding knights below each
of the face’s eyes on one side of the piece, with the eyes standing in
for the horses’ heads. Every detail is an emblem. There is a sense of
grammar and structure; however, the story is inaccessible.
In Isupov’s most complicated images, seen on Tom Thumb, all
of these emblems cascade in a crescendo of story telling. The face
mixes gender markers; it has a wide and square forehead and a narrow jaw and pointed chin. The piece is covered with a field of warm
brownish grays, on which perverse cupids are painted. On the back,
Isupov paints a portrait of a masculine woman doing a jig and lifting her skirt. Adding to the complexity of the image, the woman is
depicted as a drawing on a flat piece of paper. On the base of the
work, Isupov draws an image of eight men doing a Mambo on skis.
Isupov saturates the piece with provocative and incendiary symbols.
He creates a sense these emblems connect together to create a story,
but it is impossible to decipher.
Isupov uncannily exploits human nature. The mind abhors
a vacuum. With each layer of convention that Isupov strips, he
replaces it with a denser, more opaque layer. With no conclusive
narrative available, the viewer writes any story they see in the image. The works are psychological portraits, more of the viewer then
the subject.
the author Tony Merino has lectured and published internationally.
Sergei Isupov creates surreal snapshots. All of the pieces included in “Androgyny: New Work by Sergei Isupov,” which was recently on view at the
Mesa Contemporary Arts Center (www.mesaartscenter.com/MCA.aspx)
in Mesa, Arizona, read as if the artist peels back his subjects’ mask of mores and manners exposing their psyches. The more he reveals, the more
he obfuscates. This makes his artwork seductively disingenuous.
The core of his work examines what is essential and exterior to his
subjects. As the title of the exhibition, “Androgyny,” suggests, Isupov
treats his portraits as masks, portraying the ways his subjects choose
to present themselves. In the piece, Invisible Man, the subject’s face
is depicted as a separate surface, being pulled over the portrait’s head.
On the back, the artist draws a masculine woman. As with this piece,
most of the works are either ambiguous or mix gender markings. This
informs the overarching theme. Gender is just another guise.
His images are stylized, not realistic. The absence of physical uniqueness creates an aura of psychological detail. The fact that imagery covers
all visible surfaces of the forms combined with the way these works are
displayed accents this sense of psychic insight. Isupov paints surreal allegories on the bottom of all of the pieces, which the viewer sees through
a mirror below a glass topped pedestal. Beneath Busker, he presents two
bald cupids tugging on a man dressed like a girl. Under Invisible Man,
Isupov draws four androgynous figures dancing. This creates a severe
sense of voyeurism. The viewer becomes a Peeping Tom.
Isupov’s pieces reflect the style of two unique Modernist painters.
The images in Androgyny have an eerie, neo-gothic look similar to
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reviews
Clockwise from top left: Seletti Design’s Versailles Fluó, 2008, manufactured by Seletti SpA; Khashayar Naimanan’s Incognito (Hidden Wealth), 2003, manufactured
by Nymphenburg; Insa Doan and Cora Gebauer’s Porcelain Memory, 2007; Job Smeets and Nynke Tynagel’s Biscuit Collection, 2006, manufactured by Royal Tichelaar
Makkum; Caroline Slotte’s Blue & White, Landscape Multiple, 2008; Jurgen Bey’s Minutes Tea-Set, 2003 manufactured by Royal Tichelaar Makkum.
Object Factory: The Art of Industrial Ceramics
by Casey Ruble
Upon viewing the exhibition “Object Factory: The Art of Industrial Ceramics,” which is open through September 13 at the Museum of Arts and
Design (www.madmuseum.org) in New York, New York, one can’t help
but remember that a long-standing lineage—in the case of ceramics, one
that dates back to prehistoric times—can be both an asset and a curse. A
curse in that wrenching one’s identity out of the past often proves a difficult endeavor; an asset in that such longevity conversely supports myriad
developments of that identity. Taken together, the over 200 pieces in this
ambitious show, curated by Marek Cecula (himself a ceramic artist), reflect
a sort of anxious respect for the tradition of this centuries-old medium,
combined with a pointed enthusiasm about its future. As Cecula wrote
in his essay for the catalogue, “Ceramics have the power to dissolve the
timeline that separates past and present.”
Although none of the work in this show was made before the year
2000, the exhibition’s curatorial thrust is rooted in the preceding decades,
when, in Cecula’s words, “a new type of ceramic object came into being
. . . one that acknowledged the historical evolution of the medium while
pointing toward a new synthesis of art, craft, and design.” It was a time
marked by increased collaboration between the individual studio and
the manufactory: Well-established manufacturers invited artists, designers, and ceramists to realize their projects with the technical support of
the institutions; meanwhile, studio ceramists had begun to embrace the
advanced technologies and systems of production that industry offered.
Like any good marriage, this one spawned a new generation of innovative
objects, represented in this exhibition under three different groupings:
“Collaborations,” “Altered States,” and “New Territory.”
Appropriately, the exhibition’s first room was dedicated to Collaborations—a body of porcelain works made by contemporary designers, artists,
and ceramists in collaboration with manufacturers such as Rosenthal
and Nymphenburg. Here, various functional objects expressed a range
of aesthetic and conceptual approaches, from Lladró design team’s large
oval mirror with a dreamy Cinderella-like figure at the base (Re-Deco Large
Oval Mirror, manufactured by Lladró) to Job Smeets and Nynke Tynagel’s
peace-sign emblazoned cake stand and lid topped by a hand flashing the
V sign (Biscuit Collection, manufactured by Royal Tichelaar Makkum).
Updating French Rococo, Seletti Design offered Versailles Fluó, a group of
decoratively embellished glazed white vessels with one element—a single
handle on an urn, a fluted base of a candlestick—colored in splashy neon.
Among the most conceptually rigorous works in this group was Incognito
(Hidden Wealth), a dinnerware set designed by Khashayar Naimanan and
manufactured by Nymphenburg. By counter-intuitively placing the factory mark—the identifier of authenticity and thus value—on the upsides
of the pieces, and the decorative imagery on the undersides, Naimanan
lays bare the “keeping up with the Joneses” mentality that drives consumption of high-priced goods. Also addressing the complicated assessment of
value was Jurgen Bey’s Minutes Tea-Set, manufactured by Royal Tichelaar
Makkum. Here, each piece was annotated with the amount of time the
worker spent making it and was then priced accordingly, intentionally
reducing value to the simple—and problematic—equation of “effort
equals worth.”
Flanking the Collaborations group were rooms dedicated to Altered
States (works involving mass-produced objects manipulated via cutting,
26
Clockwise from top left: Jo Meester’s Ornamental Inheritance, 2004; Robert Dawson’s Verticality, 2008; Eric Morel’s tea set, 2002; Paul Scott’s Scott’s Cumbrian
Blue(s), Foot and Mouth No. 5, 2004, Royal Worcester bone china; Lladró design team’s Re-Deco Large Oval Mirror, 2008; Miriam van der Lubbe’s Tea set, 2001;
Tristan Zimmermann’s Phonophone II, 2007; Ami Drach and Dov Ganchrow’s Hot Plate, 2003.
knives with hot-isostatic-pressured ceramic blades whose hardness approaches that of diamond; pens with ceramic writing balls covered in
hundreds of miniscule cups to improve ink flow (also by Kyocera); and
USB memory sticks with porcelain coverings, one of which also comes
with an amusingly retro knitted cozy (Insa Doan and Cora Gebauer’s
Porcelain Memory). Lest one think that advanced technology precludes
visual sophistication, don’t be fooled: The perfect proportions and silky
glaze of Tristan Zimmermann’s Phonophone II—a device intended to
amplify sound emitted from iPod earphones—make it gorgeous as pure
sculpture, and the silk-screened pattern made of heat-conductive metal
film on Ami Drach and Dov Ganchrow’s porcelain Hot Plate could stand
up to any Bauhaus-approved design.
Despite all its reveling in diversity, this exhibition didn’t come off
as a glibly enthusiastic sampling of contemporary ceramic work, nor
did it succumb to tedious didacticism. And despite a wall text notifying
viewers that “many of the ceramic pieces on view in this exhibition are
available for sale,” the show never veered toward mere advertisement of
purchasable products. Rather, the notification stood as a reminder of the
intimate relationship we’ve had with ceramics since time immemorial,
from crude clay bowls to catalytic converters, and, more important, of
how the merging of industry and artistic innovation inevitably produces
objects we just can’t live without.
breaking, deforming, and reassembling) and New Territory (functional
pieces made of technologically advanced materials such as high-fire
zirconium and corundum ceramics). These groups, respectively, suggested a looking back and looking forward. In the former, many pieces
acknowledged their fabrication or traditional use. For example, for
his porcelain tea set No Title, Eric Morel declined to trim off the slip,
instead gilding it to offer a fresh take on ornamentation. Miriam van
der Lubbe similarly used gold to embellish her porcelain Tea Set with
“stains” such as a drip from the spout and a ring around the saucer’s
depression. The ubiquitous blue-and-white ornamental convention was
compulsively visited by many artists: Paul Scott offered Scott’s Cumbrian
Blue(s), Foot and Mouth No. 5, a Royal Worcester bone-china platter
provocatively featuring corpses of cattle slaughtered during the 2001
foot-and-mouth disease scare; on the vases of Ornamental Inheritance,
Jo Meesters intermingled traditional floral and windmill motifs with
contemporary airplanes, wind turbines, and McDonald’s signs in ultramarine; for Blue & White, Landscape Multiple, Caroline Slotte used
a waterjet to cut out portions of imagery on found earthenware plates
and placed the pieces atop one another to create a three-dimensional
diorama effect. Most impressive was Robert Dawson’s Verticality—a
group of 36 plates printed with enlarged portions of Thomas Minton’s
famous 1780 willow pattern. Installed on the wall in the shape of a
parallelogram, the plates reconfigure this well-worn story of love, death,
and resurrection by allowing for gaps in the imagery.
Included in the New Territory group were, among other high-tech
items, Swiss watches with ceramic cases; Kyocera-brand scissors and
the author Casey Ruble works as a freelance art critic and editor and
teaches painting and drawing as an artist-in-residence at Fordham University, Lincoln Center campus, New York, New York.
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2009
Undergraduate
Showcase
Welcome to the second year of the Ceramics Monthly Undergraduate Showcase. It’s
gratifying to see that the accomplishment and success of last year’s participants was
not a fluke. Clearly, the shaping of the next generation of ceramic artists is in confident
hands—those of the instructors as well as the students. After all, isn’t a student the
party most responsible for his or her own education? Sometimes we all like to think
that it is the versatile nature of clay that encourages such a broad range of practice,
but we would be remiss if we did not acknowledge the instructors who encourage
students to find their own voice in clay, without favoring a specific technique or
stylistic approach. For this reason, we are listing instructors along with the deserving
artists and their work—and what a range of work it is! We’re looking forward to what
may come next from these newcomers. In the meantime, we extend congratulations
to those included in this year’s Showcase, and encouragement to all undergraduate
students to participate next year. Enjoy!
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Barbara Banfield
Sheridan College Institute of Technology and
Advanced Learning, Oakville, Ontario, Canada
Bruce Cochrane, Professor
While at Sheridan College my focus has been to explore as
much technique and process as possible. The challenging
method of soda firing has captured my attention. The random atmosphere and the dynamic glazes lend themselves to
creating wheel thrown, altered, and hand-built forms that
highlight this technique.
My personal interest in the outdoors and traveling allows
me to draw visual inspiration from both nature and architecture. The added surface textures combined with the fluid and
variegated glazes are much like the snow laden pine trees or
the rain pools in a sunken, lichen covered rock. At times, the
architectural city-like shapes intersect with the soft natural
lines just as the urban and rural landscapes collide. Drawing
on the world that surrounds me, these porcelain pots and
glazes have become my source of creative expression.
Right: Ice bucket, 16 in. (41 cm) in height, soda-fired
porcelain, 2009.
Below: Serving bowl, 14 in. (36 cm) in diameter,
soda-fired porcelain, 2008.
30
focus college clay
Matthew Bright
Minnesota State University-Mankato,
Mankato, Minnesota
Mika Negishi Laidlaw, Assistant Professor;
Todd Shanafelt, Associate Professor
As an artist, it is my responsibility to influence the
viewer to see not just an object, but an expression
of myself when looking at my artwork. I am consumed by the completion of my art more than by its
purpose. I work with my ideas as rough directions
rather than an exact map, therefore, the initial conception of my work rarely matches the end result.
Following a strict design or conceptual idea leaves
little room for intuitive creativity and inhibits the
artistic process by proposing rules or guidelines.
My work derives its influences from the industrious
man-made world. I am interested in transmuting
as many of these influences into each piece while
keeping a straightforward yet complex outcome.
The reasons behind my work are personal, but the
message I am trying to convey is ambiguous. It is
up to the viewer to draw their own conclusions as
to what my art means to them. My art can never be
taken the wrong way because there is no right way
to view it or understand it.
Above: Failure to Function, 18 in.
(46 cm) in height, earthenware,
metallic paints, 2009.
Left: Transfuse Me, 25 in. (64 cm)
in height, stoneware, glaze, glass,
metal, fired to cone 05, 2008.
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Melanie Blood
Massachusetts College of Art and Design, Boston, Massachusetts
Janna Longacre, Professor; Ben Ryterband, Professor
A moment in time can be captured; however, what remains most important is the memory and existence of that instant.
My inspirations have been my grandparents, the longevity of their lives, the existence of time, and the idea
of aging. The fear of death and longing lingers in my mind when creating unsustainable works. I am interested
in the process of creating, the existence of the piece, and finally the aging and decomposition of it. To me, this
evolution can be linked to my grandparents and my time spent with them; never knowing what the future holds
and always living in the moment. These circumstances of time result in works that have a history collected through
fragments, moments, and, ultimately, memories.
Right: Draped Series Arches, 22 in.
(56 cm) in height, low-fire slip, soda
fired,,2009.
Below: Draped Series, Untitled #2,
2 ft. (1.2 m) in length, low-fire slip
and cotton batting, 2009.
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focus college clay
Julie Malen
Kansas City Art Institute,
Kansas City, Missouri
Cary Esser, Professor; George Timock, Professor;
Paul Donnelly, Special Instructor
My interest in ceramics draws me to analyze the life and character of objects—the idea that possessions can retain the story of
human existence. As a result, the scenarios I create in clay combine objects, plants, and animals that tell stories metaphorically.
The viewer can derive meaning by asking first what the objects represent, and second what the relationship is between them.
Clay is an amorphous and process oriented material that I use to create an impression, not a duplication of reality. The
forms of my objects and creatures are based on realism, but I approach the final surfaces loosely to make them more painterly
and symbolic. I become lost in creating gestural marks with my fingers and nails. Animal hair becomes as ornamental as the
architectural forms that accompany them.
I am also deeply inspired by the still life tradition that emerged as its own genre of painting in the 17th century in the
Netherlands. The Dutch Masters painted objects from everyday life to deliver an allegorical and moralizing message. Often, I
will reference imagery from that era to support the idea that the objects I make are meant to function symbolically. My research
into those paintings also becomes a trajectory for themes I find parallels to in modern society.
Bull in a China Shop, 75 in. (1.9 m) in length, stoneware, commercial
dishes, ceramic decals, found objects, 2009.
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Mai Maruo
New York State College of Ceramics
at Alfred University, Alfred, New York
Wayne Higby, Professor; Anne Currier, Professor;
Andrea Gill, Associate Professor; Chris Miller, Instructor
Over time, traditions adjust to people and their lifestyles. The
rate of this change may vary within different cultures. In contrast,
nature tends to change slowly and universally. Both of these types
of change are meaningful to me for different reasons.
Exploring Japanese traditional culture allows me to preserve a
sense of my identity. I appropriate motifs and patterns not only
from kimonos, but also from different cultures.
Nature, on the other hand, is a place for me to be neutral. Regardless of what culture I belong to, I can have a mind free of thoughts
when I am connected to nature. I am as fascinated by patterns and
shapes in nature, as I am by kimono motifs.
I have recently become intrigued by soda and salt firing. To me,
these are similar to performing in front of an audience, because
the outcome of each firing varies according to the conditions both
inside and outside the kiln.
