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CERAMICS MONTHLY
focus emerging artists
M O N T H L Y
May 2006 $7.50 (Can$9, h6.50) www.ceramicsmonthly.org
MAY 2006 $7.50 (Can$9, E6.50)
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Ceramics Monthly May 2006
1
M O N T H LY
Editorial
[email protected]
telephone: (614) 895-4213
fax: (614) 891-8960
editor Sherman Hall
assistant editor Renée Fairchild
assistant editor Jennifer Poellot
technical editor Phil Berneburg
publisher Charles Spahr
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fax: (614) 891-8960
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Design/Production
design Paula John
production Jami Flannelly
Editorial, advertising and circulation offices
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Westerville, Ohio 43081
U SA
Editorial Advisory Board
Linda Arbuckle; Professor, Ceramics, Univ. of Florida
Tom Coleman; Studio Potter, Nevada
Dick Lehman; Studio Potter, Indiana
Meira Mathison; Director, Metchosin Art School, Canada
Don Pilcher; Potter and Author, Illinois
Bernard Pucker; Director, Pucker Gallery, Boston
Phil Rogers; Potter and Author, Wales
Mark Shapiro; Worthington, Massachusetts
Susan York; Santa Fe, New Mexico
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Copyright © 2006
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MAY 2006 / Volume 54 Number 5
M O N T H L Y
33
Emerging Artists 2006
The entries for the Emerging Artist search poured in this year, generating
much excitement around the CM offices. But alas, with that excitement
came the inevitable challenge of narrowing the impressive field to a
handful. For this feature, we have chosen twelve promising artists in the
early stages of their careers, with several more highlighted on our website.
features
41
Meditational Forms
Contemporary Korean Ceramics by Choi Sung-Jae by P h i l R ogers
monthly methods Expressive Slip Drawings
44
Magnetic Enigmas
The Ceramic Boxes of Diana Thomas by Scott R uesch er
monthly methods Building Boxes
48
The Poetic Vessels of Ted Saupe by Memoree Joè
lle
Drawing inspiration from Minoan funerary jars, cave paintings and
children’s drawings, an artist creates containers for ideas and concepts.
51
Lebeth Lammers by R
obert F ran k li n
A Texas artist finds balance creating sculptural and functional vessels
that have a place in the realms of the everyday and the spiritual.
monthly methods Double-Walled Vessels
54
Paula Murray: Honoring the Natural World by Nan
cy B aele
Fragile yet strong works reveal their maker’s intimate connection to seas,
rivers, lakes and forests.
monthly methods Stress Management by P aula Murray
58
Translating from the Subconscious by Nan
cy U tterback
Inspired by a secret code she devised to prevent snooping brothers from
publicizing her childhood diary, an artist uses pots as a journaling tool.
33
cover: Punchong bottle, 12 in. (30 cm) in height,
stoneware with white slip and ash glaze, 2005,
by Choi Sung-Jae, Ghungnam, Korea; page 41.
44
54
XX XX
5
44
departments
10
letters from readers
14
upfront reviews, news and exhibitions
26
answers from the CM technical staff
30
suggestions from readers
30
62
Tip of the Month: Spray Masking
call for entries
62
62
64
66
International Exhibitions
U nited States Exhibitions
Regional Exhibitions
Fairs and Festivals
68
new books
70
calendar
70
70
72
75
76
78
86
Conferences
Solo Exhibitions
Group Ceramics Exhibitions
Ceramics in Multimedia Exhibitions
Fairs, Festivals and Sales
Workshops
International Events
94
classified advertising
95
index to advertisers
96
comment
Skeletons in the Cupboard by F ran k G osar
22
online www.ceramicsmonthly.org
current features, expanded features, archive articles, calendar, call for entries and classifieds
expanded features
Emerging Artists 2006
With so many strong entries this year, we needed to make
space on our website for many more!
Magnetic Enigmas
The Ceramic Boxes of Diana Thomas
by Scott R uesch er
Expanded article with more images of Thomas’ work
new online exclusive features
Cochucho U rns by Nan K rutch k of f
After an initial wild-goose chase, tourists find a
pottery haven in Mexico.
special listings
Gallery Guide
Where to see ceramics in the U .S. and abroad
Residencies and Fellowships
X 22
X
Full listing of professional-development opportunities
16
Summer Workshops 2006
Everything you need to plan an educational getaway
6
7
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9
letters
A Question of Gender
I found your questions last month interesting to ponder [To what extent, if any,
does gender affect aesthetics? To what extent
does it affect technique?]. In thirty years of
traveling America for wonderful works of
clay, I have never based a purchase upon
gender. I never thought about gender as a
part of the clay-purchasing equation.
If there is any gender difference, it
may be that physical strength may allow
for larger work on the part of men. However, always remember that bigger is not
always better. Fine works in clay stand on
their own without a need to create all
sorts of meanings and definitions.
I have observed potting couples that
include Otto and Vivika Heino, and Jim
and Nan McKinnell. I cannot recall that
the gender factor/question arose in conversation. They seemed always to be
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10
focused on current work, and glancing
toward the future and what lay ahead.
Yes, men and women may bring some
differences to the pottery kingdom, but
those differences are not the most salient
elements. Work that is pleasing to them
and their buyers trumps everything else.
But what do I know; I’ve thought for
years that Homer Simpson was Jessica
Simpson’s father.
Tom Turnquist, Lakewood, Colorado
Context is Everything
It is impossible, I think, to comment on
something involving two variables. What
exactly do we mean by gender? And how
do we define aesthetics?
To the extent that our lives are expressed through our work, and our lives
incorporate our aesthetic, then whether
we live the lives of women or the lives of
men makes a difference. But the lived life
includes so much beyond the sexual divide: Whether one grew up rural or urban; listening to waves crash on the shore
or to winds blowing through the forest, or
the subway rattling under the street . . . .
It seems to me that the lived life and
the aesthetic perceptions it created affect
the work, and one cannot attribute anything to just one aspect.
Lili Krakowski, Constableville, NY
The Get Away
Last week, we did something we haven’t
done in ten years—traveled from our
Eureka Springs, Arkansas, studio to New
Mexico just to get away for a spring
break; not for a show; not to take pots to
a gallery; not to visit elder relatives or go
to a funeral.
Like many potters, we just tend to stay
in the studio and work all the time. Our
daughters will leave home for higher
education this fall, so we had to go have
fun together over spring break this year.
Yes, we had to get our vehicle repaired on
the road (but it was minor), and of course
we spent way too much money. We saw
lots of high-end art in swanky galleries
where the salesperson looked up from his
computer and then ignored us, probably
guessing we couldn’t afford anything.
We’d read about John Bradford’s
wood-fired pots both in CM [“Healthy
Forest—Happy Potters,” December
2005] and in a Taos art magazine, and
Corky & Kim Wagner - Bluewater Potters
bluewaterpotters.com
Living in the Florida Keys, we like to spend every free minute
taking advantage of our beautiful surroundings. Our new Geil
54 Fiber Shuttle Kiln is so easy to load and fire that we find
ourselves with far more “reef” time than our old kiln ever gave
us. The incredible fuel efficiency and increased stacking space
allow us to buy extra boat fuel instead of kiln fuel. On the
subject of construction, I believe any kiln, mounted outdoors,
that can withstand Hurricane Wilma’s 100+ mph winds without
a scratch (including stack)—while fences, roofs and trees
around it came apart—should be around to fire our pots for
many years. Maybe we’ll ride out the next storm inside our
Geil kiln. Purchasing a Geil kiln was the best business decision
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11
letters
decided to travel to Arroyo Seco to find
his pottery. We got there well before he
opened his doors to the public and were
going to wait. We peeked in the kiln yard
out back to find John looking in on his
still-hot kiln. He graciously invited us
into his studio/gallery/home and introduced us to potter Hillary Kane. The four
of us talked our heads off about the affects of various species of wood, kiln
designs and Shino glazes, all while we
admired the pottery around us in the
gallery. We purchased a beautiful Shino
jar, which is now the favorite jar in my
life. We left the J. Bradford Pottery refreshed and energized.
It was wonderful to meet these young,
warm-hearted, talented potters. Our
recommendation: Y’all be sure to get out
once in awhile and see your colleagues—
the ones you’ve met and the ones you’ve
yet to meet.
Laura Waters, Jim Wallace, Eureka Springs, AR
What Do You Think?
From Mud to Music
By Barry Hall
This exciting book is truly a unique blend of ceramics and music at its best.
The only one of its kind, From Mud to Music is about the remarkable transformation of how the simplest of materials—clay or mud—can be used
to make tools for producing one of the most complex human
expressions—music. It describes not only the history of each
type of ceramic instrument, but also provides the most complete survey of ceramic artists and their instruments
today, including several step-by-step projects for creating your own. Filled with over 440 color photographs and illustrations, this book also includes
a mesmeric CD of music performed by talented musicians on well-crafted ceramic
instruments. From Mud to Music is the
perfect blend of ceramics and music and
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12
• What materials besides clay do you work
with? How do they inform your claywork?
E-mail comments (with your full name and
address) to [email protected].
Location Change
In the September 2005 issue, the article
“Nic Collins: In Search of Space,” directed
readers to www.powdermillspottery.com
for further information. It has come to
our attention that Mr. Collins moved just
down the road from Powdermills Pottery
several years ago. Further information can
be found at www.nic-collins.co.uk.