Above: Bowl, 11 in. (28 cm) in diameter, soda-fired porcelain.
Below: Jewelry box, 4.5 in. (11 cm) in height, soda-fired porcelain.
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Timo Fahler
Kansas City Art Institute,
Kansas City, Missouri
Cary Esser, Professor; George Timock, Professor;
Tom Binger, Instructor and Technician
My recent work investigates the interplay between the interior architecture of an
object and the exterior surface it projects. My intention is to create visceral sculptures that expose the elegance of their skin while revealing the complexity of their
anatomy. Utilizing a variety of textures allows me to expose this interaction. The
details of the surface, whether organic or geometric, complete the structure’s form.
My choice of a subdued palette draws the immediate focus to the surface, while the
stark contrast of shadow accentuates the elaborate interior.
The unpredictable forms that evolve within the landscape provide us with a
blueprint of the earth’s evolution. Geology and the earth’s topography influence my
methods, as well as my formal design.
Right: Layered Archetype B, 17 in.
(43 cm) in height, slip cast and thrown
porcelain, stoneware, black underglaze,
fired to cone 10 in reduction.
Left: Porcelain Archetype, 35 in.
(89 cm) in height, slip cast, press
molded porcelain, fired to cone 10
in reduction.
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Brenda Danbrook
The Australian National University,
Canberra, Australia
Janet DeBoos, Head of Workshop
Finding art within functional pottery has become my
passion. I begin a piece by considering the shape, rims,
and space, with rhythmic patterns creating relationships between forms. When people see my work, I’d like
them to see confident, considered, elegant forms with
engaging relationships developed through arrangement
in larger compositions. I know an exhibit of my work
is complete when it creates a collective voice greater
than the sum of its parts. The language of form allows
a dialog to develop between individual pieces. It is this
conversation that excites me.
Repetition unifies the forms and subtle variations
highlight individual qualities. It is often through the
smallest change that engagement occurs; the undulation of a rim, the fineness of edges, and the volume
suggested by a change of profile.
My recent work has been soda glazed. Aided by
the fire, the composition of the clay body determines
glaze surface, color, and responsiveness. Shades of
gray through white with saturated rich honey brown
creates tonal and color harmonies. The addition of a
graphic element through the use of striped surfaces
creates visual tensions that render the groupings more
contemporary in feel.
Above: Composition of Eight, 16 in. (41 cm) in height
(tallest), wheel-thrown stoneware, iron glaze, soda fired
to cone 10.
Below: Composition of Fourteen, 16 in. (14 cm) in height
(tallest), wheel-thrown stoneware and porcelain, wax
resist glaze and soda glaze, fired to cone 10.
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focus college clay
Angee Verzani-Dorcey
University of South Dakota,
Vermillion, South Dakota
Michael Hill, Artist-in-Residence
Conceptually, it is my intention to physically preserve a
celebration, capture a moment, and honor the functional
form. The works I create are artifacts that intuitively evoke
cherished memories, rituals, and special occasions that we
experience throughout life. I desire the journey of clay and
possess a passion for functional ware and the qualities it
offers; plasticity, durability, and longevity.
Initially, my interest was strictly in utilitarian forms,
but I have grown to appreciate the appeal and messages
conveyed by nontraditional forms. This approach has encouraged me to expand my interpretation of this art form
through graceful transformations of the functional form.
Many dualities arise in the work, which only enhance the
aesthetic appeal and intrigue the viewer. The applications
of thick slips create a surreal and extreme texture that I
find enticing. Senses are stimulated by the delicious surface
and the hazardous edges.
Right: 3-Tier Cake, 15 in. (38 cm) in height, stoneware
with slips and glaze, fired to cone 10, 2009.
Below: Bread tray, 18 in. (46 cm) in length, stoneware
with slips and glaze, fired to cone 10, 2009.
37
Deborah Freeman
Sheridan College Institute of Technology
and Advanced Learning, Oakville,
Ontario, Canada
Bruce Cochrane, Professor
I produce functional ceramic ware that has been inspired by my wilderness travels throughout Canada.
These trips have produced an interest in natural
processes and materials. As a result, my work is often
about the methods used to form and fire the work,
as well as the raw materials themselves. Many of my
forms and imagery are based on historical references
from Japanese tea ceremony ware of the Momoyama
period (16th and 17th centuries).
The majority of my work is wheel thrown and altered. Process marks are intentionally left or enhanced
as a way to further communicate with users and to
explore the materials themselves. Contrasting clays are
sometimes used to emphasize individual materials and
their properties. Atmospheric firings such as wood and
soda play a large role in completing pieces and deepen
the dialogue about process.
Above: Double Condiment, 12 ½ in. (32 cm) in length, thrown,
altered, and assembled stoneware (with cellulose fiber, nut
shells, feldspar chips and grog) and porcelain, soda-fired, 2009.
Below: Momoyama Liquor Set, 10 in. (25 cm) in width, thrown,
altered, and assembled stoneware (with cellulose fiber, nut
shells, feldspar chips, and grog) and porcelain, soda-fired, 2008.
38
focus college clay
Travis Winters
Buffalo State College,
Buffalo, New York
Robert Wood, Professor
As a child I spent a lot of my time exploring the woods that were
right in my backyard, which is why I have always been drawn to the
organic beauty of nature. By looking at the world around us, we can
begin to see how some objects have been affected by imperfections.
Many trees, plants, and animals have evolved because of mutations
that proved beneficial.
Evolution and the theory of natural selection have shaped our
planet from a few organisms into many life forms. My work has
always been about our surroundings and the different abnormalities that occur within nature, sometimes grotesque and sometimes
beautiful. With these latest pieces, I am portraying objects that
look as if they are natural entities that have evolved from trees into
unusual organic forms.
Right: Cinched, 14 in. (33 cm) in height, wood-fired
stoneware, 2009.
Below: Nebula, 10 in. (25 cm) in height, raku fired, 2009.
39
NCECA 2009
Regional Student
Juried Exhibition
Bent tray, 23 in. (58 cm) in length, by David Eichelberger, University of Nebraska-Lincoln.
Jessica Orlowski, Student Director at Large
The National Council on Education for the Ceramic Arts (NCECA) “Regional Student Juried Exhibition” (RSJE) is often cited
as one of the best shows the council’s national conference has to
offer. The 2009 RSJE, hosted by the Tempe Center for the Arts,
continued this tradition. But do not let the S mislead you. These
are not works hesitantly emerging from the classroom, but bold
representations of the next generation of ceramics. Unencumbered
by the expectations of the ceramic world, students are free to
explore and grow in a way that is enviable. Without the pressures
of post-graduation gallery representation, making a living, etc.,
they are simply motivated by the love of clay. The RSJE then
selects the best of the young talent available to create a dynamic
and inspiring show.
With the accessibility of the Internet, it is becoming imperative
for young artists to have a web presence. When Googled, does this
artist have their own web page? Exhibition listings? However, no
matter how well constructed, a web presence cannot be the only
link between their art and the world. Just as the impact of an impasto style painting is lost in digital replications, so is much of the
depth of color and texture that can be achieved in ceramic work.
(Though tempting, especially for fellow ceramic artists visiting the
RSJE, touching was prohibited.) This exhibition and those like it
40
focus college clay
are therefore essential, not only offering students
the professional opportunity to interact with galleries outside their school, but also to allow their work
the close examination it needs and deserves.
Though historically a successful exhibition,
the RSJE is in the midst of undertaking exciting
self-improvements. At the 2010 conference in
Philadelphia, the student juried exhibition will fully
embrace its democratic potential by going national.
This already inspiring showcase of young talent will
become an even greater opportunity for emerging
artists to introduce their work to the clay world.
Much like the students it represents, the exhibi-
Above: Orb Cluster, 15 in. (38 cm) in height, by Amanda
Pless, Arizona State University.
Above right: Childbearing Hips, 18 in. (46 cm) in height,
by Shenny Cruces, San Francisco State University.
Right: Set of Shells 1, each approximately 2 in. (5 cm) in
diameter, by Duncan Tweed, Northern Arizona University.
41
At the 2010 conference in Philadelphia, the
student juried exhibition will fully embrace its
democratic potential by going national.
—Jessica Orlowski, NCECA Student Director at Large
Binary in Nature, 36 in. (91 cm) in height, by Jason Harper, Kansas State University;
NCECA Undergraduate Award for Student Excellence.
42
tion is taking risks to engage participants and
viewers alike. The “2010 NCECA National
Student Juried Exhibition” is the next step in
this evolution—and it won’t stop there.
For information on how to submit your work
to the “2010 NCECA National Student Juried
Exhibition” (regardless of your state of residence),
see www.nceca.net.
Michaelene Walsh, Juror
An exciting aspect of teaching and attending
NCECA every year is seeing how students are
responding to the material in refreshing ways.
Growth from year to year is exponential due
to the variety of resources available to artists;
sharing images, ideas and information has
never been easier. Given this level of exchange,
I was happy to find amidst the juried work a
respect for the traditions of utility, figurative
work, and—in particular this year—wood
firing. The variety of work to choose from
seemed a sure sign that the spectrum of ceramic expression is healthy and well. I have
always appreciated that both new approaches
and traditional forms of expression can coexist and thrive simultaneously at NCECA.
It’s as if the material were an analog for democracy itself.
Michaelene Walsh
Associate Professor of Art
Louisiana State University
Geoffrey Wheeler, Juror
I was honored and delighted when asked to
co-jury the 2009 NCECA Regional Student
Exhibition. I have been attending NCECA
for many years and the annual student show
is always one of my favorite exhibitions at the
conference. It is this exhibition that reflects
Top: Mezcal Cantaro and Reliquary,
11 in. (28 cm) in height, by Trevor
Dunn, Utah State University.
Right: Square flower brick, 5½ in.
(14 cm) in height, by Lauren Clay,
Wichita State University.
43
Self Portrait, 15 in. (38 cm) in height,
by Darien Johnson, Arizona State University.
Lidded jar, 9 in. (23 cm) in height,
by Seth Green, University of Nebraska-Lincoln.
Patterns #3, 15 in. (38 cm) in length, by Suching Chen, Arizona State University.
44
focus college clay
Untitled, by Lee Mattingly, Wichita State University.
Cup and saucer, 4 in. (10 cm) in height, by Autumn Cipala,
University of Nebraska-Lincoln.
today’s ceramics education and points to the future
of the ceramics arts. It inevitably has some of the
best work shown at the conference.
Looking through the submitted work for the
first time, I was impressed with the variety of approaches and the high quality of the majority of
the work. I have never participated in jurying an
exhibition of this scope. I had worried that it would
be impossible to compare and decide between work
as diverse as a wood-fired functional pot, and a
conceptually driven installation piece. However,
while certainly there were difficult decisions to
make, it came down to clarity of intention, quality
of execution and whether there was a distinctive
personal voice in the piece. As jurors we wanted
to assemble an exhibition that reflected the vast
array of possibilities of expression within the field
of ceramic art, yet nothing was selected solely for
the purpose of filling a niche.
I would like to applaud each and every student
who submitted work to this exhibition. Jumping
through the hoops required for entering an exhibition like this is a learning experience in itself.
Working with Michaelene Walsh to search through
the 300 or so submissions to select the final pieces
was a pleasure. Ultimately, we were unanimous in
our choices, and I feel we had a very strong exhibition. Congratulations to those of you selected. And
to those of you who were not, please understand
that a juried exhibition is always, to some extent, a
reflection of the jurors’ tastes and biases.
Geoffrey Wheeler
Associate Professor, Ceramics
University of Wisconsin-Stout
Contraposto, 17 in. (43 cm) in height, by Joel Schroeder, Utah State University.
Clover Dishes, to 10 in. (25 cm) in width, by Joe Singewald,
Southern Utah University.
45
more
more is
Lorna Meaden
by Stephanie Lanter
Punch bowl, 19 in.
(48 cm) in height, thrown
and altered porcelain, soda
fired to cone 10, 2008.
46
Ms. Meaden is going to buy the flow“the cadence of daily life
ers herself—and the punch and the
whisky and the gravy and the sugar
is punctuated by situations
and the lemonade and the tea and the
that revolve around
candles and the ice and everything
eating and drinking.”
else. There’s going to be a party.
And at this party, unlike Andrea
–Lorna Meaden
del Sarto’s assertion that, “less is
more, Lucrezia” (Robert Browning,
“Faultless Painter,” 1855) less isn’t
more. More is more. And perhaps
ductor’s hand. Lively mishima (inlaid slip)
Mies Van Der Rohe and Coco
lines crescendo up the curving volume
Chanel got it wrong anyway; maybe
of the piece, repeated in refrain and rest
in this poem del Sarto was simply
around the belly, ending up at the top of
referring to his wife’s infidelity rather
the lid in a knob of melodramatic vibrato.
than declaring an aesthetic trump.
Never a dull moment at this event! Time
Regardless, Lorna Meaden’s most
to unstack the whisky cups, unstop the
distinctive functional works defy
flask, put away the bucket! (See Whiskey
this Modernist mantra in more ways
Bucket, p. 48)
than one.
On a more serious note, Meaden is fasLots of pots allude to social circinated by how “the cadence of daily life
cumstances or celebrate community
Lorna Meaden making a punch bowl at the Archie Bray
is punctuated by situations that revolve
meals, but few so equally mirror and
Foundation for the Ceramic Arts.
around eating and drinking.” To date, her
design social structures. Few can
most dynamic aesthetic examinations involve the more indulgent,
actually physically engage as many individuals at once as these
festive ingesta. Perhaps this is because the ritual consumption of
can. Gratifications invite and then reward, disperse from their tidy
more “dangerous” delights bears a more complex cadence. She can
places in containers or on hooks; set free for enjoyment by the
naturally apply her passion for ornament and relish, and demand
hostess. Like the porcelain on her beloved wheel, a fete containsensitivity of her guests. For here, a spoonful of medicine makes the
ing one of Meaden’s punch bowls would simply revolve around
sugar even sweeter: sharp points, thin wire attachments and handles
it. You know a pot has character when, in merely beholding it,
must be encountered with the same gentle tempo and delicacy
visions of shoulder rubbing, sparkling socialites appear (eight in
with which Meaden made them. Though the repeated candy-like
this case), and into the ear float bits of conversation. One can
glaze drips beg for impulsive finger licking, they also, in their very
feel the tension as guests inch closer to that seductive black ladle,
“frozen” nature, join in the chorus of their ceramic family, singing
vying with clinking cups in hand for more beverage but behav“Stop right there! Slow down . . .” Quick, clumsy removal of the
ing to preserve the balance of the occasion, the fragility of the
lid or spoons will yield no satisfaction, might even lead to fracture.
edges. For not only are human borders breakable—clay on clay
The beauty of this active—possibly even didactic—metaphor is,
demands attention.
ironically, its muteness.
Perhaps invoked by the piece’s pattern of diamonds or the tiny
Part of the charm of Meaden’s work, despite this layered denscepter heads dotting the rim, a jester, costumed in patchwork and
sity, is in fact its soft volume. Characteristically, it is comprised
pinstripe, will creep in and crash the scene. This symbolic twin to
of a color palette that is rich and bright but not loud, a sense of
the king, sprung from the bowels of the bowl, may begin a rant,
proportion that is formal but not formidable, and a surface that is
playfully, interpreting current dramas, overturning common nopretty but not pristine. A result of Meaden’s nostalgic motivation
tions, waxing poetic, his role as fool giving him immunity to the
to honor family and heirlooms of her heritage, the blend makes
confines of propriety.
sense. Learning to sew as a child, surrounded in her home by 18th
Even without the intoxicated company, however, the large,
century silver and Western European porcelain, Meaden combines
fleshy, green tureen seems to spin on its black platter base like a
the austerity of these mannered vessels with the sensibility of a
carnival ride, animated mugs flying, missing only the blinking
seamstress. She imbues many of her pots with elegantly lifted feet,
lights and the music.
textile-like motifs (in terms of dividing and decorating the form)
Yet rhythm pervades. In another corner of the warm, glowand the antique, “used and loved” aura that the soda kiln bestows
ing room, near the coffee or tea, maybe, five spoons encircle the
upon appropriately placed, action-packed slips and glazes. Bringing
undulating perimeter of Meaden’s lidded sugar bowl, waiting for
together metal and fabric, the industrial and the handmade, the
their choreographic cue. Echoing the bowl’s rim, the horizontal
subtle and the jovial, Meaden creates a world that is sophisticated
line of its scalloping saucer lifts and falls like the wave of a conCeramics Monthly September 2009
47
Above: Whiskey Bucket, 12 in. (30 cm) in height, thrown and altered
porcelain, soda fired to cone 10, 2008.