Correction
On page 32 of the April issue, in the
article “Common Wealth: A Workshop
in Jamaica,” the location of Good Hope
was reported as being in Kingston, Jamaica. The studio at Good Hope is, in
fact, in the parish of Trelawny, outside
the town of Falmouth on the north coast
of Jamaica, which is approximately a fivehour drive from Kingston.
Read more Letters online at www.ceramicsmonthly.org/letters.
Submit letters by e-mailing [email protected]. Include your full name and address. Editing for clarity or brevity may
take place. Letters also can be mailed to Ceramics Monthly, 735
Ceramic Pl., Suite 100, Westerville, OH 43081.
13
upfront
reviews, news and exhibitions
14
2006 Regis Masters Exhibition:
Val Cushing, John Mason and Paul Soldner
by Mason Ri dl e
Northern Clay Center, Minneapolis, Minnesota
16
Bennett Bean
Hunterdon Museum of Art, Clinton, New Jersey
16
Salt & Pepper
Baltimore Clayworks, Baltimore, Maryland
18
Giselle Hicks
Ferrin Gallery, Lenox, Massachusetts
18
Janis Mars Wunderlich
Sherrie Gallerie, Columbus, Ohio
20
Melody Ellis
X en Gallery, St. Louis, Missouri
20
Size Matters
Woman Made Gallery, Chicago, Illinois
20
Minimal/ist
Archer Gallery, Clark College,
Vancouver, Washington
22
Big Fish Small Pot
Saddleback College Art Gallery,
Mission Viejo, California
22
Tom Brewer
Florida Craftsmen Gallery,
St. Petersburg, Florida
22
Pottery Invitational
Worcester Center for Crafts,
Worcester, Massachusetts
24
Wayne Branum
Architecture Resource Center, Andrews U niversity
Berrien Springs, Michigan
24
Leach Pottery to be Restored
Top: Paul Soldner’s sculpture, 19 in. (48 cm) in height,
earthenware with terra sigillata, salt fumed with copper.
Bottom left: John Mason’s “Black Mystery,” 22 in. (56 cm) in height, 2002.
Bottom right: Val Cushing’s vase form, 18 in. (46 cm) in height, stoneware, 1990.
14
Paul Soldner’s sculpture, 28 in. (71 cm) in width,
stoneware with feldspathic rocks, unglazed;
at Northern Clay Center, Minneapolis, Minnesota.
review:
2006 Regis Masters Exhibition:
Val Cushing, John Mason and Paul Soldner
by Mason Riddle
Warren MacKenzie reports that when Peter Voulkos presented his
wheel-thrown pots to Shoji Hamada during the master Japanese
potter’s first visit to the Archie Bray Foundation for the Ceramic
Arts in 1 9 52, Hamada’s only words were, “Why don’t you let the
clay do more of the work?” If the seed of experimentation had
already been idling below the surface in Voulkos’ aesthetic radar, it
was soon to accelerate. For in 1 9 54 , when Voulkos took over the
chairmanship of the Otis Art Institute in Los Angeles, the world of
ceramics was irrevocably changed.
Voulkos was like a generator who absorbed the energy and
infl uences of the day ranging from Abstract Expressionism to Z en
Buddhism to post-WWII optimism, and converted them into
ideas and modes of practice not before seen in American ceramics.
His students—among them Paul Soldner, now 8 5, and John
Mason, 7 9 —were like electrodes, accepting and dispensing Voulkos’
energy while adding their own unshackled talent. Elsewhere, on a
less frenetic level, ideas about ceramics were changing, particularly
at New York State College of Ceramics at Alfred U niversity where
Val Cushing, 7 5, received both his B.F.A. and M.F.A. before
returning in 1 9 57 to teach for 4 1 years. He, too, was approaching
ceramics in new ways that challenged the medium’s limitations
and traditions.
Thus, it was a historical and informative moment having the
work of Soldner, Mason and Cushing all in the same room for the
2006 R egis Masters Exhibition, which was on display through
April 23 at Northern Clay Center (www.northernclaycenter.org)
in Minneapolis, Minnesota. The R egis Master Series honors senior
artists who have had a major impact on the development of 20thand 21 st-century ceramics. Cushing and Mason were 2005 R egis
Masters and Soldner is the 2006 recipient. Particularly fruitful is
the opportunity to see and evaluate the work of Cushing, Mason
and Soldner in the critical context of each other’s work, knowing
that each contributed differently, but significantly to the unique
path of contemporary American ceramics.
Most immediate is the striking difference between the works of
the three artists. That Soldner, Voulkos’ first student, is still the
wild card is no surprise given his legendary track record of energetic but nonjudgmental teaching practices, exuberant lifestyle,
groundbreaking art, and his inventions of now de rigueur ceramic
tools and equipment. He is probably most recognized for establishing an energetic raku tradition, altering the Japanese practice to
suit his needs. Although still making vessel forms, he has been
known for his sculptural work of torn, folded and overlapping
sections of clay, often imprinted with texture or pattern, all of
which are heightened by the raku firing.
On view were nine Soldner pieces including three large teabowls,
two tall attenuated vessels, three torn and folded sculptures, and
one wall-mounted plate with figurative images, most of which
were raku fired. Variously made of earthenware and stoneware, all
showed Soldner’s keen integration of form, surface and spirit to
produce rough, tactile results. As always, Soldner’s work begged to
be handled to feel the work’s sculptural elements, and eccentric
coupling of positive and negative space.
By comparison, Mason’s four handbuilt sculptures are contained, conceptual, even intellectual. Infused with none of the
Abstract Expressionist aesthetic informing Soldner’s work, Mason’s
are Constructivist in sensibility with highly premeditated, interlocking geometric elements and self-conscious glazing. These
minimalist sculptures with unglazed edges are calculated puzzles of
form and decoration; the edges visually echo or emphasize the construction of the piece. Studying them to identify shifts in form and
pattern is akin to viewing elegantly conceived molecular models.
Aesthetically and stylistically residing between Soldner and
Mason is Cushing, who never studied with Voulkos. R epresented
by seventeen works, Cushing is committed to the vessel form in all
of its strict functional capacity, making teapots, vases, lidded jars,
plates and tureens. Stylistically, the pieces are closely related, evenly
displaying a repetitive vocabulary of forms and motifs. Most are
oversized whose basic rounded forms seem full or infl ated and are
glazed in saturated but earth-toned hues with a semigloss finish.
Exaggerated forms are embellished with circular, doughnutlike
handles that emphasize their curvilinear profile. These works make
15
upfront
evident that Cushing is an aficionado of glazing with his pieces featuring a range of color and application that reinforces the finished form.
The collective force of the creative energy of the artists in the 2006
R egis Masters exhibition infl uenced everyone within their uninhibited
reach, from fine art painters to sculptors. The R egis Masters Series
proves each year the importance and infl uence of a generation of artists
who changed the course of ceramics.
the author Mason Riddle is a Twin Cities-based writer on the arts,
architecture and design.
Bennett Bean
“Bennett Bean: Infl uences and Objects,” a retrospective exhibition of
works by New Jersey artist Bennett Bean, will be on view through June
4 at the Hunterdon Museum of Art (www.hunterdonartmuseum.org)
Jeffrey Chapp’s “Improvised Iraq War Commemorative Salt & Pepper Shakers,”
12 in. (30 cm) in height, low-fire clay and glaze with gold luster decal.
Clayworks (www.baltimoreclayworks.org) in Baltimore, Maryland.
Curated by G ail M. Brown, the exhibition will feature work by more
than 1 00 emerging, mid-career and established artists.
“In the creative hands of potters and artists, all expectations can be
seasoned with the unexpected,” stated Brown. “I invited a panoply of
ingenious makers to pour their ideas onto the project; to season with
the personal approach; to grind out some surprises; to revel in the
possibilities of extravagant contrasts, complements and pairs; to think
about hand scale, usage and the tactile experience; to muse on utility, to
think form, content, sculpture or metaphor, often with added pinches
Bennett Bean’s “Master #359,” 12¹⁄₂ in. (32 cm) in height, thrown
earthenware with painted tape-resist decoration, pit fired, $12,000;
at Hunterdon Museum of Art, Clinton, New Jersey.
in Clinton, New Jersey. The exhibited works demonstrate a convergence of Native American and Asian art infl uences.
“This show is about falling in love—satisfying curiosity,” said Bean.
“To understand an object I want to connect with it, to live with it, to
have it around me. I’ll buy [an object] if I can afford it, but some things
don’t exist anywhere but in my head. Those I have to make. In making,
I learn what’s there. The things I make infl uence what I buy and the
things I buy infl uence what I make.”
Salt & Pepper
“An Extravagance of Salt & Pepper: Containers, Shakers, Concepts,” a
national invitational exhibition of functional and sculptural containers
for salt and pepper, will be on display from May 6 – June 4 at Baltimore
Karl Borgeson’s “Salt and Pepper Containers for Stovetop Use,”
6 in. (15 cm) in length, handbuilt stoneware and porcelain.
16
17
upfront
extension of this concept is the nest. I am fascinated, literally and
metaphorically, with the structure, which is built using delicate materials, such as twigs, leaves, and grasses to be strong enough to house and
protect the fl edgling. This process demands diligence, patience, careful
craftsmenship, commitment and resilience—the same qualities required to build and maintain a relationship with a person, family,
community, those things that can be defined as our home.”
Janis Mars Wunderlich
A solo exhibition of works by Janis Mars Wunderlich will be on display
May 20– June 3 0 at Sherrie G allerie (www.sherriegallerie.com) in Columbus, Ohio.
James Tisdale’s “Crossing the Mississippi, Again,” 12 in. (30 cm) in height,
coil-built earthenware with underglaze and glaze, fired multiple times
to Cone 03; at Baltimore Clayworks, Baltimore, Maryland.
of wit, humor and personal message. Some make unique functional
ware, some focus on sculptural forms and vessels, some share narrative
points of view. All address the world around us—in objects for use,
beauty, decoration and/or forms of observation and commentary in far
from the usual ways.”
Giselle Hicks
“Nesting,” a selection of recent work by Pittsfield, Massachusetts, artist
G iselle Hicks, will be on display May 6 – June 4 at Ferrin G allery
(www.ferringallery.com) in Lenox, Massachusetts. Two bodies of work
will be featuread in the exhibition: a series produced during her residency in the Arts/Industry program at the John Michael Kohler Arts
Center in Sheboygan, Wisconsin; and her most recent work produced
Janis Mars Wunderlich’s “Pouncing Puppy,” 16 in. (41 cm) in height,
handbuilt earthenware with underglazes and glazes, fired multiple times
to Cone 04, $4600; at Sherrie Gallerie, Columbus, Ohio.
Giselle Hicks’ untitled pair of forms, 9 in. (23 cm) in height, slip-cast vitreous
china clay, with glaze and watercolor, 2005; at Ferrin Gallery, Lenox, Massachusetts.
in Pittsfield. In both bodies of work, Hicks uses the nest and pillow
form to address issues relating to shelter.
“As an object from the bed or bedroom, the pillow alludes to ideas
of comfort, support, rest, dreams and privacy, as well as intimacy and
vulnerability,” Hicks explained. “It is a place of sanctuary and solitude,
but also a place where we experience intimate human exchange. An
“My imagery captures the exhaustion and exhilaration of life as
both a creative artist and busy parent,” said Wunderlich. “My children
inspire me with both their imaginative minds and animal-like energy.
But parenting is physically and emotionally demanding! The tantrums,
messy diapers and adolescent “sassiness” are emotionally draining. The
babies are always clinging to me, hanging onto my arms and legs.
“My recent work explores the idea of ‘ accessorizing’ with children.
Sometimes I feel as though my wardrobe consists of kids from head to
toe. Instead of artsy or fancy accessories and jewelry, I have children
hanging from my ears, neck and arms! In a sense, the mother figure
18
M A S T E R
O F
F I N E
A R T S
I N
V I S U A L
A R T
V I S I O N A R Y
Great artists perceive the sublime in the ordinary. Out of clay and wood scraps, J. David Carlson, MFA,
created a whimsical, winged aviator that suggests movement and expression. Through
Azusa Pacific University’s Master of Fine Arts in Visual Art Program, visionary professors like
David work with students to bring their ideas to life.
AVIATOR 01, 2005, J. David Carlson, 5'8" x 4', clay and wood
CALL: (800) 825-5278 • CLICK: www.apu.edu/explore/mfa • EMAIL: [email protected]
VISIT: Our Azusa campus, located 26 miles northeast of Los Angeles
19
upfront
seems hidden or lost behind all the clingy creatures. But in reality, she is
strengthened, clothed and made beautiful by them. They give her
layers, textures, identity.”
Melody Ellis
X en G allery (www.xengallery.com) in St. Louis, Missouri, will host a
solo exhibition of ceramics by Edwardsville, Illinois, artist Melody Ellis
Hong-Ling Wee’s “I Stand Alone,” 7 in. (18 cm) in height, handbuilt terra cotta
with oxides, fired to Cone 04; at Woman Made Gallery, Chicago, Illinois.
tures as containers, and the human emotions and interactions within as
containment,” Wee explained.
Minimal/ist
Melody Ellis’ “Rampant Lion,” 10 in. (25 cm) in height,
handbuilt earthenware with slips and glazes, fired multiple
times, steel, 2005; at Xen Gallery, St. Louis, Missouri.
from May 5– June 1 1 . Ellis’ handbuilt sculpture is inspired by puppet
theater, sideshow and nineteenth-century toys.
“I grew up in a house filled with antique dolls, wooden toys and
other curiosities from the past,” Ellis commented. “The movements
and intricacies of these mysterious objects are elements I now employ
in my artwork. Current sources of inspiration include Persian and
Italian majolica, medieval stained glass, encaustic tile and Byzantine
mosaic. Historical costume, morality tales and personal encounters
also inform my work.”
The Archer G allery (http://cf.clark.edu/pdf/media/archergallery.cfm)
on the Clark College campus in Vancouver, Washington, recently
presented “minimal/ist,” a group exhibition of national ceramics artists. Curated by Lynn Duryea, ceramics artist and assistant professor of
art at Appalachian State U niversity in Boone, North Carolina, the
exhibition was held in conjunction with the 2006 National Council on
Education for the Ceramic Arts (NCECA) Conference held in Portland, Oregon, from March 8 – 1 1 .
Size Matters
“Size Matters,” an exhibition of small artwork in two and three dimensions, is on display through May 1 1 at Woman Made G allery
(www.womanmade.org) in Chicago. Curator Lari G ibbons chose 6 1
pieces, whose scale contributed to their meaning, with the size limitation of 1 2 inches in any direction. “Since people tend to look at small
work closely, excellent craftsmanship is essential to all of the works in
this exhibition,” explained G ibbons.
Among the works on view are two pieces by New York City artist
Hong-Ling Wee. According to Wee, these sculptures evolved from her
intrigue in the separation between public and private spaces. The
biomorphic forms bear little embellishment. “I see architectural struc-
Elisa Nappa’s “Wallflowers” (detail), 22 individual flowers to 20 in.
(51 cm) each in diameter, white earthenware with colored inlay and slips,
$400 each; at the Archer Gallery, Clark College, Vancouver, Washington.
20
The Ninth Annual
International Exposition
of Sculpture Objects
& Functional Art
June 1-4
Seventh Regiment Armory
Adelaide Paul
Orsomadre, 2005
re p re s e n t e d b y G a r t h C l a r k G a l l e r y
Opening Night Gala
Wednesday, May 31
A benefit for the
Museum of Arts & Design
New York City
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21
upfront
teapot, whose form appeared to be half furniture and half beast, had a
subtle plant color and texture, a mature quality in the technique and an
overall harmony. I simply could not refuse it.”
Tom Brewer
“Adjust:< X > :Seek,” a solo exhibition of new works by New Smyrna
Beach, Florida, artist Tom Brewer, was on display through March 23 at
the Florida Craftsmen G allery (www.fl oridacraftsmen.net) in St. Petersburg, Florida.
“U nlike some contemporary work with great contrasts and high
levels of definability, these works are subtle, take some time to read,
study and discern,” said Brewer. “Many of the recent pieces were
Maren Kloppmann’s “Table Pillows,” 18 in. (46 cm) in width, slab-built
porcelain with sprayed terra sigillata and dipped glaze, 2006, $1200.
“Minimalism had a profound effect on art production in the 1 9 6 0s;
its infl uence is still being felt,” Duryea noted in her curatorial statement. “Through the work of vessel makers, sculptors and functional
potters, this exhibition addresses myriad ways in which the minimal as
both concept and aesthetic can be expressed.”
Big Fish Small Pot
The winning works of “Da Yu X iao Hu, Big Fish Small Pot,” an
international small teapot competition, were on view recently at
Saddleback College Art G allery (http://gallery.saddleback.edu/) in Mission Viejo, California. The competition, which was open to ceramic
teapots constructed in the last three years that hold less than 1 6 fl uid
ounces, was judged by G uangzhen “Po” Z hou, ceramics artist and
director of the Chinese Ceramic Art Council.
“Spring Veneer,” by R obert LaWarre of Sanford, Florida, was chosen as the G rand Prize winning pot. Z hou explained, “[LaWarre’s]
Tom Brewer’s “Bronze Cup,” 24 in. (61 cm) in height, thrown
and altered stoneware, with wood-ash glaze, fired to Cone 11,
2005; at Florida Craftsmen Gallery, St. Petersburg, Florida.
infl uenced by bronze work of the Eastern Z hou dynasty (7 7 0– 256
B.C.) and the glazed buff stoneware of Warring States (4 8 0– 221 B.C.).
The pieces in this show represented a number of new forms that started
as models and prototypes, then developed through two further generations in size.”
Robert LaWarre’s “Spring Veneer,” 3³ ⁄₄ in. (10 cm) in height, soft-slab-built
porcelain, with camocarbon slip and green crackle glaze, fired to Cone 9;
at Saddleback College Art Gallery, Mission Viejo, California.
Pottery Invitational
The fourth annual Worcester Center for Crafts Pottery Invitational
(www.worcestercraftcenter.org), which is now being called “Pottery
22
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Mark Shapiro’s oval bottles with marked panel,
16 in. (41 cm) in height, thrown and altered
stoneware, salt fired to Cone 10; at Worcester
Center for Crafts, Worcester, Massachusetts.
the making process, a felt language is resultant in the pots, a language
that communicates via intuition, vague reference and touch. My hope
is for others to be impacted in some way.”