Left: Lidded jar, 11 in. (28 cm) in height, thrown and altered
porcelain, soda fired to cone 10, 2008.
Colorado for eight years before receiving her MFA from
Ohio University in Athens. Since graduating in 2005,
she has not left the ceramics fast track for an instant. She
has had teaching positions at Southern Illinois University
Edwardsville and San Juan College in New Mexico, and
artist residencies at the Archie Bray Foundation for the
Ceramic Arts and the Anderson Ranch Arts Center.
Somehow throughout all this, she managed to, in her words, “apply
to every show I could,” and it paid off. In addition to being a featured
demonstrator at the 2008 NCECA Conference, she is represented by
numerous U.S. clay galleries. She has had a positive response to her
elaborate works like these as well as cups, tumblers, bowls, plates,
pitchers, teapots, cruet sets, salt and pepper shakers—you name it.
From giving workshops to developing her website, Meaden is now
a long way from the days of, “making round pots and putting blue
glazes on them.” Stitching the first epiphany she had at a Julia Galloway workshop years ago to the values and insights embedded by
mentor Brad Schwieger, she intends the studio and life she is now
building to be based on balance.
But, amid all of this more, and more, and do it all, and more, how
does one find balance? Whisky and gravy certainly don’t help much in
but friendly, geometric and organic. It is the type of tension necessarily present in any successful creative work.
She finds comfort in patching together unlikely academic/historical influences as well as personal ones. Not only do Baroque, Victorian,
and pastoral French and English serving sets play a role, but classical
celadons from Song Dynasty China, flashing slips of the “Mingei-sota”
potters, and Islamic designs present themselves. “It is such an American
thing to pull from anywhere and everywhere you want to, referencing
whatever you damn well please,” she says, quite accurately.
This desire to reconcile differences and to pack as much into the
pots as possible might also stem from her career path, which recently
has poised her in a spot similar to her subject matter—overflowing
with promise. Meaden has an array of experiences to quilt together,
to make sense of for herself. She was a studio potter in tiny Durango,
48
the long term—not to diminish their importance—
but they can remind us
of some things. Cultural
mores, for instance.
I fire in heavy reduction until
James Trilling, author
cone 9 is down. I then close
of The Language of Ornathe damper of the kiln, and
ment, (London: Thames
turn up the gas. This produces
& Hudson, 2001) posed
unused fuel in the atmosphere
the idea that craft has
of the kiln, trapping carbon on
become a symbol, a word
the surface of the pots. Then,
synonymous with beauty.
I spray a soda ash solution
In reality, before the
into the kiln. I use a large
Industrial Revolution,
amount of soda and water
everything was made by
(5 lb soda ash to 3 gallons of
hand (crafted), and cerwater) and spray it in all at
tainly this aspect in and
once. Afterwards, I let the
of itself didn’t make these
kiln gain temperature until
objects beautiful. Only
cone 10 is down. The finishing
now, as Trilling describes
step is creating an oxidizing
it, “in the flattering glow
atmosphere to brighten the
of nostalgia,” do we categorize the handmade this
color of the glazes.
way. In the past, people
had craft like they had air.
But not every day did they get liquor, cream or honey; wear jewelry
or act with gaiety. Meaden, by perpetuating these extras—these
top layers, in diet, in garment, in behavior—via carefully crafted
ornamental pots, pays homage to the extravagant, the purposefully
beautiful. She achieves this decadence through virtuosity in throwing, altering, and handbuilding with porcelain, using textured
press molds, and laboring intensely over layer by incised, scraped,
brushed, resisted, and dipped layer.
Demarcating these surface spaces—searching for order—is her
biggest challenge, but symmetry and traditional patterns assist. Cadence runs through the assemblage of the wet and fired parts as well.
But the beat is speeding up: her details are increasing. So, however,
are the demands for Lorna’s work. Right now, she is “desperately
trying to avoid having a list of pots I’m supposed to make hanging
on the wall next to my wheel.” Another definition of balance, like
the one you have in your checking account (right?), isn’t associated
with equality, with canceling out. The weight is clearly on one side
of the triple beam. Everyone wants steadiness, but, to resurrect the
pre-party literature of del Sarto, (via Robert Browning), “A man’s
reach should exceed his grasp . . . . Or what’s a heaven for?”
Ms. Meaden, get ready. The party must go on, and it might go late.
a very fine line
by Lorna Meaden
Mishima pottery comes from the Japanese Island of
Mishima, but it was originally transported from Korea
around the 16th century. This surface design technique
is a way of drawing by inlaying a slip of contrasting color
into lines incised in leather-hard clay.
To create very fine lines, I use the sharpest knife I can
find—a disposable scalpel—to draw on leather-hard pots.
Then I fill in the etched lines with black slip, allow it to
become leather hard, and scrape it off with a metal rib.
After the pots are bisque fired, I then go back and divide
up the space, using wax and latex glaze resist to create
sections of color.
For more information on Lorna Meaden and her work, visit her
website, www.lornameaden.com.
the author Stephanie Lanter, is currently Visiting Catron Professor of
Art at Washburn University in Topeka, Kansas. For more information,
see www.stephanielanter.com.
Pitcher, 10 in. (25 cm) in height, thrown porcelain,
soda fired to cone 10, 2008.
49
monthly Methods
Soda firing
for depth and
brightness
The MFA Factor
Our profiles of graduate-study programs in ceramics continue with a look
at an East Coast school.
Tyler School of Art, Temple University
The graduate program in ceramics seeks highly motivated students with a strong undergraduate background within the traditions of
the discipline. Students are expected to demonstrate both conceptual and technical excellence, as well as a profound interest in studio
research and experimentation.
Tyler’s philosophy emphasizes the investigation and articulation of concepts leading to a high level of personal inquiry, resulting in
work that challenges and extends the traditional boundaries of the media and their accepted definitions. Students have access to state of
the art facilities and tools while enjoying an interdisciplinary education. The program provides weekly contact with major faculty, ongoing
informal critiques with faculty, formal critiques and evaluations twice a semester, and an interdisciplinary graduate thesis committee. There
are also significant teaching opportunities and study abroad programs available in Rome, Japan, India, and Scotland, among others.
The visiting artists seminar enhances the curriculum by bringing nationally renowned artists and critics working in a variety of media
and venues to the campus for lectures, workshops, and student tutorials on a weekly basis. In addition to the visiting artists invited to the
campus, the surrounding community itself is rich with opportunities in the visual and performing arts. Philadelphia is home to an active, contemporary art scene that includes internationally renowned museums, commercial galleries, art centers, and residency programs.
Coupled with the close proximity to New York City, our graduate students find that they have easy access to some of the most important
research resources in contemporary art.
Tyler
[faculty]
Chad Curtis
Chad Curtis, assistant professor of ceramics, holds a BFA from Minnesota State University, Mankato, and an MFA from New York State College
of Ceramics at Alfred University. He specializes in mixed-media sculpture and installation, mold making, slip casting, and digital fabrication.
Above: Popup Camper with Tree, 45 in. (114 cm) in height, glazed ceramic fired to cone 04 in an electric kiln, clay slip, acrylic, milled foam,
epoxy, wood, and mixed media, 2008.
50
Facilities Highlights
• new facility opened January 2009
• 150-square-foot private studios with wireless
Internet connections
Nicholas Kripal
• 5 gas kilns
• 10 electric kilns
• 26 kick and electric wheels
• 4 clay mixers, 1 dough mixer
• 3 slab rollers
• 10-gallon glaze mixer
• walk-in spray booth
• 3D printer
• glaze lab
• mold making room
• critique and exhibition space
• outdoor kiln and work pad
• all spaces forklift accessible with
100psi compressed air
Program Details
• 2-year program
Nicholas Kripal, professor, chair of crafts department, head of ceramics area, is a ceramic
sculptor working in site-related installations and sculpture. Kripal received his BFA from
the University of Nebraska, Kearney, an MS in Art Education and an MFA from Southern
Illinois University, Edwardsville. Above: W.S. Variation #5, 44 in. (112 cm) in length, slipcast porcelain, fired to cone 6 in an electric kiln, 2007.
• Solo thesis exhibition required
• 40+ applicants per year
• 3 accepted graduates per year
• 2 teaching assistantships
• Cost (tuition and fees)/year:
In state: $17,760;
Out of state: $26,160
51
THE MFA FACTOR
Tyler
[grad students]
jonathan dickstein
I took seven years off before attending graduate school. Now
I’m using my time in school to develop a keen understanding
of where my work fits in terms of space, venue, and
audience. After graduate school, I intend to pursue residency
opportunities and part-time university teaching positions.
lauren dombrowiak
The urban Philadelphia setting and amazing new facilities are the reasons
I initially chose Tyler. I find that the faculty’s involvement in challenging
my mind and the work I create is why I love this program. Being pushed to
use my ceramic knowledge in whatever media I need, and to do this in an
intelligent way, is the backbone of the program.
kate dowell
I knew as an undergraduate that I wanted to continue into a graduate
program, so I took only a year off in order to research schools and focus
on making my application competitive. I chose to study here because
The Tyler School of Art offers an interdisciplinary approach to art
making in a city with a rich art culture.
elaine quave
I was out of school for two years before I went back to get my MFA. I
chose Tyler because it has great faculty and it is located in a city that
has a lot of resources and an interesting art scene.
“The interdisciplinary attitude
and community created raise
the bar to a higher sense of art
making that still has a home in
craft.”— L. Dombrowiak
52
Otto Heino
1915–2009
by Don Pilcher
Otto Heino died on July 16th in California at the age of 94. For
seven decades, most of them in collaboration with his wife Vivika,
he pursued the goals of the American studio crafts movement. Like
others in his generation, he came of age in the Great Depression and
survived military service in WWII. After the war he returned to New
Hampshire and took pottery classes from Vivika. They soon married
and began their journey as one of the most prominent and successful couples in American ceramic history. As potters and teachers
they shaped two younger generations; and they left an exceptional
legacy of students, awards and pottery, much of it held in museums
around the world.
The Heinos succeeded at destination marketing as long ago as the
1950s. A stop at their studio wasn’t just about buying pottery. You were offered fresh coffee and invited to sit in
their beautiful garden. You heard stories of Otto’s
latest movie appearance (as a potter in The
Egyptians) or of Vivika’s new ramekins. Years
later, in Ojai, their grounds included a citrus
grove, peacocks, a koi pond, and numerous
exotic cacti. All of this complemented their
pottery and Otto would give you as much of
his time as you wanted.
For reasons about which we can only guess
(perhaps generational), Otto saw his entire life as
exceptional and he understood that the exceptional
was compelling to onlookers. There was a bit of peacock in
him. He spoke eagerly and often about how many pounds of clay
he could throw, how hot he fired the kiln, how many pots he sold in
an afternoon and how no one could quite match this or that glaze
from his studio. He had a million such stories; some of them were
true. Ironically, he seldom if ever used his most famous glaze, Otto’s
Texture, but many a young professor rode that recipe to tenure, yet
never met him.
To me, these stories were not central to his merits as a potter or
a man. If you wanted the best of Otto you would do well to watch
what he did; it was by his actions that he ennobled the potter’s art.
He threw with a directness and tenderness that was unchanged
whether it was a small bottle or huge jar. His wheel rotated slowly
and his hands moved slower still, coaxing, cajoling the form and
ultimately compressing the rim. His signature move was always a
compressed rim—his emphatic statement of his affection for the
clay—“Otto was here.” He nodded his head in time to the wheel’s
rotation; and he finished each pot with a flick of his wet hand back
into his water bowl.
Watching Otto fire a kiln was a master class in patience, observation, and care. He used multiple cone packs and an hourly firing log
with date, weather conditions, gas pressure, damper settings, a visual
description of flames, and a thermocouple reading. I never saw a potter
more reluctant to turn off a kiln. It was as if he were having an affair
with the fire. In the final hour of a firing he never left the kiln and he
seldom spoke. He observed, he tinkered, he straightened a few stray
kiln posts, and he waited. Then he’d announce, “Well, kiln’s off.”
The Heinos had no children of their own, but they naturally
enough embraced many of us as surrogates. Vivika could be possessive
but Otto was simply patient, hopeful, and full of encouragement. He was unfailingly optimistic, in spite of
circumstances, and certain that good things were
only as far away as the next kiln load. He would
never directly criticize your work. Rather,
he’d tell you how you could make it better,
“Maybe the best in the world.”
Sometimes a trip with Otto to the state
liquor store in New Hampshire was good for
an insight into his philosophy. Round trip it
was eleven miles of conversation and he became
talkative without Vivika in the car. It was his belief
that people wanted his pots because they just naturally
loved clay and his job was to give them clay. His aesthetic was
simple. A fusion of Scandinavian and Japanese sensibility created a
background for his confident and spontaneous touch—with clay, with
brush, with fire. His pots were swelling with “life and lift,” as he called
it, and he celebrated the circular finger trails so typical of studio pottery
of the day, perhaps to a fault. But Otto was nothing if not dependable
and thorough. His pots all had unmistakable heft and a finish that was
both sophisticated and hand made, precise yet vigorous.
Such aesthetics might seem a little too romantic in our ironic age,
but Otto and his generation were the people who breathed life into
the movement that sustains so many potters today. No small thing.
And for those of us who have enjoyed the blessing of time spent with
him- well, we have an exceptional example that should sustain us for
the rest of our lives.
Above: Large vase, 18 in. (46 cm) in height, stoneware, with lemon yellow glaze,
fired with gas and wood.
53
Joseph Pintz’s
Hand-Hewn Pots
by Casey Ruble
Oval boxes, to 12 in. (30 cm)
in length, handbuilt earthenware,
fired to cone 02 in an electric kiln, 2008.
54
photos:
Down to Earth:
When talking about his work, Joseph Pintz often begins by
describing his childhood in Chicago—a place most people
associate with gritty urban life. But Pintz’ story differs from
many Chicago natives. He was born the third of four children
to immigrants who, during World War II, fled from the Russian army as it advanced on the rural Hungarian countryside
his ancestors had settled some 300 years previously. Both sets of
Pintz’ grandparents made a living working with their hands—his
maternal grandfather as a blacksmith and his paternal grandparents as farmers. In Chicago, Pintz was similarly raised to value a
close connection to the land: He grew up harvesting vegetables
in the narrow suburban plot behind his house, picking cherries for homemade jam and baking loaves of sourdough in the
drywall-mud pans his father brought home from his job as a
union painter. Holidays and other celebrations were spent with
many generations of family and friends, and preparations for
the feasts began days in advance.
The combination of groundedness and generosity that
marked Pintz’ upbringing also comes through in his ceramic
Joe Pintz refines the outer surface of a bowl in his studio at Bowling Green
State University in Bowling Green, Ohio.
Nesting bowls, to 12½ in. (32 cm) in diameter, handbuilt earthenware, fired to cone 02 in an electric kiln, 2008.
55
Ricer, 13 in. (33) in length,
handbuilt earthenware, terra
sigillata and washes, fired to
cone 02 in an electric kiln, 2009.
recipes
work, which explores the role that domestic objects play in fulfilling
our needs on a physical and emotional level. Made from a coarse,
high-iron Nebraska brick clay, Pintz’ pieces—plates, cups, and bowls;
bakeware and kitchen utensils; toolboxes and feeding troughs for
animals—are devoid of decorative embellishment and craftiness.
Their character is humble and straightforward, reflecting a basic
tenet of Shaker design, and one of Pintz’ major influences:
If it is useful and necessary, free yourself from imagining that
you need to enhance it by adding what is not an integral part
of its usefulness or necessity. . . . If it is both useful and necessary and you can recognize and eliminate what is not essential,
then go ahead and make it as beautifully as you can.