Invitational Plus: A Total
Pottery Experience,” took
place April 28 – 3 0 in
Worcester, Massachusetts.
Originally curated by
award-winning potter
Karen Karnes, the event
was curated by Mark
Shapiro for the first time
this year. Shapiro assembled 22 nationally renowned potters from the
Northeast for the exhibition and sale. This year’s
event also featured a
new interactive element,
which included demonstrations and hands-on
learning experiences for
attendees, and a “Sunday
Special,” where families
created their own works
of art in the clay studio.
Wayne Branum
An exhibition of new ceramic work by R oberts, Wisconsin, potter/
architect Wayne Branum was on view recently at the Architecture
R esource Center at Andrews U niversity (www.andrews.edu) in Berrien
Springs, Michigan.
“My work is rooted in utilitarian pottery,” said Branum. “. . . I am
simply trying to pull together images and ideas that have an impact on
me. Elements in my work such as color, texture, proportion, etc.,
contribute to a slow personal continuum. The progression is gradual,
even unnoticeable perhaps, but essential to my evolvement. Through
Leach Pottery to be Restored
Bernard Leach’s famous pottery in St. Ives, England, will be saved as a
result of recent funding decisions. The project aims to restore and
preserve the Leach Pottery for future generations, unlock its potential
for generating significant levels of long-term sustainable employment
and creative activity, as well as foster emerging talent, open up the site
and its history to visitors, and create a showcase gallery for contemporary studio pottery. Between £ 50,000 (U S$ 8 7 ,000) and £ 1 00,000
(U S$ 1 7 5,000) still needs to be raised from outside supporters. For
information on how to support the Leach Pottery restoration, e-mail
donations@ leachproject.co.uk.
Submissions to the Upfront column are welcome. We would be pleased to consider press releases, artists’
statements and images in conjunction with exhibitions or other events of interest for publication. Images
should be high-resolution digital on CD, or original (not duplicate) slides or transparencies. Mail to
Ceramics Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081.
galleries in this issue
American Museum of Ceramic Arts, Pomona, California
www.ceramicmuseum.org
Asian Art Museum, San Francisco, California
www.asianart.org
Archer Gallery, Clark College, Vancouver, Washington
http://cf.clark.edu/pdf/media/archergallery.cfm
Architecture Resource Center, Andrews University,
Berrien Springs, Michigan
www.andrews.edu
Baltimore Clayworks, Baltimore, Maryland
www.baltimoreclayworks.org
Design Works, Galveston, Texas
www.design2works.com
Earth and Fire Gallery, Leesburg, Virginia
www.earthandfiregallery.com
Ferrin Gallery, Lenox, Massachusetts
www.ferringallery.com
Florida Craftsmen Gallery, St. Petersburg, Florida
www.floridacraftsmen.net
Houston Center for Contemporary Craft, Houston, Texas
www.crafthouston.org
Hunterdon Museum of Art, Clinton, New Jersey
www.hunterdonartmuseum.org
Lacoste Gallery, Concord, Massachusetts
www.lacostegallery.com
Main Line Art Center, Haverford, Pennsylvania
www.mainlineart.org
Mossrock Studio & Fine Art Gallery, The Woodlands, Texas
www.mossrockstudio.com
Northern Clay Center, Minneapolis, Minnesota
www.northernclaycenter.org
Pottery Northwest, Seattle, Washington
www.potterynorthwest.org
Saddleback College Art Gallery, Mission Viejo, California
http://gallery.saddleback.edu
Sherrie Gallerie, Columbus, Ohio
www.sherriegallerie.com
Woman Made Gallery, Chicago
www.womanmade.org
Wayne Branum’s oval teapot, 5¹⁄₂ in. (14 cm) in height, thrown
and altered stoneware with slip and liner glaze, wood and salt fired,
$220; at Andrews University, Berrien Springs, Michigan.
Worcester Center for Crafts, Worcester, Massachusetts
www.worcestercraftcenter.org
Xen Gallery, St. Louis, Missouri
www.xengallery.com
24
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answers
From the CM Technical Staff
Q
I am considering buying a commercially
made gas kiln for my home studio, and I’m
looking at both brick and fiber-lined models.
What are the advantages and disadvantages for
these two types of kiln?—P.B.
In deciding between fiber-lined kilns and IFB
(insulating firebrick) construction, the firing characteristics should be considered, since each type
heats up, holds heat and cools differently. Brick
construction requires good design for supporting
the roof, and this translates into potentially higher
initial cost. Bricks always crack (eventually) and are
more difficult to replace, especially in the roof.
Bricks are not as efficient as fiber for energy savings,
but because they absorb and store heat energy,
brick kilns cool more slowly; most potters regard
this as desirable.
Fiber kilns are lighter and therefore less costly
to ship. They are easy to repair; any rips, tears or
holes are simply filled with more fiber. My main
concern, though, is that fibers disintegrate with age
and abrasion. Loading and unloading must be
done with a protective mask to prevent fine fibers
from getting into your lungs. This hazard is reduced greatly if the fiber lining is sealed with a
suitable refractory coating that bonds the fibers
together and holds them in place.
Each type of construction has its adherents,
and each has distinctly different firing characteristics. It comes down, finally, to issues as described
above and how they impact your personal needs.
Both can be designed poorly or well. My advice is
to find a way to experience each to arrive at an
ultimate decision.
N ils L o u
P r o fe sso r o f A r t
L i n fie l d C o l l e g e
Q I’m trying to produce pressed and carved slab
sculptures up to 1 foot or more for raku firing,
but most of the time I get large cracks in the slab
pieces during the firing. I’ve tried several different commercial clay bodies including one that
was supposed to be a raku body, and I still have
the problem. Are there any commercial bodies
that you can suggest, or are there any easy ways
that I can modify a body? I don’t have access to
clay mixing equipment.—M.B.
The cracking you describe is caused by either
the firing, where you may be shocking a large
surface of uneven thickness by firing too fast, or by
an unforgiving clay body that is unable to take the
shock. To address the first cause, you could adapt
your firing in a number of ways:
G o slow. Put your piece into the kiln and let it
preheat. If this is the first batch, keep the heat low
for twenty minutes, then turn it up gradually.
Firing a large piece fl at in a raku kiln could be really
shocking to the surface, since the top (exposed to the
air in the kiln) and the bottom (against the shelf)
would heat unevenly. Make sure the fl ame is not
directly hitting the surface. Support the piece on
small wads of heavily grogged clay to raise it off
the shelf, or lean it against a heavy post, allowing
full air circulation around it. When you pull it out
of the kiln, use tongs without points (teeth); these
points can put uneven pressure on a fl at surface and
cause cracking. When you’re ready for the second
batch, put the next pieces into the kiln and keep the
gas off for five or ten minutes, then go slow again.
If the problem is the clay, try introducing
additives to your clay to make it more forgiving.
Wedging in fine sawdust (which can be obtained
from cabinetmaker shops) can open the body
without interfering too much with the carving. A
good place to start would be 5% by volume, but
additions of up to 20% would be acceptable. Slice
the clay, sprinkle the sawdust onto a wedging table
and wedge it into your clay. You could also try
commercial clay blends with additives, such as
paper pulp. One of the best commercial raku
bodies is Piepenburg’s; it contains kyanite as a
26
Millions
Of
Pots
Thousands
Of
Potters
photos by susan myers
One
Common
Denominator
Great Potter’s Wheels
Since 1972
CeramicsMonthly
MonthlyMay
September
Ceramics
2006 2004
27 79
(800) 452-4862
[email protected]
answers
refractory agent [see Word of the Month below].
The Archie Bray Foundation for the Ceramic Arts
also produces a raku/sculpture clay body that works
well. Try to adjust your firing first, however, before
changing your clay body. G ood luck!
Marcia Selsor
Professor Emeritus
Montana State University–Billings
Q The edges of my trimming tools get dull after
using them for a while with stoneware, but I’ve
never noticed much difference in how they work.
Is it necessary to sharpen trimming tools periodically? If so, what is a good way to sharpen
them?—S.K.
If you want your trimming tools to do their best
job, then you need to sharpen them just as you
would your kitchen knives. Trimming tools are
made using a variety of metals. Some small trimming tools are made from very thin steel straps, like
a watch spring. Because they are so thin, they
actually sharpen themselves with use. Eventually
all metal will be removed and the tool will break.
The cutting edge of stainless steel and hardened
steel trimming tools is angled. As metal is worn
away, the edge can be restored with a fine-toothed
file (coarse files will give a jagged edge that will leave
marks on your pots). Do your sharpening away
from your work area so the metal filings won’t get
into your clay.
Tungsten carbide tools are very expensive, but
never need sharpening. A disadvantage is that they
are brittle. If you drop them or hit them on the side
of your wheel or water bowl, they may break.
So choose your tool for the purpose intended.
When it wears down, get a file and you will be back
on the cutting edge.
Tom Turner
Studio Potter
Mars Hill, NC
Q I am looking for information on sublimation
ink/dye cartridges and paper used for creating
transfers or decals that can be fired onto pottery
and tiles. I would like to produce my own designs using my PC and inkjet printer.—P.M.
You can get sublimation dyes for inkjet printers, but they aren’t really ceramic. Sublimation
decals require high pressure as well as heat to adhere
to pottery (or other smooth form), and each form
requires a custom die press to apply the pressure,
which is prohibitively restrictive for most artistic
purposes and budgets.
There are water-slide decal papers, available
from decal companies, that can be printed using
standard inkjet ink and laser-printer toner, but
28
these also do not produce ceramic decals. They are
just decorative water-slide stickers that would work
on any surface, such as a model airplane, and they
would burn away in a firing.
As far as I am aware, there are no inkjet inks
available that contain refractory (stable at high
temperatures) ceramic pigments, so ceramic decals
from an inkjet printer are not possible. There are
laser printers and copiers that can print full-color
decals, but getting started with these high-end
printers, not to mention the special ceramic toners,
would cost over $ 1 0,000.
That leaves one way to make ceramic decals
with a normal home printer (or copier). Certain
brands of black laser printer and copier toner, and
a few brands of black inkjet ink contain metallic
oxides that, when printed on the aforementioned
decal paper, produce water-slide decals that can
result in monochrome sepia (or similar) tone images. Since there are so many models and brands of
copiers and printers, it is best just to get sample
prints from printers you are considering using and
see if they leave any image when laid fl at on a tile in
a test firing. If so, then you’re ready to print onto
the decal paper to make the decals (the decal paper
should come with all necessary instructions).
If you want multiples of any images, customordered decals are available relatively cheaply from
companies that use silk-screening. There are also
people using the special laser printer I discussed
who specialize in small runs.
David Pier
Studio Potter/Ceramics Consultant
Palo Alto, California
Word of the Month
Kyanite
Kyanite is an aluminosilicate mineral
(Al2SiO5) that naturally occurs in needle or
bladelike crystals. It is typically used as a
low-thermal-expansion grog or temper in
low-fire clay bodies (such as raku bodies).
The needlelike particles provide additional
strength reinforcement in green bodies and
fracture resistance in the fired bodies. Above
approximately Cone 1 0 (23 9 0– 251 6 °F,
1 3 1 0– 1 3 8 0°C), kyanite decomposes into
mullite (Al6 Si2O1 3 ) plus amorphous silica
(SiO2) with significant expansion (1 7 % ).
Because of this expansion, it is normally
calcined (heated) before use in clay bodies
that will be used for high-temperature firing.
If y ou have a q uestion about this or any other ceramics topic, ask
the CM experts at [email protected]. Y ou also
can mail q uestions to Ceramics Monthly , 735 Ceramic Pl., Suite
100, Westerville, OH 43081; or fax to (6 14) 89 1-89 6 0.
“The Bailey is an awesome performer!”
“I bought my Bailey Shuttle PRO 40 back in 1995. I love
this kiln! I have logged in almost 500 firings now. It has been an awesome
performer. The quality of the work coming out has been consistent and top
notch. Also, it’s easy to fire and the fuel economy has been exceptional.
“Recently I needed to make some repairs to the lining of the kiln. The fact that
the kiln can be so easily repaired is great and has given me another level of
appreciation for its design. The dry stacking and anchoring of the bricks is brilliant. Bailey really thinks out every detail so you get the most from your kiln.
“I really appreciate being able to talk to Bailey’s technical staff. Any question
is quickly answered. I can’t say enough about these kilns. ”
Peter Flanagan, Okanagan Pottery, Peachland, BC, Canada
Think Bailey for the Best
in Downdraft Design
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29
Professionals Know
the Difference.
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a s w e ll. A ls o , th e p o ts lo o k g r a n d p r o tr u d in g
fr o m a w h ite c lo u d o f p o ly e s te r .
In th e tru n k o f m y c a r, I h a v e c o v e re d th e
flo o r w i t h r u b b e r y , b u m p y s h e l f l i n e r , w h i c h i s
s o ld n e x t to th e c o n ta c t p a p e r a t h o m e c e n te r s .
T h is k e e p s th e b o x fr o m s lid in g a r o u n d w h ile th e
c a r i s i n m o t i o n . I n fiv e y e a r s , I h a v e y e t t o l o s e
a p o t ! —Emily Zabransky, Thornton, NH
fr o m th e r e st o f th e tr a y . I su g g e st u sin g so m e
n o n s tic k s p r a y b e fo r e r o llin g c la y o n to th e te x t u r e . A n d t h e b e s t p a r t w a s i t c o s t o n l y fif t y
c e n t s ! —Lynn Wood, Santa Rosa, CA
A Slice of Pottery Life
I h a v e fo u n d th a t a c h e e s e s lic e r is a u s e fu l
to o l fo r d o in g p r e c is e h a n d b u ilt p r o je c ts . I t w ill
w o r k o n str a ig h t a n d c u r v e d fo r m s, a n d a s a
Paint Tray
I re
se rt. It
g iv e s a
B e fo re
c e n tly
h as a g
d iffe r e
u sin g
p u
rea
n t
it,
r c h a s e d a p la s tic p a in t tr a y in t b u m p y te x tu r e a n d e ith e r sid e
r e g is tr a tio n o n th e c la y s u r fa c e .
I s im p ly c u t th e te x tu r e d a r e a
b o n u s th e c u r le d c la y s h a v in g s c a n b e e m b e d d e d
in to s o ft c la y to c r e a te a d e c o r a tiv e te x tu r e .—
Robert Brown, Miami, FL
Planting Pots
I f o u n d a n i d e a l p o t t e r ’s t o o l a t m y l o c a l
g a rd e n c e n te r. F o r u n d e r $ 2 0 , I b o u g h t a fo u rs h e lf g r e e n h o u s e k it. A fte r a s s e m b ly ( a n d a fte r
th e to m a to e s g e r m in a te ) , it s e r v e s a s a d u r a b le ,
p o r t a b l e , s t u r d y d a m p b o x f o r p o t s ! —Larry
Belich, Midland, MI
Clean Beads
T o m a k e a n ic e , c le a n h o le in a b e a d o r
p e n d a n t, p u s h a s u ita b ly s iz e d d r in k in g s tr a w
t h r o u g h t h e s o f t c l a y o n t o y o u r fin g e r . H o l e s
m a d e th is w a y n e e d le s s c le a n u p o r s a n d in g th a n
t h o s e m a d e w i t h a d r i l l b i t . —Carol Hutchinson,
Nelson, BC, Canada
Tip of the Month
Spray Masking
I s p r a y a lo t o f m y g la z e s a n d s ta in s , a n d
I d o a lo t o f m a s k in g . T h e b e s t th in g I h a v e
fo u n d to k e e p th is s p r a y o ff a p a r tic u la r p a r t
o f a p o t is o p e n - c e ll fo a m . I u s e p ie c e s th a t a r e
s lig h tly th ic k e r th a n th o s e th a t c o m e in O r to n c o n e b o x e s ( a lth o u g h th o s e w o r k p r e tty
w e ll) . I h o ld th e fo a m w ith m y le ft h a n d a n d
c a n g e t a s tr a ig h t o r c u r v e d lin e . A ls o , th e
f o a m c a t c h e s d r i p s w h e n I ’m s p r a y i n g u p
c lo s e . I t c a n th e n b e r in s e d o u t a n d r e u s e d .
Congratulations to Diana Pittis of
Daniels, West Virginia. Your subscription
has been extended by one year!
Share y our ideas with others. Previously unpublished suggestions are welcome. Ceramics Monthly will pay $ 10 for each one
published. Include a drawing or photograph to illustrate y our
idea and we will add another $ 10 to the pay ment. E -mail to
e d i t o r i a l @ c e r a m i c s m o n t h l y . o r g ; ma i l t o C e r a m i c s
Monthly, 735 Ceramic Pl., Suite 100, Westerville, OH 43081; or fax
to (6 14) 89 1-89 6 0
30
31
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Emerging Artists
2006
We see a lot of work come across our desks over the course of a
year, but never so much as when we start receiving submissions
for our annual Emerging Artists feature. It’s an exciting time
for everyone, but I always catch myself wondering if perhaps
last year was, in fact, the last year young up-and-comers were
making work that would just knock my socks off. Fortunately,
I end up barefoot every year. Looking over hundreds of submissions from people who have found new and interesting ways to
express their individual voices through the same basic materials
reaffirms my belief that clay is singular in its ability to include
such a range of aesthetic and technical approaches.
The rub (because there is always a rub) is that our excitement
about so much good work was tempered by the difficult task
of selecting entries for publication. So this year, after making
many tough choices, we decided to expand our presentation of
this year’s emerging artists beyond these pages. Check out the
“Current Issue” section of the Ceramics Monthly website (www.
ceramicsmonthly.org) for more works by emerging artists making great work, promising a healthy future for studio ceramics.
—Sherman Hall, Editor
Grace Sheese
Eugene, Oregon
The work of Grace Sheese reflects both an interest in Asian
architecture and a fascination with surface decoration. Sheese
was born in Taipei, Taiwan, and moved to the United States
when she was eight. Her father was an architect, which, she
says, may explain her strong interest in Asian architecture.
After discovering clay by accident while pursuing a degree in
biology at the College of William and Mary (Williamsburg,
Virginia), she graduated in 1997 with a degree in Elementary
Education and Studio Art.
“I love the idea of an elegant form with an ornately decorated surface,” said Sheese. I am inspired by patterns, textures
and carvings from around the world, and enjoy mixing the
cultures together by placing these decorative elements next to
each other.”
“Stacking Stupa Jar,” 17 in. (43 cm)
in height, thrown white stoneware, with carved
and shellac-resist decoration, fired to Cone 6.