For Pintz, making it as beautifully as you can entails foregoing the
wheel in favor of carving most pieces out of solid clay—a process
that lends his work literal and symbolic weight and, by virtue
of the trimming marks and subtle inconsistencies of the hand,
accentuates the negative spaces, giving them a physical presence
and emotional charge they wouldn’t otherwise have. His surface
treatments range in color from neutrals to earthy pinks, greens,
yellows, and blues, and they contribute to the handcrafted feel. He
layers a combination of terra sigillata, slips, and brushed-on glazes,
which produces a patinated effect where the red of the clay peeks
through in places. The overall aesthetic sensibility seems guided
by an appreciation of the material’s raw form and its possibilities;
when looking at Pintz’ “pots,” one doesn’t forget that they, like the
food they hold, originate from the earth itself.
Raw Earthenware Clay Body
(Cone 04–02)
Wollastonite. . . . . . . . . . . . . . . . . . . 5.0%
Cedar Heights Redart. . . . . . . . . . . . 12.5
Carbondale Red . . . . . . . . . . . . . . . 12.5
Endicott Potting Clay. . . . . . . . . . . . 70.0
100.0%
Add:Grog (coarse and fine). . . . 15–25.0%
Add ¼ cup barium carbonate to a 100 lb batch
of this clay body to prevent scumming.
Hirsh Satin Matt Base
(Cone 04–02)
Gerstley Borate . . . . . . . . . . . . . . . . . . 32%
Lithium Carbonate. . . . . . . . . . . . . . . . 9
Whiting. . . . . . . . . . . . . . . . . . . . . . . . 17
Nepheline Syenite . . . . . . . . . . . . . . . . 4
EPK Kaolin. . . . . . . . . . . . . . . . . . . . . . 4
Silica . . . . . . . . . . . . . . . . . . . . . . . . . . 35
100%
Add:Bentonite . . . . . . . . . . . . . . . . . . 2%
Color Variations:
Green: Chrome Oxide . . . . . . . . . 1%
Yellow: Yellow Stain. . . . . . . . . . . 8%
Light Blue: Copper Carbonate . . 1.5%
56
by Joseph Pintz
During graduate school, I began experimenting with
clay from a local brick manufacturer (Endicott Clay
Products, Fairbury, Nebraska). Their “potting clay”
has great working characteristics—plasticity, density
and a rich color. It also has the benefit of not being
over-processed. With a few minor alterations, the
clay that was sent down the conveyor belt to make
bricks has become the backbone of my clay body (see
recipe on page 56).
I employ a handful of rudimentary handbuilding
techniques to create my forms. I pound soft clay over
bisque molds with a mallet to establish basic shapes,
such as bowls. Paper patterns are used to create
more delicate forms, such as cups, and thicker forms
(toolboxes and plates) are carved from a solid block.
Although working reductively is not always practical,
it allows me to find the form more intuitively. Once
the clay stiffens to a leather-hard stage, forms are
trimmed and refined further. This dredges up the
coarse grog within the clay and creates a unique
texture. Once the clay dries to a bone dry state, I brush
on several layers of slip or terra sigillata. After bisque
firing, I apply glazes to create subtle, weathered
surfaces that suggest a history of use. The work is
then fired in an electric kiln to cone 02.
Joseph Pintz currently teaches ceramics at Bowling Green State
University in Bowling Green, Ohio, and is represented by Turman
Larison Contemporary (www.turmanlarison.com) in Helena, Montana. To see more of Pintz’ work, visit www.iconpottery.com.
Portions of this article were originally printed in Ceramic Excellence, the 2006–07 fellowship exhibition catalog for the Archie Bray
Foundation, where Casey Ruble was invited as a visiting critic.
Ridged Press, 7.5 in. (19 cm) in length, handbuilt
earthenware, with terra sigillata and washes,
fired to cone 02 in an electric kiln, 2009.
the author Casey Ruble works as a freelance art critic and editor and
teaches painting and drawing as an artist-in-residence at Fordham
University, Lincoln Center campus, New York, New York.
57
Monthly Methods
Hand-Hewn Pottery
Pintz’ work ranges from functional to nonfunctional. His
bowls, for example, are the perfect size for morning oatmeal,
whereas his toolboxes are more metaphorical—too heavy to be
carried to a work site. But the two groups of work don’t occupy
extreme ends of the spectrum: The nonfunctional objects still
speak of utility, and the weight of the functional pieces renders
them unwieldy, pushing them toward sculpture. Adhering to
sculptor Isamu Noguchi’s belief that “everything is sculpture,”
Pintz considers himself both a craftsperson and an artist. “I don’t
believe in a hierarchy of one type of my work over another,” he
comments. “I see my functional dinnerware and my sculpture
as different sides of the same coin.”
Interestingly, Pintz’ interest in clay grew out of his undergraduate studies in anthropology at Northwestern University. It
was there that he first noticed how the medium of clay has been
used across centuries of civilizations, running the gamut from
the mundane to the extraordinary—from the simple pottery of
early cultures to the high-tech heat-shield tiles used on space
shuttles. After finishing his undergraduate degree, Pintz undertook post-baccalaureate studies in ceramics at Southern Illinois
University-Edwardsville and then attended graduate school at
the University of Nebraska-Lincoln, where he broadened his
scope by researching a variety of utilitarian objects from around
the world. In 2007, he was awarded a residency and Lincoln Fellowship at the Archie Bray Foundation for the Ceramic Arts—a
former brickyard and a fitting place for someone who works with
brick clay. From the beginning of his work with clay, however,
Pintz was drawn to making pottery with a close relationship to
food. “Sharing meals with others and making the time to eat
well are ideals I try to live up to in my daily life,” he explains.
Indeed, the stubborn physicality of his pieces forces the user to
slow down and pay close attention to the moment (coffee in one
of his cups is best sipped using both hands) and their uniformity
and seriality take on metaphoric potential, with connotations of
community, abundance, and prosperity. Further, the symbiotic
relationship Pintz eloquently establishes between volume and
negative space reflects the basic nature of sustenance. As the
English poet Philip James Bailey wrote, “Simplicity is nature’s
first step, and the last of art.” Pintz’ work embodies this idea
with a down-to-earth directness, reminding us that the container
is just as essential as what we put in it.
call for entries
international exhibitions
September 1, 2009 entry deadline
Texas, Corpus Christi “Call for exhibition proposals
for 2009–2010 exhibition schedule.” Contact Brooke
Fitzpatrick, K Space Contemporary, PO Box 545, Corpus Christi, TX 78403; [email protected];
www.kspacecontemporary.org; 361-887-6834.
Washington, Kirkland “Clay? III” (March 18–May 5,
2010). Juried from digital. Fee: $25 for three entries. Jurors:
Doug Jeck, Akio Takamori, and Jamie Walker. Contact
Kirkland Arts Center, 620 Market St, Kirkland, WA 98033;
[email protected]; www.kirklandartcenter.org;
425-822-7161.
Deadlines for Exhibitions, Fairs and Festivals September 15, 2009 entry deadline
California, Santa Ana “Muddy’s Wood Fire Classic”
(October 30–November 27, 2009). Juried from digital or
slides. Fee: $30 for three entries. Jurors: T. Robert and
John Pacini. Contact Kevin Myers, Muddy’s Studio, Myers Gallery, 2610 S. Halladay St., Santa Ana, CA 92705;
[email protected]; www.muddysstudio.com;
714-641-4077.
Montana, Helena “Beyond the Brickyard: 2nd Annual
International Juried Exhibition” (January 30–March 14,
2010). Juried from digital. Fee: $35. Juror: Wayne Higby.
Contact Steven Young Lee, Archie Bray Foundation for
the Ceramic Arts, 2915 Country Club Ave., Helena, MT
59602; [email protected]; www.archiebray.org;
406-443-3502.
Submit online at www.ceramicsmonthly.org
Pennsylvania, Wayne “Craft Forms 2009” (December 4–January 23, 2010). Juried from digital. Fee:
$40. Juror: Bruce W. Pepich. Contact Nancy Campbell,
Wayne Art Center, 413 Maplewood Avenue, Wayne,
PA 19073; [email protected]; www.wayneart.org;
610-688-3553.
England, London “Proverbial Porcelain: Zelli Porcelain
Award 2009” (October 19–31, 2009) open to artists working with porcelain and pieces under 40 cm. Juried from
digital or slides. Fee: $15. Contact Zelli Porcelain, 55/57
Chiltern St., London, W1U 6ND England; [email protected];
www.zelli.co.uk; 020 7224 2114.
District of Columbia, Washington “The 28th Annual
Smithsonian Craft Show 2010” (April 21–25, 2010).
Fee: $50. Contact Smithsonian Women’s Committee,
MRC 037, PO Box 37012, Washington, DC 200137012; [email protected]; www.smithsoniancraftshow.org;
202-633-5069.
October 1, 2009 entry deadline
Louisiana, New Orleans “Curate This! 2009”
(November 21–December 27, 2009). Contact BECA
Gallery, 527 Saint Joseph St., New Orleans, LA 70130;
[email protected]; www.becagallery.com; 504566-8999.
New Jersey, Summit “24th International Juried
Show” (January 15–March 19, 2010). Juried from
slides. Fee: $35. Juror: Susan Kismaric. Contact Jennifer Ayres, The Visual Arts Center of New Jersey, 68
Elm St., Summit, NJ 07901; [email protected];
http://artcenternj.org/files/juryshow10.pdf; 908-273-1457.
Virginia, Alexandria “Pandora’s Box” (December
10–January 10, 2010) open to work under 12x12x12 inches. Contact Target Gallery at The Torpedo Factory, 105 N.
Union St., Alexandria, VA 22314; [email protected];
www.torpedofactory.org; 301-772-9340.
California, Laguna Beach “International Symposium: Paperclay Today” (February 4–7, 2010) open to
artists working in paperclay. Juried from digital. Jurors:
Rosette Gault and Graham Hay. Contact Linda Saville,
Laguna Beach Ceramics, 31071 Monterey St., Laguna
Beach, CA 92651; [email protected];
www.lagunabeachceramics.com; 949-499-7446.
November 1, 2009 entry deadline
Massachusetts, North Adams “Call for exhibition
proposals for 2009–2010 exhibition schedule.” Contact Contemporary Arts Center, 189 Beaver St., North
Adams, MA 01247; [email protected]; www.thecac.org;
413-663-9555.
Dominican Republic, Santiago “Fourth International
Ceramic Tile Triennial” (April 15–June 15, 2010) open
to 15x15x5 cm tiles. Juried from digital. Contact Thimo
Pimentel, Igneri Foundation, 1733 NW 79th Ave., Doral,
FL 33126-1110; [email protected]; www.elit-tile.net;
809-531-0164.
December 11, 2009 entry deadline
California, Mission Viejo “Small Fish, Large Pot IV:
4th International Small Teapot Show and Competition”
(February 11–March 11, 2010) open to small teapots.
Juried from actual work. Fee: $40 for three entries. Juror:
Guanzhen Zhou. Contact Tony Huntley, Saddleback College, 28000 Marguerite Pkwy., Mission Viejo, CA 92692;
[email protected]; http://gallery.saddleback.edu;
949-582-4401.
united states exhibitions
North Carolina, Fayetteville “15th Annual Nellie Allen Smith Pottery Competition” (October
23–November 23, 2009). Juried from digital. Fee:
$30 for two entries. Juror: Rick Berman. Contact
Chris Kastner, Cape Fear Studios, 148 Maxwell St.,
Fayetteville, NC 28301; [email protected];
www.capefearstudios.com; 910-433-2986.
Minnesota, Bemidji “It’s Only Clay 2009” (November 6–December 19, 2009). Fee: $30 for three
entires. Contact Bemidji Community Art Center, 426
Bemidji Ave., Bemidji, MN 56601; [email protected];
http://bcac.wordpress.com; 218-444-7570.
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59
call for entries
Texas, Denton “23rd Annual National Juried
Exhibition, Materials: Hard & Soft” (February 5–April
1, 2010). Fee: $30 for three entries. Juror: Jo Lauria.
Contact Greater Denton Arts Council, 400 E. Hickory
St., Denton, TX 76201; [email protected];
www.dentonarts.com; 940-382-2787.
Texas, Houston “Illuminations: The Art of Light”
(November 1–30, 2009). Juried from digital. Fee: $25
for three entries. Contact Karen Cruce, 18 Hands Gallery, 249 W 19th Street, Ste. B, Houston, TX 77008;
[email protected]; www.18handsgallery.com;
713-869-3099.
Colorado, Denver “Sole Purpose Two” (November
6–December 23) open to footwear inspired work. Juried
from digital. Fee: $35 for three entries. Jurors: Marie
Gibbons, Angela Lujan and Jimmy Sellars. Contact Marie
Gibbons, Sellars Project Space & Evb Studio, 4343 W.
44th Ave., Denver, CO 80212; [email protected];
www.evbstudio.com; 720-234-7337.
Pennsylvania, Philadelphia “2010 National Student
Juried Exhibition” (March 25–April 14, 2010) open to
full-time undergraduate and graduate students. Jurors:
Erin Furimsky and Matt Long. Contact Linda Ganstrom,
NCECA, 77 Erie Village Square, Erie, CO 80516-6996;
[email protected]; www.nceca.net; 866-266-2322.
Louisiana, Baton Rouge “Eight Fluid Ounces 2010”
(February 20–March 21, 2010) open to drinking vessels
not exceeding 10”x10”x10.” Juried from digital or slides.
Fee: $15. Contact Malia Krolak, Louisiana State University
School of Art, 100 Lafayette St., Baton Rouge, LA 70801;
[email protected]; 225-389-7180.
Alaska, Anchorage “No Big Heads: 24th Annual Juried Self Portrait Competition” (October
29–November 12, 2009). Juried from actual work.
Fee: $14 for two entries. Juror: Frank Herrmann.
Contact Brandon Moore, Student Union Gallery,
University of Alaska at Anchorage, 3211 Providence
Dr., Anchorage, AK 99508; [email protected];
www.uaa.alaska.edu/studentlifeandleadership/activities/
gallery.cfm; 907-786-1783.
Texas, Beaumont “48th BAL National” (March
1–31, 2010). Fee: $35. Juror: Fealing Lin. Contact
Dana Dorman, Beaumont Art League, 2675 Gulf
St., Beaumont, TX 77703; [email protected];
www.beaumontartleague.org; 409-833-4179.
January 18, 2010 entry deadline
Colorado, Grand Junction “3rd Biennial Contemporary
Clay 2010” (May 14–June 26, 2010). Juried from digital
or slides. Fee: $30 for three entries. Juror: Pete Pinnell.
Contact Cheryl McNab, The Art Center, 1803 N. 7th St.,
Grand Junction, CO 81501; [email protected];
www.gjartcenter.org; 970-243-7337.
regional exhibitions
California, Grass Valley “26th Annual Juried Northern
Mines Art Exhibition” (November 2–29, 2009). Juried
from digital. Contact Pioneer Arts Inc., PO Box 674, Grass
Valley, CA 95945; www.pioneerart.com.
Ohio, Dayton “HWD 2009: A Regional Sculptural
Competition” (November 9–December 11, 2009) open to
IN, KY, MI and OH artists. Juried from digital or slides. Fee:
$20 for three entries. Contact Amy Anderson, Coordinator,
Rosewood Gallery, Rosewood Arts Centre, 2655 Olson
Dr., Dayton, OH 45420; [email protected];
www.ketteringoh.org; 937-296-0294.
Rhode Island, Newport “The State of Clay”
(October 8–November 5, 2009) open to CT, MA,
and RI artists. Juried from actual work. Fee: $45 for
three entries. Juror: Ellen Huie. Contact Christine
Bevilacqua, Newport Potters Guild, 302 Thames St.,
Newport, RI 02840; [email protected];
www.newportpottersguild.com; 401-619-4880.