33
Lilach Lotan
Ladysmith, British Columbia, Canada
Lilach Lotan and her husband immigrated
to Canada from their native Israel two and
a half years ago with the dream of opening
a ceramics studio. She had discovered clay
by chance while considering studying
graphic design at Bezalel Academy of Arts
and Desigen in Jerusalem and, as she puts
it, was “completely, hopelessly hooked.”
Through the ceramics design program at
Bezalel, Lotan was able to combine her
passion for design with her newfound love
of clay.
“Our everyday life is a compound of
private, social and political events,” Lotan
commented. “Some are insignificant;
some are hard to shake off, leaving a deep
mark. Consciously and subconsciously, I
draw my inspiration from those events and
channel them into my work.”
“Jug with Attitude,” 15 in. (38 cm) in height,
thrown and altered porcelain, fired to Cone 6.
34
Benjamin Carter
Asheville, North Carolina
“Pots, Pots! I love Pots,” stated Benjamin Carter. “It sounds
simple but this love has directed me since my teens.” After
discovering clay in high school, Carter went on to earn a
B.F.A. at Appalachian State University (Boone, North Carolina). He spent a post-baccalaureate year at the University
of Florida (Gainesville), followed by two summer residencies at Canton Clay Works, (Canton, Connecticut). Now
he is a resident artist at the Odyssey Center for Ceramic
Arts (Asheville, North Carolina).
“As a potter I am constantly questioning how I can infuse clay with spirit and vitality, while continuing to honor
function and the rigors of daily use,” Carter explained. “I
choose robust forms that allude to the vigor inherent in
my family’s southern Appalachian domestic objects, such
as quilts, kitchen utensils and furniture.”
Juice glasses on tray, 6 in. (15 cm) in height, thrown and altered
porcelaneous stoneware, multiple glazes, fired to Cone 10 in reduction.
Shane Keena
West Henrietta, New York
When Shane Keena first touched clay in
a community college course in 1996, he
knew he had discovered the medium with
which he wanted to work for the rest of his
life. He eagerly pursued his undergraduate
degree at Otis College of Art + Design in
Los Angeles, and recently completed his
M.F.A. at the Rochester Institute of Technology’s School of American Crafts.
“My forms swell with bravado, often
adopting aggressive or recoiling postures
in a fight-or-flight state,” said Keena. “The
exteriors frequently flaunt a spiny or encrusted skin while encasing and protecting
their soft, visceral interiors. By employing
the inside/outside formula of the vessel as
a vehicle for personal investigation, my art
is a manifestation of self-exploration about
vulnerability, defense mechanisms and the
occupation of space.”
“Strongylocentotus Purpuratus (ball of spines),”
20¹⁄₂ in. (52 cm) in width, slip-cast earthenware
with slip-trailed spines, fired multiple times to
Cone 04, luster fired multiple times to Cone 017.
35
Alison Petty
Vancouver, British Columbia, Canada
Alison Petty, who completed her M.F.A. in
2004 at the California College of the Arts
in San Francisco, has developed an expansive approach to clay, making both functional works and sculpture. Most recently
she has begun to explore interdisciplinary
techniques that integrate ceramic objects
with nontraditional materials. In the summer of 2006, she will travel to China to
participate in the Jingdezhen Experimental
Ceramics Workshop.
“[My] objects interrelate, sometimes
appearing punctured or about to burst, while
others are coupled in some kind of interactive process,” explained Petty. “Suggestive of
containment, gestation, passage and protrusion, I consider the seductive perplexity of
human physicality through these objects.”
“Congealed,” 18 in. (46 cm) in width, thrown porcelain,
with cast rubber, glass, silk.
Deborah Weinstein
West Palm Beach, Florida
After earning her M.F.A from Kent State University
(Kent, Ohio) in 1999, Deborah Weinstein participated in residencies at Watershed Center for the
Ceramic Arts (Newcastle, Maine), John Michael
Kohler Arts Center (Sheboygan, Wisconsin) and
the Armory Art Center (West Palm Beach, Florida).
Currently, Weinstein works as chair of the ceramics
department at Armory Art Center.
“Color and patterning within nature denote
danger to predators and camouflage for the animal,”
said Weinstein. “Within the context of my art, the
element of danger is still represented through bright
color, while inviting the viewer to examine and
interact with the objects. Patterns in nature function
as camouflage, but within my work it is used to
distinguish between an object and the common surroundings. I choose textures that are inherent to sea
life, including the roughness of coral, to draw the
viewer closer to the creation.”
“Black Horn,” 8 in. (20 cm) in height, thrown and altered white
stoneware with underglazes, slips and glaze, fired to Cone 6.
36
Erin Furimsky
Bloomington, Illinois
Since graduating in 2002 with an M.F.A. from the Ohio State University in Columbus, Ohio, Erin Furimsky has been working
primarily out of a studio in her home. In addition to working on her own art, Furimsky is an adjunct faculty member at Heartland Community College in Normal, Illinois. She was an artist-in-residence at the Oregon College of Art and Craft (Portland)
for the Spring semester of 2004.
“Meticulously, I handbuild ceramic forms,” Furimsky explained. “Taking advantage of the clay’s plasticity, I push the
interior walls, expanding and inflating them. I enjoy how pattern works on top of the tight distended surface. Like fabric
stretched to cover an overstuffed armchair, or a corseted waist, the volume is crucial to the sensuality of the surface. In some
of the more recent forms, this sense of expanding volume and one form gently holding another has been influenced by the
experience of pregnancy.”
“Nestle Two,” 14 in. (36 cm) in length, handbuilt white stoneware
with stenciled underglaze, slip-trailed decoration and sprayed glazes, fired to Cone 6.
37
Scott Ziegler
Barrington, Illinois
In 2000, Scott Ziegler made a career change from toy designer to art educator. He went back to school to
pursue a masters in art education and had the opportunity to join the faculty in the Fine Arts Department
of Barrington High School outside of Chicago. In 2005, he became the head of the ceramics department
at Barrington. Ziegler recently started an M.A. program at Northern Illinois University (Chicago) to continue to develop his own work as a ceramics artist.
“Through my art, I communicate introspections into past experiences,” said Ziegler. “My current series
represents the ongoing struggle to find a clear understanding of past experiences and the need to overcome
encompassing restrictions. A recurring form in my work, the cocoonlike shape, symbolizes a protective
envelope that retains experiences.”
“Re-Examination,” 17 in. (43 cm) in length, thrown and altered earthenware
with underglazes, glazes and lusters, fired multiple times, 2005.
Deborah Schwartzkoph
Lemon Grove, California
Deborah Schwartzkoph completed her M.F.A. at Penn State
University (University Park, Pennsylvania) in 2005, and is
now a Lilian Fellowship recipient at the Archie Bray Foundation for the Ceramic Arts (Helena, Montana). Schwartzkoph
says she is fascinated by the relationship between her pots and
the lives of the people who take them home. The intersection
of her ideas and the associations of others keeps her striving
for a richer expression of metaphor.
“Clay’s flexibility allows me to stretch, bend, cut, fold,
stack and attach parts,” Schwartzkoph explained. “The roots
of these processes grow from my knowledge of sewing, which
taught me to transfer patterned planes into curving, hollow
forms. I want to evoke emotion through association to shape
and color, and communicate a relationship between organic
motion and geometry in surface and form.”
Small creamer, 3 in. (8 cm) in height, thrown, altered
and slab-built porcelain, salt-fired to Cone 10 in oxidation.
38
Jessica Broad
Baltimore, Maryland
Currently a resident artist at Baltimore Clayworks (Maryland), Jessica Broad received her M.F.A.
from the University of Arizona (Tucson) in 2003. A love of illustrated books inspired Broad to
combine printmaking with clay. The piece shown above addresses Broad’s relationship with her
mother, also a bibliophile.
“I make art that examines the relationship between memory and familial bonds,” said Broad.
“Most recently I have concentrated on mother-daughter relationships . . . . I look at how the
perceptions we have of our past and the influences of society shape how we conceive ourselves
and our mothers. I use the female figure, images from my past and allegorical images of female
domesticity to express my ideas.”
“Dining,” 6 ft. (1.8 m) in length, handbuilt porcelain and stoneware, linoleum-block printed, 2005.
39
Daniel Johnston
Seagrove, North Carolina
Daniel Johnston has developed his skills as a
potter through a series of apprenticeships with
Mark Hewitt (Pittsboro, North Carolina), Clive
Bowen (North Devon, England) and Sawein Silakhom (Northeast Thailand). By understanding the
traditions of using local materials and firing
large wood-burning kilns, Johnston hopes that
his pots will be more relevant in his own tradition
and culture.
“I dig most of the materials I use to make and
glaze my pots,” explained Johnston. “My pots are
fired in a large 850-cubic-foot wood kiln. I enjoy
the hard work and it leaves no part of the process
separated from me. I do not try to control my materials; rather I try to understand them. From digging
the clay to firing the kiln, I put all of my effort into
creating pots that have a powerful presence.”
Vase, 10 in. (25 cm) in height, thrown stoneware
with alkaline glaze over manganese and kaolin slip
decoration, wood and salt fired, 2005.
Molly Potter
Ft. Lauderdale, Florida
Molly Potter’s interest in the arts began
at a young age, but was put on hold
when she decided to travel the world by
sailboat as a young adult. In the 1990s,
she earned a degree in art education and,
in 2000, opened a studio from which she
creates her own work and also teaches ceramics and mixed-media classes to adults
and children.