California, Laguna Beach “Paperclay Today:
Student Art Exhibit” (February 2–4, 2010) open to
works in paperclay made by undergraduate and
graduate students in AZ, CA, NV, OR and WA. Juried
from digital. Fee: $50 for five entries. Jurors: Rosette
Gault and Graham Hay. Contact Linda Saville, Laguna Beach Ceramics, 31071 Monterey St., Laguna
Beach, CA 92651; [email protected];
Ohio, Athens “OH+5: Ohio Border Biennial 2010”
(January 15–March 28, 2010) open to IN, KY, MI, OH, PA
and WV artists. Juried from digital. Fee: $35. Jurors: Brian
Harper, Dennis Harrington and Simone Osthoff. Contact
Jill Smalley, The Dairy Barn Arts Center, Box 747, Athens,
OH 45701; [email protected]; www.dairybarn.org;
740-592-4981.
fairs, festivals, and sales
Arizona, Scottsdale “Scottsdale Art Show at WestWorld” (November 7–8, 2009). Contact Kara Stephens,
AZ Big Media, 3101 N. Central Ave., Ste. 1070, Phoenix, AZ 85012; [email protected];
www.azbigmedia.com; 602-424-8837.
Massachusetts, Boston “CraftBoston” (April 9–11,
2010). Fee: $40. Contact CraftBoston, 175 Newbury
St., Boston, MA 02116; [email protected];
www.craftboston.org; 617-266-1810.
Massachusetts, Boston “CraftBoston Holiday” (December 10–12, 2010). Contact CraftBoston, 175 Newbury St., Boston, MA 02116; [email protected];
www.craftboston.org; 617-266-1810.
South Carolina, Greenville “Artisphere 2010
Festival” (May 7–9, 2010). Juried from digital. Fee:
$30. Contact Liz Rundorff, Artisphere, 16 Augusta
St., Greenville, SC 29601; [email protected];
www.artisphere.us; 864-271-9355.
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new books
Vessel | Sculpture
German and International Ceramics
Since 1946.
Edited by Olaf Thormann
The title of this book, Vessel and Sculpture
refers to the direction studio pottery has taken
since the mid-20th century, developing from
primarily functional vessels to artistically designed vessels, ceramic sculpture, installation,
and conceptual art.
The book accompanied an exhibition of the
same name at the GRASSI Museum for Applied Art in Leipzig, Germany, which featured
works by 288 artists and workshops from 27
countries. The works included in the exhibition and reproduced in mainly full page images
in the book, consist largely of the museum’s
current collection plus a few loaned pieces and
future bequests from private collections, and,
along with the text, focus on the evolution of
studio ceramics from the mid-20th century to
today. In his introduction, the book’s editor,
Olaf Thormann describes that “The aim is
to . . . trace the history of how ceramics has
evolved. What is clearly shown is how ceramics
developed . . . into an autonomous art medium,
which is continually self-renewing. The idea
behind this book is to convey something of the
enthusiasm associated with that process.”
Although artists from many countries are
represented, as the focus of the exhibition and
publication begins in 1946 when Germany
was divided into East and West after the
World War II, works by artists in the former
German Democratic Republic (GDR) are
prominently featured.
Through the inclusion of typically underrepresented artists from the former GDR, the
similarities and the sometimes divergent directions taken by artists who were working in East
and West Germany are also presented.
The influences and trends that emerge
from the exchange of ideas between artists in
different cultures is also addressed through
the illustrations of works by artists in other
countries in Europe and Asia as well as North
and Central America, and Australia.
In addition to the editor’s introductory essay, texts by some of the contributing collectors
give interesting insights into their philosophies
and interests in collecting, their enthusiasm,
and their interest in sharing the works with a
wider audience.
504 pages, 561 color illustrations. Hardcover, $85. ISBN 978-3-89790-288-6. Published by Arnoldsche Art Publishers, GMBH,
Liststrasse 9, D-70180, Stuttgart, Germany;
www.arnoldsche.com; [email protected].
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63
calendar
Conferences, Exhibitions, Workshops, Fairs
conferences
California, Laguna Beach January 31 to February 4, 2010
“Paperclay Today,” with Rosette Gault and Graham Hay. Contact Linda Saville, Laguna Beach Ceramics, 31071 Monterey St.,
Laguna Beach, CA 92651; [email protected];
Florida, Pensacola February 11 to February 13, 2010 “Gulf
Coast Clay Conference and Woodstoke Festival,” with Patrick
Bodine, John Britt, Bill Clover, Steve Dark, Jason Stokes, Anne
Halley Webb. Fee: $95. Contact Gulf Coast Kiln Walk, Inc.,
7507 Buckeye Dr., Navarre, FL 32566; [email protected];
www.gulfcoastkilnwalk.org; 850-939-7972.
Minnesota, Minneapolis October 15 to October 17
“The American Craft Council 2009 Conference: Creating a New Craft Culture.” Fee: $350. Contact American
Craft Council, 72 Spring St., New York, NY 10012;
www.craftcouncil.org/conference09.
Nebraska, Lincoln October 1 to October 2 “Art of Fine
Craft 2009: [kuh-nek-tiv],” with Jason Briggs, Sonya Clark,
Victoria Goro-Rapoport, Jess Starkel. Fee: $120. Contact Lux
Center for the Arts, 2601 N. 48th St., Lincoln, NE 68504;
[email protected]; www.luxcenter.org; 402-466-8692.
Pennsylvania, Philadelphia September 17 to September 19 “Handbuilt,” with guest speaker: William Daley. Demonstrators: Hayne Bayless, Lisa Naples, Sandi Pierantozzi,
Holly Walker. Contact Sandi Pierantozzi, 2034 Fairmount
Ave., Philadelphia, PA 19130; [email protected];
www.sandiandneil.com; 215-236-1617.
Virginia, Front Royal October 1 to October 4 “8th
Biennial Mid-Atlantic Clay Conference,” with Frank
Giorgini, Suze Lindsay, Gay Smith. Fee: $390. Contact
submit listings at www.ceramicsmonthly.org
The Clay Connection, PO Box 3214, Merrifield, VA
22116-3214; [email protected];
www.theclayconnection.org; 540-636-6016.
Denmark, Skælskør November 3 to December 16 or
January 5 to February 17, 2010 “Network 2009: Symposium.” Contact Ane Fabricius Christiansen, Guldagergaard
International Ceramic Research Center, Jernbanevej 14,
st. tv., Skælskør, 4230 Denmark; [email protected];
www.ceramic.dk; 45 5819 0016.
Germany, Bröllin September 3 to September 5,
2010 “1st European Woodfire Conference.” Contact
Markus Böhm, First European Woodfire Conference, Alt
Gaarz 6, Lärz, D-17248 Germany; [email protected];
www.woodfire.net.
Republic of Korea, Heungdeok-Gu, Cheongju-Si
September 23 to November 1 “Cheongju International
Craft Biennale 2009.” Contact Kang Sun Kyoung, Cheongju International Craft Biennial, 329 Heungdeok-Ro,
Heungdeok-Gu, Cheongju-Si, 361-828 Republic of Korea;
[email protected]; www.okcj.org; 82 43 277 2501 3.
South Africa, Durban September 18 to September
27 “African Ceramics Conference.” Contact University
of KwaZulu-Natal, King George V Ave., Durban, South
Africa; [email protected]; www.ukzn.ac.za; 27 0
31 260 2212.
solo exhibitions
Arizona, Scottsdale October 15 to October 22 “Precision,” works by Nathan Youngblood; at King Galleries of
Scottsdale, 7100 Main St., #1.
California, Pomona September 12 to November 28
“New Work,” works by Harrison McIntosh; at American
Museum of Ceramic Art, 340 S. Garey Ave.
California, San Francisco through September 13
“Legacy of an American Potter,” works by Warren MacKenzie;
at Museum of Craft and Folk Art, 51 Yerba Buena Ln.
Colorado, Denver October 2 to October 31 “Ceramic
Constructions,” works by Russel Wrankle; at Plinth Gallery/
Ceramic Design, 3520 Brighton Blvd.
Idaho, Boise through September 8 “Pure Form,” works by
Kerry Moosman; at Stewart Gallery, 1110 W. Jefferson St.
Illinois, Chicago September 11 to November 7 “Skin,”
works by Thomas Schmidt; at Dubhe Carreño Gallery, 118
N. Peoria St., 2nd Fl.
Iowa, Iowa City through September 18 “Recent Ceramics,” works by Jill Lawley.
through September 18 “Recent Ceramics,” works by
John Neely.
September 25 to October 15 “Featured Artist,” works
by John Glick; at AKAR, 257 E. Iowa Ave.
Massachusetts, Pittsfield through September 12
“Human Made Wild”;
through September 12 “Battle of the Britches,” works
by Chris Antemann; at Ferrin Gallery, 433 N. St.
Minnesota, Minneapolis through November 1 “We
Believe in Some Thing,” works by Roxanne Jackson; at
Minneapolis Institute of Arts, 2400 Third Avenue S.
Montana, Red Lodge September 1 to September 30
“Featured Artist,” works by Sam Chung; at Red Lodge
Clay Center, 123 S. Broadway.
New Jersey, Surf City through September 9 “Recent
Work,” works by Neil Patterson; at m. t. burton gallery,
1819 N. Long Beach Blvd.
New Mexico, Albuquerque September 4 to September
30 “Dire-Rama Wildlife on the Ledge,” works by Julianne
Harvey; at Mariposa Gallery, 3500 Central Ave., SE.
New York, New York October 22 to November 19
“Traffic Patterns,” works by Kathy Erteman; at Greenwich
House Pottery, 16 Jones St.
New York, Port Chester September 3 to September 26
“Containers for the Intangible,” works by Bryan Hopkins;
at Clay Art Center, 40 Beech St.
North Carolina, Bakersville September 5 to October 31
“Collecting, Creating, Connecting,” works by Liz Zlot Summerfield; at Crimson Laurel Gallery, 23 Crimson Laurel Way.
Ohio, Canton through November 1 “Remonstrations
from the Iconic Rustbelt,” works by William Brouillard; at
Canton Museum of Art, 1001 Market Ave., N.
Ohio, Columbus through September 30 “New Work,”
works by Scott Dooley;
October 16 to November 15 “New Work,” works by
Chris Gustin; at Sherrie Gallerie, 694 N. High St.
Ohio, Rocky River September 12 to October 5 “New
Work,” works by Mark Yasenchack; at River Gallery, 19046
Old Detroit Rd.
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65
calendar
solo exhibitions
Oregon, Portland September 3 to September 24
“Mythscapes and Music,” works by George Johanson; at
Oregon College of Art and Craft, 8245 S.W. Barnes Rd.
Pennsylvania, Scranton September 10 to October 18
“Clay and Light,” works by Jordan Taylor; at Mahady Gallery,
Marywood University Art Galleries, 2300 Adams Ave.
Tennessee, Smithville through September 15 “Meditations on Space,” works by Sally Brogden; at Appalachian
Center for Craft, 1560 Craft Center Dr.
Vermont, Bennington through September 19 “New
Work,” works by Diane Sullivan.
September 12 to November 8 “Revisiting Traditions:
Illuminating Our Times,” works by Emmett Leader; at The
Bennington Museum, 75 W. Main St. (Rte. 9).
Washington, Bellevue October 10 to January 31,
2010 “Bright Abyss,” works by Robert Sperry; at Bellevue
Arts Museum, 510 Bellevue Way NE.
Wisconsin, Racine September 20 to January 17, 2010
“Collection Focus,” works by Michael Lucero; at Racine
Art Museum, 441 Main St.
Canada, Ottawa September 24 to October 14 “New
Work,” works by Sunmi Jung; at Lafrenière & Pai Gallery,
13 Murray St.
Canada, Toronto through December 31 “Porcelain
Umbrella Wall Installation,” works by Ann Mortimer;
September 10 to January 10, 2010 “Bigger, Better,
More: The Art of Viola Frey”; at Gardiner Museum, 111
Queen’s Park.
England, London October 7 to October 30 “Camp
d’urnes,” works by Claudi Casanovas; at Galerie Besson,
15 Royal Arcade, 28 Old Bond St.
England, Eton September 1 to September 30 “New
Work,” works by Laurance Simon; at JaM Eton, 81 High St.
England, Liverpool October 3 to November 28 “The
Elisabeth Zuckerman Memorial Exhibition,” works by
Magdalene Odundo; at Bluecoat Display Centre, 50-51
The Bluecoat, Bluecoat Chambers, College Ln.
Germany, Berlin October 1 to October 31 “Einzelstücke”; at Galerie Theis-Keramik, Schustehrusstr. 15.
Italy, Livorno through October 30 “Art in the Garden,” works by Riccardo Biavati; at Hotel Cernia, Via
San Gaetano, 23.
Netherlands, Delft September 19 to October 17
“New Work,” works by Pauline Wiertz.
October 24 to November 21 “New Work,” works by
Catrin Howell; at Gallery Terra Delft, Nieuwstraat 7.
Netherlands, Leeuwarden through September 6 “Levenswerk 07 - Fussfassen,” works by Beate Reinheimer.
through November 8 “Killing Treasures,” works by
Anamá Ponce Vazquez; at Ceramic Museum Princessehof,
Grote Kerkstraat 11.
Netherlands, ‘s-Hertogenbosch throughSeptember
6 “Beyond Baroque,” works by Nadia Naveau; at Sm’s – Stedelijk Museum’s-Hertogenbosch, Magistratenlaan 100.
Spain, Barcelona through September 20 “Ceràmica:
Obra Recent,” works by Anima Roos; at Museu de Cántir
D’Argentona, Plaça de l’Església 9.
Switzerland, Carouge September 19 to October 4
“New Work,” works by Gisèle Buthod-Garçon; at Atelier
Anne-Claude Virchaux, Rue Saint Joseph 13.
“New Work,” works by Marc Leuthold; at Atelier
Galerie Maya Guidi, Rue Saint Joseph 40.
“New Work,” works by Maude Schneider; at Atelier
Galerie Tiramisú, Avenue Cardinal Mermillod 18.
“New Work,” works by Ueli Schmutz; at Atelier Maison
Potter, Ch. de Pinchat 22bis.
“New Work,” works by Tjok Dessauvage; at Atelier
Michelle Dethurens, Rue de Cardinal Mermillod 18.
“New Work,” works by Adriana Hartley; at Atelier
Mireille Donzé/Djeihne, Rue Saint Joseph 31.
“New Work,” works by Halima Cassell; at Atelier
Orange, Rue Saint Joseph 10.
“New Work,” works by Danielle Lescot; at Atelier
Renée Duc, Place du Marché 15.
“New Work,” works by Christine Aschwanden; at
Collectif C’BOs, Rue Saint Joseph 7.
“New Work,” works by Ursula Commandeur; at
Galerie Annick Zufferey, Place des Charmettes 1.
“New Work,” works by Margareta Daepp; at Galerie
Lignetreize, Rue Ancienne 15.
“New Work,” works by Marie-Noëlle Leppens; at
Galerie Marianne Brand, Rue Ancienne 20.
“New Work,” works by Madola; at Galerie SMA,
Rue du Marché 12.
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“New Work,” works by Christian Germann; at Gilbert
Crugnola, Rue Ancienne 27.
“New Work,” works by Agnès Debizet; at Jardin du
Musée de Carouge, Place de Sardaigne 2.
“New Work,” works by Sangwoo Kim; at Peter Kammermann, Décorateur, Rue Saint Victor 21.
Switzerland, Geneva through January 11, 2010 “
PT Projects,” works by Philippe Barde; at Musée Ariana,
Ave. de la Paix 10.
Switzerland, Grand Lancy September 19 to October
4 “New Work,” works by Yoshimi Futamura; at Galerie de
la Ferme de la Chapelle, Route de la Chapelle 39.
group exhibitions
Arizona, Scottsdale September 17 to September
24 “Surface,” works by Mark Tahbo, Dora Tse-Pe and
Daryl Whitegeese; at King Galleries of Scottsdale, 7100
Main St., #1.
California, Fresno September 3 to October 31 “Clay
Mentors II,” works by Patsy Cox, Cameron Crawford,
Tom Decker, Craig Easter, Susanne Kuebler French, Bob
Kizziar, Garrett Masterson, Una Mjurka, and Monica Van
den Dool; at Clay Mix, 1003 N. Abby St.
California, Sacramento through October 18 “Soaring
Voices: Contemporary Japanese Women Ceramic Artists”;
at Crocker Art Museum, 216 O St.
California, San Rafael October 16 to January 2, 2010
“Out of the Fire: Clay & Glass from ACGA”; at Falkirk
Cultural Center, 1408 Mission Ave.
District of Columbia, Washington through January
1, 2010 “Taking Shape: Ceramics in Southeast Asia”; at
Arthur M. Sackler Gallery, Smithsonian Institution, 1050
Independence Ave. SW.
District of Columbia, Washington throughSeptember
21 “The Welsh Table: An Exhibition of Contemporary Studio
Ceramics”; at Ripley Center, 1100 Jefferson Dr. SW.
Georgia, Augusta September 17 to October 15
“Making Faces: An Exhibition of Face Jugs”; at North
Augusta Municipal Building, Georgia Ave.
Georgia, Decatur throughSeptember 26 “Mug
Shots,” works by Josh DeWeese, David Eichelberger, Debra
Fritts, Julia Galloway, Chris Gustin, Kristen Kieffer, Kathy
King, Shane Mickey, Sandi Pierantozzi, and Kevin Snipes;
at MudFire Clayworks, 175 Laredo Drive.
Georgia, Sautee Nacoochee September 1 to August
31, 2010 “International Folk Pottery Exhibition”; at Folk
Pottery Museum of Northeast Georgia, Georgia Hwy 255,
Sautee Nacoochee Center.
Georgia, Watkinsville August 29 to September
16 “Perspectives 2009: Georgia Pottery Invitational”;
at Oconee Cultural Arts Foundation, OCAF Art Center,
34 School St.
Illinois, Chicago September 14 to October 11 “The
2nd Annual Lillstreet International”;
September 14 to October 11 “Drink: Functional
Forms for Every Libation”; at Lillstreet Art Center, 4401
N. Ravenswood Ave.
Iowa, Iowa City September 25 to October 15 “Recent
Ceramics,” works by Dan Anderson and Richard Notkin.
October 16 to November 6 “Recent Ceramics,” works
by Naomi Dalglish and Michael Hunt; at AKAR, 257 E.
Iowa Ave.
Maine, Deer Isle through October 4 “Summer of
Love: Fall in Love with Something Beautiful”; at Dowstudio
Showroom, 19 Dow Rd.
Massachusetts, Brockton through January 3, 2010
“The Perfect Fit: Shoes Tell Stories”; at Fuller Craft Museum, 455 Oak St.
Massachusetts, Northampton through September
20 “Looking Forward Looking Back: Japanese/American
Ceramics,” works by Naoko Gomi, Ayumi Horie, Hiroshi
Nakayama, Akira Satake, and Ikuzi Teraki; at The Artisan
Gallery, 162 Main St.
Minnesota, Minneapolis September 25 to November
8 “2009 Regis Masters,” works by Ron Meyers and Patti
Warashina; at Northern Clay Center, 2424 Franklin Ave. E.
Minnesota, Northfield September 18 to October 17
“In Between,” works by Kelly Connole and Beth Lo; at
Carleton College Art Gallery, 1 N. College St.
Montana, Helena through September 6 “Farewell
Exhibition for Archie Bray Resident Artists,” works by Renee
Audette, Anne Drew Potter, and Brian Rochefort;
through September 19 “Archie Bray Foundation’s 2009
Fellowship Artists Exhibition,” works by Birdie Boone,
Nathan Craven, Donna Flanery, David Peters, and Kevin
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Snipes; at Archie Bray Foundation for the Ceramic Arts,
2915 Country Club Ave.
Montana, Whitefish September 3 to September 27
“White Clay - Red Clay,” works by George McCauley
and Sarah Yeager; at Whitefish Gallery/Stillwater Gallery,
240 Central Ave.
New Mexico, Santa Fe through September 12 “Gallery
All Stars”; at Santa Fe Clay, 1615 Paseo de Peralta.
New York, New York September 10 to October 8 “New
Amsterdam at 400: Celebration of Dutch Ceramics”;
September 10 to October 8 “Who Lives in Greenwich
Village?” works by Andy Brayman and Ayumi Horie; at
Greenwich House Pottery, 16 Jones St.
Ohio, Rocky River through September 10 “New
Works,” works by Bill Brouillard, Lynne Lofton, and Ron
Meyers; at River Gallery, 19046 Old Detroit Rd.
Pennsylvania, Lancaster September 26 to October
25 “17th Annual Strictly Functional Pottery National”; at
Kevin Lehman’s Pottery, 560 S. Prince St.
Rhode Island, Newport October 8 to November 5 “The
State of Clay”; at Newport Potters Guild, 302 Thames St.
Virginia, Alexandria through September 20 “Education Show: Potters’ Vocabulary 101”;
October 26 to November 29 “Table Talk”; at Scope
Gallery at The Torpedo Factory, 105 N. Union St.
Virginia, Alexandria September 21 to October 25
“Repetition in Clay”; at Scope Gallery at The Torpedo
Factory, 105 N. Union St.
Virginia, Williamsburg through December 31 “Inspiration and Ingenuity: American Stoneware”; at Abby
Aldrich Rockefeller Folk Art Museum, 325 W. Francis St.
Virginia, Williamsburg through January 2, 2011 “Pottery with a Past: Stoneware in Early America”; at DeWitt
Wallace Decorative Arts Museum, 325 W. Francis St.
Washington, Tacoma October 15 to November 20
“WAC 2009 Annual Show”; at Artstop Gallery, Washington
Clay Arts Association, 940 Broadway.
Belgium, Brussels September 12 to October 10 “New
Work,” works by Eva Hild and Kjell Rylander; at Puls Contemporary Ceramics, Kasteleinsplein 4, Place du Châtelain.
England, London September 30 to December 20
“Terra Incognita: Italy’s Ceramics Revival”; at Estorick Collection of Modern Italian Art, 39A Canonbury Sq.
England, London through September 2 “Summer
Exhibition,” works by Richard Batterham, Anne Currier,
Deirdre Hawthorne, Janet Leach, Jim Malone, Priscilla
Mouritzen, Daniel Smith, and Masamichi Yoshikawa;
September 9 to September 30 “Ceramics from Finland,”
works by Kirsi Kivivirta, Pekka Paikkari, Kristina Riska and
Kati Tuominen-Niittylä; at Galerie Besson, 15 Royal Arcade,
28 Old Bond St.
England, London through October 11 “French Porcelain for English Palaces: Sèvres from the Royal Collection”;
at The Queen’s Gallery, Buckingham Palace.
England, London September 1 to March 1, 2010
“Objects of Luxury: French Porcelain of the Eighteenth
Century”; at Victoria & Albert Museum, Cromwell Rd.
England, Eton September 19 to October 11 “A Retrospective View 1984–2009,” works by Gordon Baldwin
and Nancy Baldwin; at JaM Eton and Eton College, The
Art Schools, Eton College, Common Lane.
France, Limoges through October 24 “Made in France
by Americans,” works by Daphne Corregan, Wayne Fischer,
Jeffrey Haines, Jonathan Hammer, Patrick Loughran, Kristin
McKirdy, Luisa Maisel and Wade Saunders; at La Foundation
D’entreprise Bernardaud, 27, Avenue Albert Thomas.
France, Treigny through September 30 “1001 Bouteilles
à travers le vignoble de Sancerre”; at APCP, L’Association
des Potiers Createurs de Puisaye, Le Couvent.
Germany, Berlin through October 26 “Ceramics
from Westerwald”;
through November 16 “Karl Scheid and Gerald Weigel”;
at Keramik-Museum Berlin, Schustehrusstr. 13.
Germany, Frechen through November 22 “Works by
the London Group”;
September 20 to November 22 “Frechener Keramikpreis”; at Keramion Foundation, Bonnstraße 12.
Netherlands, Deventer September 6 to October 3
“New Work,” works by François Debien and Catherine
Salmon; at Loes & Reinier International Ceramics, Korte
Assenstraat 15.
Netherlands, Tegelen through September 6 “Pot,
Potter, Pots!”; at Keramiekcentrum Tiendschuur Tegelen,
Kasteellaan 8.
Republic of Korea, Heungdeok-Gu, Cheongju-Si
September 23 to November 1 “Cheongju International
Craft Biennale 2009: Outside the Box”; at Cheongju
International Craft Biennial, 329 Heungdeok-Ro.
Spain, Barcelona October 1 to January 30, 2010
“Elegance and Minimalism: Imperial Chinese Porcelain
from the Baur Collection”; at Museu de Ceràmica, Palau
Reial de Pedralbes, Av Diagonal 686.
“Swiss Ceramics 1959–2009: Large Size Ceramics”; at
Bruckner Foundation, 17-19 av. Cardinal Mermillod.
“New Work,” works by Peter Fink and Christiane Murner;
at L’Antre Peaux, 43 Rue Ancienne.
Switzerland, Geneva September 4 to October 18
“World Scenes: Ten Years of Travels in China”; at Foundadtion Baur, Musée des Arts d’Extrême Orient, 8 Rue
Munier Romilly.
Switzerland, Geneva through October 4 “Swiss
Ceramics 1959–2009: La Jeune Génération,” works by
Perrine Durgnat, Maurizio Ferrari, Laure Gonthier, Maude
Schneider, Simone Stocker, Marianne Eggimann, and
Ursula Vogel; at Musée Ariana, Ave. de la Paix 10.
Switzerland, Zürich through October 25 “Porcelain:
White Gold”; at Museum Bellerive, Höschgasse 3.
multimedia exhibitions
California, San Diego through January 10, 2010
“Masters of Mid-Century California Modernism,” including ceramic works by Evelyn Ackerman and Jerome
Ackerman; at Mingei International Museum, Balboa Park,
1439 El Prado.
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California, Venice through September 19 “Rogue
Wave ‘09,” including ceramic works by Tia Pulitzer and
Matt Wedel; at LA Louver, 45 N. Venice Blvd.
District of Columbia, Washington through October 12
“Flora: Growing Inspirations,” including ceramic works by
John Thigpen; at US Botanic Garden, 245 First St., SW.
District of Columbia, Washington through September 16 “Milgrom on Morandi: Ceramics and Paintings,”
including ceramic works by Lillianne Milgrom; at cross
mackenzie ceramic arts, 1054 31st St.
District of Columbia, Washington through January
3, 2010 “Renwick Craft Invitational 2009”; at Renwick
Gallery of the Smithsonian American Art Museum, Pennsylvania Ave. at 17 St., NW.
Kansas, Wichita September 4 to October 18 “Wichita
National All Media Craft Exhibition 2009”; at The Wichita
Center for the Arts, 9112 E. Central.
Maryland, Baltimore through September 26 “More than
Skin Deep”; at Baltimore Clayworks, 5706 Smith Ave.
Massachusetts, Pittsfield throughSeptember 5 “Teapots: Interpretations”; at Ferrin Gallery, 433 N. St.
New York, New York through September 19 “Northern
(Latitudes: Contemporary Norwegian and American Art”; at
Scandinavia House, 58 Park Ave. at 38th St.
Ohio, Rocky River October 10 to November 7 “New
Work,” including ceramic works by Stephanie Craig and
Todd Leech; at River Gallery, 19046 Old Detroit Rd.
Oregon, Portland through September 22 “Craft
Biennial: A Review of Northwest Art and Craft”.
October 1 to October 25 “OCAC Artist-In-Residence
Exhibition”; at Oregon College of Art and Craft, 8245
SW Barnes Rd.
Pennsylvania, Philadelphia through October 18
“The Art of Japanese Craft: 1875 to the Present”; at
Philadelphia Museum of Art, 26th St. and the Benjamin
Franklin Pkwy.
Pennsylvania, Philadelphia September 4 to October
31 “The Self and Beyond,” including ceramic works by Dana
Major Kanovitz; at Wexler Gallery, 201 N. Third St.
Washington, Bellevue through October 18 “ÜberPortrait,” including works by Kukuli Velarde and Ah Xian.
through January 3, 2010 “The Self Transparent,”
including ceramic works by Judy Hill; at Bellevue Arts
Museum, 510 Bellevue Way NE.
Wisconsin, Racine through January 17, 2010 “New
and Novel 2009: Recent Gifts to RAM’s Collection”; at
Racine Art Museum, 441 Main St.
England, London September 25 to November 21
“The Birthday Party,” including ceramic works by Mia E.
Göransson, Kate Malone, Hylton Nel, and Jacob van den
Breughel; at Flow Gallery, 1-5 Needham Rd.
England, London through September 20 “Beyond
Bloomsbury: Designs of the Omega Workshop 1913–
1919”; at The Courtauld Gallery, The Courtauld Institute
of Art, Sommerset House, Strand.
England, Bovey Tracey through September 13
“Summer Exhibition”;
September 26 to November 8 “In Tandem,” including
ceramic works by Blandine Anderson; at Devon Guild of
Craftsmen, Riverside Mill.
Netherlands, Amsterdam September 12 to October
10 “Ceramics and Glass,” including ceramic works by Barbara Nanning; at Galerie Carla Koch, Veemkade 500.
The Netherlands, Amsterdam through January 31,
2010 “At the Russian Court: Palace and Protocol in the
19th Century”; at Hermitage Amsterdam, Amstel 51.
Connecticut, Westport November 21 to November 22
“Craft Westport 2009”; at Staples High School, N Ave.
Florida, St. Petersburg September 12 “5th Annual
Pot Roast & Pottery Raffle for CERF”.
October 11 “Clay Games III: The Olympiad for Clay
Artists”; at Craftsman House Gallery, 2955 Central Ave.
Maryland, Baltimore September 25 “The Clay Ball:
Celebrating the Community of Wood-Firing”; at The
Engineer’s Club, 11 W Mount Vernon Pl.
Minnesota, Minneapolis September 10 to September
13 “American Pottery Festival”; at Northern Clay Center,
2424 Franklin Ave. E.
New Jersey, Montclair October 17 to October 18 “Fall
Brookdale Park Fine Art and Crafts Show”; at Brookdale
Park, Watchung Ave.
New Jersey, Upper Montclair September 12 to
September 13 “Fine Art and Crafts at Anderson Park”;
at Anderson Park, 274 Bellevue Ave.
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New York, Stone Ridge October 10 to October 11
“Open Studio Exhibition”; at Stone Ridge Studio, 149
Vly Atwood Rd.
New York, White Plains October 16 to October
18 “16th Annual Westchester Craft Show”; at The
Westchester County Center, Bronx River Pkwy.
North Carolina, Charlotte October 3 “Circle of Eight
Fall Sale”; at Circle of Eight, 1025 Dade St.
Ohio, Berea September 13 “Berea Arts Fest”; at Berea
Arts Fest, Inc., 31 East Bridge St., Ste. 202.
Oregon, Eugene October 9 to October 11 “Clay Fest
2009”; at Lane Events Center, 796 W. 13th Ave.
Pennsylvania, Lancaster September 4 to September
7 “Long’s Park Art and Craft Festival”; at Long’s Park,
1441 Harrisburg Pike.
Texas, New Braunfels October 24 to October 25
“Texas Clay Festival”; at Buck Pottery, 1296 Gruene Rd.
Virginia, Arlington October 17 to October 18 “6th
Light in October Fine Art Sale”; at Historic Barcroft Community House, 800 S. Buchanan St.
England, London October 8 to October 12 “Art
London”; at Art London, Royal Hospital, Chelsea SW3.
England, London October 6 to October 18 “Origin:
The London Craft Fair at Somerset House”; at Somerset
House, Strand.
workshops
Arizona, Prescott October 2 to October 4 “Rio
Rewards PMC Certification Class,” with Tonya Davidson.
Fee: $425. Contact Karen vanPrice, vanPrice Fine Art, 2057
Heavenly Place, Prescott, AZ 86303; [email protected];
www.vanprice.com; 928-443-9723.
Arizona, Tuscon October 24 to October 25 “The
Functional Pot: Tips, Tools and Techniques,” with Bill
vanGilder. Fee: $130; $115, members. Contact Southern Arizona Clay Artists, PO Box 44218, Tuscon, AZ
85733; [email protected]; www.sa-clayartists.org;
520-615-9581.
California, Berkeley September 19 “The Creative
Extruder Workshop,” with Bill Shinn. Fee: $65. Contact
Janie Rose, Berkeley Potters Guild, 731 Jones St., Berkeley,
CA 94710; www.berkeleypotters.com; 510-524-7031.
Colorado, Arvada September 5 to September 6 “Tradition and Innovation,” with Takashi Nakazato. Fee: $160.