“Mechanism is powerful and enabling,
yet dehumanizing and destructive,” Potter
stated. “As humans, we have created machines that are bigger and more powerful than ourselves. Ironically, our own
labor-saving inventions inaugurate the
phenomenon of unemployment.”
“Trojan Horse,” 10 in. (25 cm) in height,
handbuilt stoneware, fired to Cone 03,
with wood, steel, beads, leather.
40
Meditational Forms
Contemporary Korean Ceramics by Choi Sung-Jae
by Phil Rogers
Insa-Dong is a crowded, frenetic street
in northern Seoul famous for its
antique shops and art galleries.
A tree-lined avenue that once
played host to Bernard
Leach, Shoji Hamada and
Yanagi Soetsu in their
search for Korean antiques, has become
quite a tourist magnet. Restaurants,
coffee shops and
boutiques now
outnumber the
d u s t y, m u s t y
antique shops,
brush shops and
galleries.
It was here in a
basement gallery that
I first encountered the
work of Choi Sung-Jae.
I left the noise, bustle and
heat of Insa-Dong and descended a cool narrow stairway.
At the bottom of the stairs I entered
a long, thin room with pots arranged on
a low shelf along both walls. It was immediately
apparent, even without a second glance, that I had found
ceramic works of rare and superb quality. I spent more than an hour
looking, touching and admiring almost forty pieces that evoked a
fusion of emotion. At one and the same time I felt elation at having
found, eventually, contemporary Punchong ware that transcended
pastiche and was saying something new and vibrant while employing an ancient technique. Surprisingly, I also experienced a sense
of slight depression. Here were pots that I aspired to, pots that I
had been searching for, pots that, in the modern idiom, were “to
die for,” and I faced the tough realization that someone else—not
I—had made them!
The indigenous clays of Korea tend to be rich in iron. The oftenlarge, country-made Ongii storage jars, so prized by Korean households, are made from clay of this type. They are decorated with a glaze
made from clay mixed with wood ash and a little raw lead. The effect
is a rich chestnut brown on dark chocolate. The decoration is often
“Meditation, Journey IV,” 19¹⁄₈ in. (46 cm) in diameter,
stoneware, with white slip, 2004.
made with fingers through
the wet glaze; sweeping,
gestural marks to represent a plant or a fish
that envelope the
form. In the very
largest of these jars,
the marks show a
burst of creative
energy that involves the potter’s
whole body in a
dancelike motion.
This expressive drawing also required the
nonchalant confidence
of someone so comfortable
with a technique that both he
and the drawing were as one.
Glaze and clay caught in a frozen
moment of time. A few intense, yet
measured, seconds forever recorded for
better or for worse.
During the fifteenth and sixteenth centuries, the potters,
faced with somber clays, developed decorative techniques that relied
upon the use of white slip to lighten the surface of the clay. Four
specific techniques were used to coat the pots surface: 1) Pots were
impressed, often with complicated repeating patterns and then coated
with white slip. Later, when leather hard, the white slip was scraped
away to reveal the stamped pattern as an inlay against the surrounding
darkness. 2) Pots were dipped in white slip and then painted with iron
rich pigment to provide a deep contrast between the lustrous black
pattern and the light background. 3) White slip was brushed onto
the pot often with coarse brushes, leaving behind a background of
great movement that provided the canvas for iron painting as in the
pots from the Keryong kilns near Taejon. 4) Potters also would draw
through the slip with a sharp point to reveal the dark body beneath.
This style of pottery making is known as Punchong, and it is revered
among Koreans who are justly proud of a style that is uniquely theirs.
41
“Meditation, Autumn IV,” 10 in. (25 cm)
in height, stoneware with white slip, 2004.
The Korean people—surprisingly, given their nation’s less-thanstable history—retain a strong sense of their own identity. The intense
pride they have in their ceramics history manifests itself in a desire for
many contemporary Korean potters to continue to work in the Punchong tradition. Unfortunately, and all too often, the result is weak,
unconvincing pastiche that contributes nothing new. However, there
are a small number of younger potters who have embraced Punchong
in a new and exciting way, extending and revitalizing a tradition by
choosing to approach the technique from a modern viewpoint. These
potters are using traditional materials but, by extending their making repertoire and incorporating the influences of nineteenth- and
twentieth-century art, both Oriental and occidental, they are making
a new statement of strength and vitality. Choi is one such potter.
All pottery begins with form. Form is the potter’s language; it is
the primary focus of the potter’s attention (if it isn’t, it should be); the
foundation upon which all else is built. Form can sometimes be all
that is required; pure and vulnerable, a vehicle for the vagaries of the
kiln. Form also can be the skeleton over which we drape a sculpted
pattern. It also can provide a canvas. Choi uses form to carry the narrative of his paintings in a very skillful but deceptively simple way. As
a Korean, he instinctively understands Asian minimalist composition
“Meditation, Dream III,” 5⁵⁄₈ in. (13 cm) in height, stoneware with white slip, 2004.
42
M O N T H L Y
methods
Expressive Slip Drawings
I have watched Choi decorate, and it is a wonder to behold. After coating the leatherhard clay with a liberal thickness of silica rich white slip, he crouches to be at eye level
and pauses. The slip must be caught at just the right moment: too wet and it will
run; too dry and his finger won’t penetrate to the iron rich body beneath. After a few
moments of thought and consideration, he explodes into a frenzy of quick, darting
movements and the scene appears, as if by magic. Of course he has done this many
times before, and the masterful confidence born from experience is obvious. His fingers
are his primary tools, but he will make marks with frayed rope, cloth and rounded
wooden sticks. His trademark duck is always done with a thumb and thumbnail.
Choi fires his works at a relatively low temperature, for a stoneware potter. There
are two advantages in this that help him achieve the effects he desires. One is that the
thin walls of the molded pieces remain flat during the firing. At a higher temperature
there would be the tendency to warp or slump. Secondly, the contrast between the
white slip and the body underneath remains at its most effective.
“Meditation, Dawn V,” Punchong vase, 15¹⁄₂ in. (39 cm) in height, stoneware with
white slip, 2004, by Choi Sung-Jae, Ghungnam, Korea.
and uses the proportions of each piece to emphasize distance and
space with perfect placement within his three-dimensional frame.
The space between the different components of the drawing is as
important as the marks themselves. “Meditation, Autumn IV” and
“Meditation, Dream III” are fine examples of Choi’s organization
of space and line. In Meditation, Autumn IV, the bird is on one
visible face and the sweeping lines suggesting hanging branches
or the tall blades of an Iris spread across two faces. The device of
creating an image that incorporates two faces, thereby breaking the
form, extends the frame beyond that which we were expecting and
encourages the viewer to see the object fully as a three-dimensional
piece. The elongated proportion of Meditation, Dream III provides
a panorama. The two birds oppose each other, the space between is
self explanatory—it is water—it is not drawn, not even suggested,
but we know it is water. Choi hasn’t drawn water, yet we feel its
wetness. The mallet form of “Meditation, Dawn V,” is an illustration
of a playful sense of form and proportion, and a move away from
narrative drawing to a pure form of abstraction.
Many of Choi’s pieces are press molded. He makes the large
molds from slab-constructed originals. This technique, although
time consuming and physically demanding, allows him to repeat
a shape exactly and, in turn, to play with variations in the decoration on the same shapes. He is a fine thrower and, as in Meditation,
Dawn V, he displays the nonchalant throwing style of his Punchong
forebearers, although the form of this particular piece owes much
to the Ongii potters. The plates too are quite remarkable. To design
within a circle is not easy. Paintings are square or rectangular not
circular—circular is flying in the face of convention. Yet he manages it with ease. “Meditation, Journey IV” is an example of abstract
expressionism at its best, and is truly an evocation of the essence of
Korean decorative sensibilities.
Choi’s pots have an immense and haunting presence. It was this
presence that so captivated me that day in the basement gallery.
They are works of importance in a crowded and often mundane
ceramics world. They are moments captured in a burst of creative
passion; moments with which we are all familiar. They capture
those warm and still days on a riverbank, watching the ducks
winding their way in and out of the overhanging branches of a
willow. They capture the movement of the water, the faint breeze
that bends a reed, the gentle bow-shaped wave a duck makes while
moving gracefully through the water. Most of all Choi’s works are
what every good ceramic work should be—they are a celebration
of clay and glaze. There is no pretense, nor fuss. The drawing is
spontaneous. Every mark, every nuance is there to be seen, nothing
hidden, just as in the Ongii jars I mentioned previously. The words
I used earlier now seem to bear a familiar resonance: Glaze and clay
caught in a frozen moment of time. A few intense, yet measured,
seconds forever recorded.
It is probably a cliché but nevertheless true, that Choi’s works
are imbued with a timeless quality. They are as much of today as
any ceramics can be, yet they carry with them a nation’s ceramic
heritage in contemporary expression.
43
Magnetic Enigmas:
The Ceramic Boxes of Diana Thomas
by Scott Ruescher
“Rectangular Box with Blue Top,” 10 in. (25 cm) in height, slab-built stoneware, with blue glaze and crackle slip, wood fired to Cone 10.
Thomas likes to apply glazes across smooth planes to contrast the rough carved clay and crackled slip.