Contact Bebe Alexander, Arvada Center for Arts, 6901 Wadsworth Blvd., Arvada, CO 80003; [email protected];
www.arvadacenter.org; 720-898-7239.
Connecticut, Brookfield October 10 to October 11
“Slip Glazing,” with Sharon Pollock. Fee: $250. Contact
Heather Laskowski, Brookfield Craft Center, PO Box 122,
Brookfield, CT 06770; [email protected];
www.brookfieldcraftcenter.org; 203-775-4526.
Connecticut, East Granby September 12 to September 13 “Altered Forms and Murals,” with Frank
Matranga. Fee: $120. Contact Expressions Pottery, 9
School St., East Granby, CT 06026; [email protected];
www.expressionspottery.com; 860-844-0138.
Georgia, Atlanta September 26 to September 27
“Demonstration/Lecture,” with Robert Boomer Moore. Fee:
$110. Contact Glenn Dair, Callanwolde Fine Arts Center, 980
Briarcliff Rd. NE, Atlanta, GA 30306; [email protected];
www.callanwolde.org; 404-872-5338.
Georgia, Augusta September 26 “Making Faces: A
Workshop for Making Face Jugs.” Fee: $50. Contact Clay
Artists of the Southeast (CASE), PO Box 1388, Evans, GA
30809; [email protected]; 803-278-1335.
Georgia, Decatur October 16 to October 18 “Image
Transfer Techniques,” with Paul Wandless. Fee: $295;
October 23 to October 25 “Achieving a Beautiful
Macabre,” with Bonnie Seeman. Fee: $295;
November 6 to November 8 “Sculpting Inside Out,”
with Arthur Gonzalez. Fee: $295. Contact Luba Sharapan and Erik Haagensen, MudFire Clayworks & Gallery,
175 Laredo Dr., Decatur, GA 30030; [email protected];
http://www.mudfire.com; 404-377-8033.
Georgia, Watkinsville September 5 to September 6
“Tricks for Surface Decoration and the Intricacies of Glazing,”
with Jennifer Graff and Katy McDougal. Fee: $125; one day,
$65. Contact Cindy Farley, Oconee Cultural Arts Foundation,
OCAF Art Center, PO Box 631, Watkinsville, GA 30677;
[email protected]; www.ocaf.com; 706-769-4565.
Illinois, Sandwich September 4 to September 7
“Electric vs. Gas Firing Workshop.” Fee: $390;
October 3 to October 11 “Journey Workshop.”
Fee: $2130;
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workshops
November 12 to November 15 “Electric vs. Gas Firing
Workshop.” Fee: $390. Contact Steven Hill and Kim Miner,
Center Street Clay, 218 W. Center St., Sandwich, IL 60548;
[email protected]; www.centerstreetclay.com;
815-570-2030.
Maryland, Arnold September 12 to September
13 “Clay Inlay and Monoprints,” with Mitch Lyons.
Fee: $125 for both days. Contact Anne Webber, The
Potters Guild of Annapolis, 452 Laurel Valley Ct., Arnold, MD 21012; [email protected];
www.pottersguildofannapolis.com; 410-861-6295.
Maryland, Frederick September 12 to September
13 “East Asian Coil Technique,” with Joyce Michaud.
Fee: $175;
September 19 to September 20 “Photographing
Ceramics,” with Joyce Michaud. Fee: $175;
October 8 to October 11 “Kiln Technology,” with Joyce
Michaud. Fee: $300;
October 24 to October 25 “Properties of Clay,” with
Nancy Robbins. Fee: $175;
October 30 to November 1 “Finding Ideas and Giving
Them Life in Clay,” with Val Cushing. Fee: $195;
November 5 to November 8 “Wood Firing,” with Joyce
Michaud. Fee: $300;
November 12 to November 15 “Properties of
Glaze,” with Nancy Robbins. Fee: $300. Contact Joyce
Michaud, Hood College Ceramics Program, 401 Rosemont Ave., Frederick, MD 21701; [email protected];
www.hood.edu/academic/art/hodson; 301-696-3526.
Massachusetts, Chatham September 20 to
September 21 “Altered Forms and Murals,” with
Frank Matranga. Fee: $75 non-member 1 day; $120,
2 days. Contact Cape Cod Potters, Inc., Box 76,
Chatham, MA 02633; [email protected];
www.capecodpotters.org; www.capecodcreativearts.org;
508-255-1732.
Massachusetts, Stockbridge September 26 to September 27 “Throwing Porcelain with Good Technique,”
with Angela Fina. Fee: $250;
October 10 “Demonstration and Discussion,” with
Chris Gustin. Fee: $30. Contact Hope Sullivan, IS183
Art School, 13 Willard Hill Rd., PO Box 1400, Stockbridge, MA 01262; [email protected]; www.is183.org;
413-298-5252.
Mississippi, Biloxi October 17 to October 18 “Lana Wilson Workshop.” Fee: $320. Contact Marjorie Gowdy, Executive Director, Ohr-O’Keefe Museum of Art, 1596 Glenn
Swetman St., Biloxi, MS 39530; [email protected];
www.georgeohr.org; 228-374-5547.
Mississippi, Ridgeland September 19 to September
20 “Vessels Form and Function Demonstration Workshop,” with Connor Burns. Fee: $125. Contact Craftsmen’s Guild of Mississippi, 950 Rice Rd., Ridgeland, MS
39157; www.mscrafts.org; 601-856-7546.
New Jersey, Layton September 5 to September 7 “Fire
Runs Rampant: Open Studio,” with Bruce Dehnert. Fee:
$460. Contact Jennifer Brooks, Peters Valley Craft Center,
19 Kuhn Rd., Layton, NJ 07851; [email protected];
www.petersvalley.org; 973-948-5200.
New Jersey, Metuchen September 14 to September
21 “Reconsidering Raku,” with Linda VonderschmidtLaStella. Fee: $60;
September 15 to September 18 “Timeless Tiles,” with
Linda Vonderschmidt-LaStella. Fee: $125;
October 6 to October 9 “Timeless Tiles,” with
Linda Vonderschmidt-LaStella. Fee: $125. Contact
Linda Vonderschmidt-LaStella, Earthsongs Studio, 242
Amboy Ave., Metuchen, NJ 08840; [email protected];
www.claysongs.com; 732-906-4137.
New Mexico, Abiquiu September 28 to October 4
“Micaceous Pottery and Fall Traditions of Northern New
Mexico,” with Camilla Trujillo. Fee: $275. Contact Linda
Seebantz, Ghost Ranch, HC77 Box 11, Abiquiu, NM
87510; [email protected]; www.ghostranch.org;
505-685-4333.
New York, New York October 17 to October 18
“Throw, Facet, Stretch, Dart!” with Neil Patterson. Fee:
$225. Contact Kate Missett, Artworks/West Side YMCA, 5
W. 63rd St., New York, NY 10023; [email protected];
www.artworkswsy.com; 212-875-4129.
New York, Port Chester September 12 to September
13 “Intimately Minimal: Function and Dysfunction in Clay,”
with Bryan Hopkins. Fee: $200. Contact Leigh Taylor
Mickelson, Clay Art Center, 40 Beech St., Port Chester, NY
10573; [email protected]; www.clayartcenter.org;
914-937-2047.
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76
Soldner Clay Mixers
by Muddy Elbow
Manufacturing
310 W. 4th
Newton, KS • 67114
Phone/Fax (316) 281-9132
[email protected]
soldnerequipment.com
North Carolina, Brasstown September 6 to
September 12 “Celtic Ceramics,” with Pamela KohlerCamp. Fee: $512;
September 20 to September 26 “Clay: Something for
Everyone,” with Judy Brater-Rose. Fee: $512;
September 27 to October 2 “Wildlife Sculpture,” with
Ira Chaffin. Fee: $460. Contact Sue Fruchey, John C.
Campbell Folk School, One Folk School Rd., Brasstown, NC
28902; [email protected]; www.folkschool.org;
828-837-2775.
North Carolina, Charlotte November 21 “Handbuilding Workshop,” with Liz Zlot. Summerfield. Fee: $65. Contact Clayworks Studio and Gallery, 301 East 9th St., Ste.
150, Charlotte, NC 28202; [email protected];
www.clayworksinc.org; 704-344-0795.
North Carolina, Highlands October 16 to October
17 “Introduction to Precious Metal Clay,” with Sara Sloan
Stine. Fee: $195; members, $175;
October 19 to October 31 “Spooky Raku,” with Patrick
Taylor. Fee: $275; members, $250;
November 2 to November 19 “Open Studio for Ceramics,” with Patrick Taylor. Fee: $375, members, $350;
December 1 to December 18 “Open Studio for
Ceramics,” with Patrick Taylor. Fee: $375, members,
$350. Contact Linda Steigleder, The Bascom, PO Box
766, Highlands, NC 28741; [email protected];
www.thebascom.org; 828-526-4949.
North Carolina, Seagrove September 1 to September 30 “Stay and Study Where Over 100 Potteries
Call Home,” with David Fernandez. Fee: $795. Contact
Seagrove Stoneware Inn and Pottery, 136 W. Main St.,
Seagrove, NC 27341; [email protected];
www.seagrovestoneware.com; 336-873-8283.
Oregon, Otis September 9 to September 11 “Ceramic Instrument Making/Singing Earth,” with Andrew
Kail. Fee: $220. Contact Sitka Center for Art and Ecology, PO Box 65, Otis, OR 97368; [email protected];
www.sitkacenter.org; 541-994-5485.
Tennessee, Gatlinburg September 20 to September 26 “Multiple Vessels as a Pottery Image,” with
Patrick Horsley;
September 27 to October 3“Introduction to Wood
Firing,” with Bill van Gilder;
October 4 to October 10 “Teapot Form: Utilitarian vs.
Diminutive,” with Fong Choo;
October 16 to October 18 “Low Fire Clay Adventure,”
with David Gamble;
October 23 to October 25 “Personalized Pots: Surface,
Form & Problem Solving,” with Julia Galloway. Contact
Chuck McMahon, Arrowmont School of Arts and Crafts,
556 Pkwy., Gatlinburg, TN 37738; [email protected];
www.arrowmont.org; 865-436-5860.
Tennessee, Smithville September 11 to September 13
“Drinking Vessels,” with Melody Tiemann. Fee: $250;
September 18 to September 20 “Improving Wheel
Throwing Techniques,” with T.J. Edwards. Fee: $250. Contact Gail Gentry, Appalachian Center for Craft, 1560 Craft
Center Dr., Smithville, TN 37166; [email protected];
www.tntech.edu/craftcenter; 615-597-6801.
Texas, Marshall October 30 to November 1 “Small
Town Raku,” with Steven Branfman. Fee: $275. Contact
Erin Lambers, Pottery that Speaks, 610 West Burleson
St., Marshall, TX 75670; [email protected];
www.erinspottery.com; 903-923-9728.
Vermont, Shelburne September 26 to September 27 “Fired Up in the Fall: Naked Raku &
Primitive Pit Firing,” with Bob Green. Fee: $195.
Contact Shelburne Art Center, 64 Harbor Rd., Shelburne, VT 05482; [email protected];
www.shelburneartcenter.org; 802-985-3648.
Virginia, Lorton October 23 to October 25 “Pottery
from 2 Perspectives,” with Donna Polseno and Ellen
Shankin. Fee: $195. Contact Dale Marhanka, Lorton
Arts Foundation and Workhouse Arts Center, 9504
Workhouse Way, Ceramics Bldg. 8, Lorton, VA 22079;
[email protected]; www.workhousearts.org;
703-584-2982.
Wisconsin, Fish Creek September 10 to September
12 “Put a Lid on It (and Handles, Too!),” with Jeanne
Aurelius. Fee: $265;
October 30 to October 31 “Sgrafitto Exploration and
Studio Tour,” with Renee Schwaller. Fee: $125. Contact Kay
McKinley Arneson, Peninsula Art School, PO Box 304, Fish
calendar
workshops
Creek, WI 54212-0304; [email protected];
www.peninsulaartschool.com; 920-868-3455.
Wyoming, Jackson Hole September 17 to September 19 “Ceramics: Color and Design,” with Donna
Rozman. Fee: $290; members, $265. Contact Sam
Dowd, Art Association of Jackson Hole, 240 S Glenwood, Jackson, WY 83002; [email protected];
www.jacksonholeworkshops.org; 307-733-6379.
Canada, Victoria October 24 to October 25 “The
Teapot Form,” with Fong Choo. Fee: $143. Contact Meira
Mathison, Metchosin Intl Summer School of the Arts,
650 Pearson College Dr, Victoria, British Columbia V9C
4H7 Canada; [email protected]; www.missa.ca;
250-391-2420.
Denmark, Skælskør October 5 to October 9 “Takeshi Yasuda Workshop.” Fee: $424; members, $390;
students, $339;
October 12 to October 16 “Plaster Master Workshop,” with Richard Saaby. Fee: $424; members, $390;
students, $322;
October 26 to October 30 “Vitrified Print,” with
Paul Scott. Fee: $424; members, $390; students, $322.
Contact Ane Fabricius Christiansen, Guldagergaard
International Ceramic Research Center, Jernbanevej 14,
st. tv., Skælskør, 4230 Denmark; [email protected];
www.ceramic.dk; 45 5819 0016.
Greece, Skopelos Island September 10 to September
25 “Mia Muse,” with Suzy Birstein. Fee: $1800. Contact
Gloria Carr, Skopelos Foundation for the Arts, PO Box
56, Skopelos Island, 37003 Greece; [email protected];
www.skopart.org; 604-737-2636.
Greece October 2010 “Greek Island Ceramics Excursion.” Contact Denys James, Discovery Art
Travel, 182 Welbury Dr., Salt Spring Island, British
Columbia V8K 2L8 Canada; [email protected];
www.denysjames.com; 250-537-4906.
Indonesia, Lombok and Bali March 7 to March 23,
2010 “Village Pottery Experience.” Contact Denys James,
Discovery Art Travel, 182 Welbury Dr., Salt Spring Island, British Columbia V8K 2L8 Canada; [email protected];
Indonesia, Ubud November 1 to November 14
“Western Raku and Smoke,” with Hillary Kane and
Marcello Massoni. Fee: $1250. Contact Gaya Ceramic
Arts Center, Jalan Raya Sayan, Ubud, Bali 80571 Indonesia; [email protected]; www.gayafusion.com;
62 361 979252 253.
Indonesia, Ubud November 22 to December 5
“Finding Center,” with Hillary Kane and Marcello
Massoni. Fee: $1250. Contact Gaya Ceramic Arts Center, Jalan Raya Sayan, Ubud, Bali 80571 Indonesia;
[email protected]; www.gayafusion.com; 62
361 979252 253.
Italy September 1 to September 6 “Graphic and
Pictorial Techniques for Contemporary Ceramics,” with
Mirco Denicolò Contact Alice Lombardelli, Casteldurante
Cultura Ceramica, Italy; [email protected];
www.culturaceramica.it; 39 328 33 70 724.
Italy, Florence October 4 to October 17 “Framing
Food in Italy: Making Pots at La Meridiana,” with Jan
Edwards. Fee: $2800. Contact Jan Edwards,, 2650
S.W. Custer, Portland, OR 97219; [email protected];
http://web.mac.com/clayjan/iWeb/Site/The%20Workshop.html;
503-245-1583.
Japan October 2 to October 11 “Ceramics and
Crafts of Japan,” with lodging and meals. Fee:
$4750. Contact Esprit Travel & Tours, 9533 Rancho
Palmas, Las Vegas, NV 89117; [email protected];
www.esprittravel.com/tours/ceramicstour.html; 702433-0966.
Japan, Mashiko October 30 to November 1 “10th
World Art Educators Workshop in Japan: Architectural
Ceramics,” with Ikuzo Fujiwara Contact Ikuzo Fujiwara,
Fujiwara Earthen Art Studio, 70 Naka, Ashinuma, Mashiko, Japan; [email protected].
Mexico, Oaxaca December 16 to December 29
“Christmas in Oaxaca.” Fee: $3690. Contact Tom and
Sherry Wilson, Craft World Tours, 6776 Warboys Rd.,
Byron, NY 14422; 585-548-2667.
Morocco October 28 to November 15 “Morocco
Excursion.” Fee: $3175. Contact Denys James, Discovery
Art Travel, 182 Welbury Dr., Salt Spring Island, British
Columbia V8K 2L8 Canada; [email protected];
77
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See www.ceramicsmonthly.org/classifieds.asp for details.
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publications/videos
3000 used ceramic molds for sale. All occasions/
variety. Local pick up only; Bath, Maine. Email
[email protected] or call (207) 443-1670.
PotteryVideos.com – DVD’s with Robin Hopper,
Gordon Hutchens and Graham Sheehan. Video Workshops for Potters at all levels of experience. Choose from
21 titles. (800) 668-8040; [email protected].
Complete Studio for Sale in Boston Area. Wheel,
Skutt 1027-3 kiln, de-airing pugmill, slab roller, extruder, scales, 300 lbs. of raw materials and much more.
Call (781) 605-1183 or email [email protected]
for complete list and prices.
Tom Turner’s 2-day workshop, 4-disc DVD set. To
order, see www.tomturnerporcelain.com; or call (828)
689-9430.
Albany Slip. It’s the real thing! The last load
from the original mine. Make those great Albany
slip glazes again, from cone 6 to 11. At cone
10–11, it fires a deep glossy brown. For fur ther
infor mation, contact the Great American
Wheel Works, in New York, at (518) 756-2368;
e-mail [email protected].
employment
Studio manager position at Genesee Pottery, Rochester, NY. Must be knowledgeable in studio maintenance and kiln firing. Salary plus studio benefits.
Contact Kate Whorton, [email protected];
(585)271-5183.
events
real estate
Beautiful Solar Studio, Magnificent land, Affordable
home for sale in upstate New York, 6 acres on the
Hudson near Saratoga Springs. Operational pottery
for 35 years. Studio: 3 spacious rooms + finished
gallery. House: 3bedroom/1bath, deck, washer/dryer,
wood stove. House needs work! Must see. $150,000.
Lease to Own option available. (518) 692-7742. www.
BrendaMcMahonCeramics.com/info/sale.html.
For Sale: Laloba Ranch & Art Center, Steamboat Springs,
Colorado. Gorgeous Rocky Mountain Horse Ranch on
beautifully fenced 40 acres. Keep as art center or use as
personal or corporate retreat. Only 12 miles to international
resort town of Steamboat Springs. Inclusions: charming
main home with separate faculty apartment, 5 bedroom
guest house, studio, 2-story horse barn and shop, kiln shed
and kilns, 2 hot tubs, 2 saunas, hiking trails, and ponds.
$1,900.000. For full brochure call (970) 870-6423.
“Handbuilt”. Philadelphia, PA, September 17-19,
2009 – Demonstration, Inspiration, Conversation.
Handbuilding Conference to benefit CERF. Demonstrators: Hayne Bayless, Sandi Pierantozzi, Lisa
Naples, Holly Walker. Guest Speaker William Daley.
www.sandiandneil.com
Santa Fe, New Mexico Artist Compound. Home,
studio, guesthouse in spectacular setting. 5000+ sq.
Ft. on 1.5 acres IN TOWN. Fully equipped high fire
studio, spacious rentable guesthouse. Artistically designed home. $1,370,000. Partner considered. Contact
[email protected] for pictures and information.
Fired Up in the Fall - Naked Raku and Pit Firing
with Bob Green; September 26 & 27. Shelburne Art
Center, Shelburne, Vermont. For more information
http://www.shelburneartcenter.org/.
Spring Green,WI. Retiring after 35+ years. Studio/retail
shop and home for sale. Includes classic 4-bedroom
mission style home; 2000 sq. Ft. fully-equipped studio
and sales room; 3-car detached garage on one acre in
beautiful rural valley. Area home of Frank Lloyd Wright,
House on the Rock, American Players Theatre. Available
January 2010. For more info (608) 588-2195.
CHRIS GUSTIN WORKSHOP — www.cubcreek.org.
Tom Turner’s Pottery School. For details, see
www.tomturnerporcelain.com; or call (828) 689-9430.
opportunities
Get Centered. Steven Hill Pottery at Center Street
Clay. centerstreetclay.com.
RESIDENCY — www.cubcreek.org.
Mid-Coastal Maine Potter’s Retreat. Beautiful ceramics studio/living space on 110 acres.
Woods trails, swimming pond, private lessons
and critiques/group workshops. Nearby ocean
and sailboat. www.starflowerfarmstudios.com;
(207) 525-3593.
Central Florida Artist/Potter’s Studio! 212 sq. Ft.
art studio w/lots of light, heavy-duty wiring, separate
entrance from tropical garden patio, attached to a
gorgeous custom-built Mediterranean style 3-bedroom,
2-bath home! Close to Stetson University’s superb Art
Department, Orlando and world-famous beaches! Ideal
locale of year-round art shows and tourists. Blake Rambo
(386) 956-8417; [email protected].
rental
Access to Wood/Salt/Soda/Raku Gas Kilns. Community & Private Studios. Residency opportunities in
beautiful Taos, New Mexico. Rent starting at $70/month.
www.taosclay.com.
78
services
Manabigama Wood Firing Kiln Plans Available.
Fires and flashes 30 cubic feet of pots in 8 hours
using 1/2 cord wood. Great teaching kiln. Plans
include architectural drawings, material list, kiln
construction CD and more. Manabigama kiln building and wood fire workshops available. Contact
John Thies at [email protected] or
call (301) 898-3128.
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.
Jeff Zamek, 6 Glendale Woods Dr., Southampton, MA
01073; (413) 527-7337; e-mail fi[email protected]; or
www.fixpots.com.
Master Kiln Builders. 26+ 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.
Custom Mold Making—Increase your productivity
and profits with quality slip-casting molds of your
popular designs! Petro Mold Co. offers a complete
range of mold-making services, including sculpting and 3-D models, master and case molds, and
production mold manufacturing to thousands of
satisfied customers. Visit www.custommolds.net;
or call (800) 404-5521 to get started.
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.
Web Sites for Potters - We specialize in custom
designed sites for artists, crafts people. New sites,
redesigns, maintenance. Visit www.webkazoo.com/
ceramics or call (860) 664-9593.
travel
Craft & Folk Art Tours. Christmas in Oaxaca (Mexico),
Myanmar (Burma), India, Bhutan, Central Asia, Morocco, Ecuador, Guatemala. Small, personalized groups.
CRAFT WORLD TOURS, 6776CM Warboys, Byron, NY
14422; (585) 548-2667; www.craftworldtours.com.
Morocco 2009 Ceramics Excursion - October
28-November 15, 2009. Offered again in 2009 due to
popular demand. www.discoveryarttravel.com.
Overseas Ceramic Workshops & Tours—Morocco, October 28 - November 15, 2009, Berber
traditional pottery, adobe architecture, tile art in
Southern Morocco. Lombok and Bali, March 2010,
Crete, Greece, October 2010. Burma (Myanmar)
February 2011. Small, culturally-sensitive groups
using local translators and experts. Discovery Art
Travel, Denys James, Canada; (250) 537-4906;
www.denysjames.com; [email protected].
index to advertisers
Aardvark Clay & Supplies...........65
Clay Art Center/Scott Creek........10
ACerS Books...............................79
Clay-King.com...............................9
Amaco and Brent............... Cover 2
ClaySpace...................................74
American Museum of Ceramic Art
Clayworks Supplies.....................77
(AMOCA).....................................21
Continental Clay..........................71
L & L Kiln Mfg................................4
Armory Art Center.......................67
Cool Japan Project Inc. ..............69
L&R Specialties...........................77
Sheffield Pottery..........................73
Artworks/West Side YMCA..........74
Coyote Clay & Color....................58
Larkin Refractory Solutions.........73
Shimpo..................................13, 28
Cress Mfg....................................14
Master Kiln Builders....................77
Bamboo Tools..............................76
Davens Ceramic Center..............66
Mesa Art Center..........................75
Bennett Pottery..............................7
Discovery Art Travel....................76
MKM Pottery Tools.......................74
BigCeramicStore.com.................70
Dolan Tools..................................77
Mudtools......................................69
Bracker’s Good Earth Clays........66
Enduring Images.........................65
New Mexico Clay.........................76
Euclid’s/PSH................................72
92nd St. Y....................................75
Bailey Pottery....................1, 19, 61
Carolina Clay Connection............74
Hood College (Hodson Gallery).. 59
Kentucky Mudworks....................77
Klopfenstein Art Equipment........69
North Star Equipment..................23
Portion Master.............................67
Potters Council......................73, 74
Potters Shop................................77
Rockland Colloid.........................77
Skutt Ceramic............... 15, Cover 4
Smith-Sharpe Fire Brick Supply..12
Soldner Clay Mixers....................76
Spectrum Glazes.........................60
Speedball Art Products...............63
Standard Ceramic Supply...........72
Trinity Ceramic Supply................64
Ceramic Supply Chicago............76
Georgies Ceramic & Clay............65
CeramicArtsDaily.org....................8
Giffin Tec........................................2
Old Farmhouse Pottery...............67
Chilean Ceramics Workshop.......76
Great Lakes Clay.........................71
Olympic Kilns................................3
Chinese Clay Art.........................75
Handmade Tile Assn...................68
Paragon Industries....... 11, Cover 3
Classifieds.............................78, 79
Herring Designs/SlabMat............77
PCF Studios.................................77
Venco USA..................................77
Clay Art Center............................72
Highwater Clays..........................71
Peter Pugger Mfg........................25
Ward Burner Systems..................70
79
Truro Center for Arts....................76
Tucker’s Pottery...........................62
U.S. Pigment................................75
Comment
the perfect match by Lily Zopfi
It is 12:30 am and I am stretching to relieve have gone back for seconds). I try my hardest
the pain I am already feeling in my lower to see if I recognize anything in the box as
back. We just finished loading the last kiln of my own. It is quickly picked up and placed
the semester. The annual “Christmas Pottery in front of me at the checkout table. I posiSale” is this Friday; the kiln will run tomor- tion myself behind the newspaper to partake
row and be out in plenty of time to sort and in the final presentation of the pot, carefully
price the remaining pots.
wrapping each as I bag them and hand them
Students have been asking for weeks if off to their new owner. And there it is; the
they can come by to get an early look at the moment I work for all semester. I have finally
work. Those who have been here for three come into contact with the individual for
years now have finally learned that the elderly whom that pot had been made. I have been
ladies who wait outside, boxes in hand, show able to make and create and play all semester
little mercy—so this year they are ready, too. and now it is their turn. They have taken adIt is my favorite time of year. The
student union building is lined with
tables on either side. You can hear
the Christmas music the moment
you enter. The noise alternates between the hum of conversation and
the clinking of pots being inspected
on and off the table.
Thursday night is almost as good
as early Friday morning. There is an
unspoken understanding that the
upper-level clay students get the
tables closest to the checkout table.
That’s me this year, so I lay out the
culmination of a semester’s work.
Sleepless nights, several hundred
pounds of smooth porcelain clay,
and the final results of all the technical and aesthetic struggle now lie
A plate and mug by Lily Zopfi, Dayton, Tennessee.
before me. I love this moment. It
is not unlike the moment when I
have removed all the clay from the mixer and vantage of this opportunity to choose which
turn to see it piled behind me, lumped upon pot will best meet their needs, whether it be
itself with weighty inertia, anxiously waiting function, durability or aesthetic addition, that
to become something. It’s also not unlike pot is about to be used just as I intended. It
the moment a mother looks at her daughter, is so fascinating to see the personality of both
now grown and successful, and thinks back pot and person complement one another. I
to the time of diapers and pacifiers—pure anxiously await the next customer, feeling just
potential. It is a proud feeling. You alone as much contentment as I wrap a mug or bowl
know the struggle, the hard work, the days made by my studio mates. They have finally
where perhaps you thought nothing good found their match.
was going to come of this. And now look
The semester had not been so full of such
where you are.
motivation or passion, however. For a time,
Friday morning, I enter the building to see I had gotten into the rhythm of just making.
every table full, Christmas music reminding While there is validity in the phrase “from
the guests that what lies before them may quantity comes quality,” there is also somemake a perfect gift. There they are, the little thing limiting about mere repetitious producladies with their determination and cardboard tion. Your work will say it all. I had become
boxes. There are a few boxes full and already so driven by my final graduating exhibition
lying under the checkout table (their owners and meeting its requirements that I almost
80
forgot why I even spent the last three years
committed to this work.
I had used a handmade coffee cup only
once and realized that there was a unique
difference between drinking from it and from
a machine-made mug. The ability that this
simple object had to enhance that moment
was so exciting and I wanted to learn more
about it. Enjoying a cup of tea on the porch
during a rainstorm and gathering with friends
and family around the dinner table are moments that I want to promote, and clay gives
me that opportunity. But there is a morality
to making any kind of art; it is necessary that you always remember your
passions, desires, and what brings
you joy so that your work is a genuine reflection of you, the artist.
This is my last Christmas sale.
I expect there to be bittersweetness
this year as I pack up the few pots
that remain at 4 pm. I graduate in
ten days with a bachelor of arts degree in ceramics and the whole art
world lies before me. I am leaving
with invaluable knowledge of technique and skill for which I am very
grateful. Whether I happen upon a
studio filled with motivated artists,
each at the same place in life, or
begin an intimate solo studio, I am
most appreciative of the support and
encouragement that I have received
to never forget my first love.
So whether it be experimentation, innovation, rainy-day tea, raku or the moment
when pot meets person, remember your
first love. Remember why you pursued this
fascinating medium in the first place. Maybe
it will come in the form of early morning
coffee with a wood-fired mug. Or perhaps
sitting down with fifty 1-pound balls of clay
and just throwing for the pure enjoyment of
touching and manipulating that beautiful
supple material will remind you. Whatever it
may be, the results of invoking that memory
will be priceless; you will be happier and the
work will be better.
the author Lily Zopfi graduated from Union
University in Jackson, Tennessee, in December
2008 and is currently pursuing ceramic studies
with her husband in Dayton, Tennessee.
A custom tile mural for Don
Fesler in New Port Beach,
California. Cha-Rie Tang
fires her tiles to cone 5.
After dipping the glaze, she
hand rubs each piece to get
just the right amount of clay
body showing through the
glaze. As a result, each
piece is different from the
next.
“The Paragon Dragon
has changed my life. I
have accepted jobs up
to 500 square feet of
tiles without trouble.”
—Cha-Rie Tang
“The Paragon Dragon has changed my
life,” said custom tile maker and architect
Cha-Rie Tang. “A front-loading kiln is essential for tiles. I can load five layers easily. I
can finally claim that I can offer Craftsman
tiles for installation.
“I use the kiln to do custom murals. Since
I can fire up to 22" x 22", I carve relief panels
in the style of Craftsman tiles. I have worked
on the Pasadena landmark Greene and
Greene Robinson House, an entrance wall
for Santa Barbara’s Tile Collection, Isabelle
Greene’s fireplace, a fountain for All Nations Church, numerous private commissions, and the new Los Angeles Public
Library Exposition Park Branch.
“In addition to firing ceramics, I have
used the Dragon to fire architectural-sized
glass. The computer controls are easy to
use,” Cha-Rie added.
Create breathtaking pottery in this exciting kiln. The Dragon exudes power. Its
Architect Cha-Rie Tang of Pasadena, California with her Paragon Dragon
front-loading kiln. This kiln is becoming a favorite with potters. It is easy to
load, heavily insulated, and designed to reach cone 10 with power to spare.
16,500 watts heat the 24” wide, 24” deep,
27” high interior to cone 10 with ample
power to spare. This results in long element
life, because the elements do not “struggle”
to reach high temperatures. Dropped, recessed grooves seat industrial-gauge elements for long life.
The Sentry digital controller can calculate electrical usage. Learn to conserve energy by experimenting with firing speed, load
density, etc.
The extra insulation cools the kiln slowly
to achieve dramatic shifts in glaze color such
as iron reds. Long-lasting mercury relays
power the elements.
We offer a wide selection of
top- and front-loading kilns.
Call us or visit our website for a
free catalog and the name of
the Paragon dealer near you.
2011 South Town East Blvd.
Mesquite, Texas 75149-1122
800-876-4328 / 972-288-7557
Toll Free Fax 888-222-6450
www.paragonweb.com
[email protected]

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