When I bought one of Diana Thomas’ mugs at the Worcester Center
for Crafts annual Pottery Invitational in central Massachusetts last
spring, I looked forward to cherishing on a daily basis the qualities
I’d seen in the more lavish, ornamental ceramic works also for sale
at her booth. Butterscotch brown, 6 inches tall, with a heavy, round
base only marginally broader than its classically comforting teal
brim, it tapered a little toward the top, at roughly the angle of the
bottom half of an hour glass that fills with sand, the better to retain
the heat of whatever steaming beverage would be poured inside. Its
smooth surface and earthy but polished color attracted me, as did
the spiraling swirl on the lighter-colored stoneware bottom of the
mug. But what I really wanted to buy was one of her outstanding
ceramic boxes.
Somehow the word “box,” with its cardboard connotations,
doesn’t do justice to the particular Thomas clay works I have in
mind—but “sculpture” doesn’t work either. Though arguably more
artful than crafty, more purely poetic than primarily practical dinnerware, the “boxes” are nevertheless functional by virtue of their
ability to contain. Yet, it’s the dualistic meanings and contesting
emotions they always contain—magnetic and enigmatic, they attract
44
group exhibition that included several pieces of pottery by frequent
Lacoste exhibitors Pascal Chemlar, Randy Johnston, Mark Pharis,
Mark Shapiro and Jack Troy.
At the head of the show, on a white hexagonal pedestal, sat “Long
Box with Flat Yellow Top,” an oval, boatlike piece with an oxidized
iron and gray surface, and five roughly textured notches on either
side of the lid, as if cut with perfectly spaced whacks of a paddle.
The smooth, muted yellow top of its lid gave the piece a levity. The
lining of the lid was yellow as well, but the inside of the box was
inscribed with a zig-zag pattern that finds its way into the interiors
of all of Thomas’ boxes.
Circling the pedestals in the small gallery, I overheard customers
awing at the luster of these jars and boxes. They wondered, like I did,
whether there was a sanctuary of sorts inside of each one, and, like
me, they wanted to open one of the boxes to look inside—maybe in
the luminous green one, about a foot wide and 6 inches deep—at
what must surely have been the ashes of an Egyptian queen, the
brittle carcass of some crickets and grasshoppers that the Chinese
son of an emperor kept as pets, or a glittering slew of jewels (pearls,
diamonds and sapphires, mostly) long ago unstrung from necklaces
and plucked from their crowns and diadems. Like the customers,
PHOTOS: BOB BARRETT
immediate attention but repel careless advances—that matter more
than the objects they are potentially able to contain.
Thomas’ containers come in a variety of shapes, sizes and colors:
Small, crackled, hutlike boxes with scarred lids that look like the
thatching of English cottages; taller boxes (taller than they are wide)
with notched bases and lids that look like scale-model jade temples;
long, rectangular boxes, with rocker bottoms or bowed bases, that
let their nearly iridescent lids (gray, pale yellow, gold or deep green)
rise above their crackled walls; and oval, triangular and cylindrical
boxes. She endows them with mystery, leaving the unknown dark
spaces inside of them completely enclosed by heavy lids that appear
as important as the ceramic bodies. The containers—but containers
is perhaps as bland a word as boxes—have in common a richness of
color, often a crackled band of gray, green and gold along a wall or
edge of a lid, and a smoother, richer color—yellow, for instance, or
midnight blue—that accentuates their mysteriousness, leading the
onlooker to wonder ever more ardently what might be inside.
A couple of months after the Worcester show, I got my second
chance to look at Thomas’ coveted boxes. Several of them occupied
the prim white pedestals in the middle of the Lacoste Gallery (www.
lacostegallery.com) in Concord, Massachusetts. She was part of a
“ ong Box with lat ellow Top,” 22 in. (56 cm) in length, slab-built stoneware with iron yellow glaze and avery slip, wood fired to Cone 10.
Thomas uses carving techni ues to alter the surfaces of her architectural boxes to add interest and accentuate changes in form.
45
“ val Box with Domed Top,” 10 in. (25 cm) in height, slab-built stoneware, with oribe glaze and crackle slip, wood fired to Cone 10.
Thomas contrasts rich, colored glazes with smooth, matt or textured slip surfaces.
I stood there dropping my jaw in awe at the beauty of the boxes,
as I had in Worcester when the crowd at the crafts show, glad to
be in from a pouring rain, streamed by in the aisle like fresh water
through a canal.
And then one of the two women admiring Thomas’ boxes and jars
did it. She asked the gallery’s proprietor, Lucy Lacoste, if she could
let them look inside one of the boxes or jars. “Of course,” said Lucy.
“You can go ahead and lift the lid yourself.” But of course she had
to show them how to do it: gently but decisively, with both hands,
same as on a steering wheel.
Though Thomas’ boxes look like atavistic remnants of ancient
cultures—and in fact have been made to order as reliquary urns— she
knows of no exact precedent for them in the ceramic traditions of
Asia, Africa or Mesoamerica. They represent a true departure from
the purely functional work she was doing in Baltimore, and she’s
been making them for nine or ten years already. “I was a thrower of
pots first,” she says, “and I continue to throw when I’m emotionally
exhausted from making boxes.” Even though the boxes are more
time-consuming than teapots or other purely functional pieces, they
are also more satisfying. “They allow my creative intuition to come
into full play,” she explains. “It’s a personal thing—not a judgment
against throwers of functional pots.”
Asked where she came up with the idea to make the boxes,
Thomas recalls, “To tell the truth, they came to me in a vision, as a
long horizontal band of color. I used to have a long-distance commute to a teaching job at a community college, and to pass the time
I thought about my ceramic work. I thought about lines—the marks
the glaze can leave on the surface.” At the core of her love of color
was the desire to retain in the lasting form of a solid ceramic object
the intense, natural color of a sunset that can last for only so long.
“I’m interested,” she continues, “in how the flashing slip I apply
to a surface can react with the clay underneath, dark clay below giv-
46
ing a rich quality to the flashing slip, light clay below
imbuing the surface with a paler hue. And the ash in
the wood kiln, too—how it speckles one slip-covered
side of a vessel when blown across the chamber of the
kiln. Or the brightening effect of applying glaze to a
porcelain slip—like painting on white gesso—rather
than the muted color a painter would get by painting
on a dark surface. I like how a brown iron glaze will go
green inside the kiln even with no porcelain slip. I love
experimenting with the surface qualities—playing the
slips and glazes off against the relatively unpredictable
effects of the wood kiln.”
In addition to the salt cups she places near objects
during a firing, Thomas likes to introduce what she
calls salt burritos into the kiln. “Toward the end of a
firing, when the kiln is up to Cone 9 and the heat is
evenly distributed in the chamber, I roll salt in half a
dozen newspaper tortillas, a quarter- or half-pound
each. I dip them in a bucket of water, rest them in the
firebox and leave the fumes to vaporize the salt, then
let it settle all over the pieces inside.”
Originally, says Thomas, returning to the topic of
glazes, “I felt like putting glazes over the whole piece.
They’re mesmerizing, luscious and intoxicating to me.
But I saw that I was being too garish about it. So I tried
to draw attention to the glazes by contrasting them to
rougher, drier surfaces.” She can create those contrasting surfaces by applying a crackle slip formulated to
shrink more than the clay itself. Or she can use other
slips for other effects, such as a more “washed” look
on the surface, which doesn’t reveal the strokemarks
of a brush. Especially noticeable in some of her recent
works is the effect of the crackle slip: a variegated,
complex, mottled effect of flakes of deep color, rusty
oranges and lustrous greens together in wide bands
on the wall of a box that the smoother, washed color
rises above majestically on the lid. On the same box,
Thomas might wax the surface area near a lid where
she wants the rougher-looking hash marks or carved
edges to maintain a dark color that accentuates their
rough texture. This means that the surface of a box
can have at least three contrasting textures for the eye
to explore and the hand to feel.
It is a pleasure to watch Thomas create her containers, even in a simulated, not-to-scale, rudimentary
demonstration that takes you through a two- or threeday process in just an hour.
Building Boxes
M O N T H L Y
methods
After rolling out a slab on her hand-cranked slab roller, Thomas smooths
the imprints and irregularities. Using a cardboard template and fettling
knife, she cuts the shape of the bottom of the box out of the freshly rolled
slab. She then decides on the height of the walls—enough to give it some
dignity but not so much that the form would lose visual or physical balance—marking off a long rectangular strip of that height from the same
slab. She puts the template-cut slab on a banding wheel, scores the edge
with a comblike tool, applies a wet slip to the scored edge, and welds the
wall strip to it using coils and a rubber rib to reinforce the joint.
With the base and walls roughly formed, Thomas waits for the clay
to stiffen enough to put the top slab on. Depending on the weather, this
could take several hours or several days. She drapes a fresh slab across the
overturned piece on the bat trapping air inside to create the peaked lift
present on many of the boxes. She trims the overlapping clay with a knife
and blends a coil of clay into the newly created seam. Then she goes at
it again with a metal rib and 2×4-inch chunk of wood, shaping the top
to her liking. After considerable time spent perfecting the form so that it
has the proportion and grace that a physics student of volume and mass
would admire, she sets it aside to stiffen so that it can be worked again at
a later stage in the process.
At last she can turn it upside down to add four feet and give the box
some added lift. After turning it right-side-up again, she carefully marks
the line where the lid will separate from the box and follows her knife
along that line with a steady hand. Finally, she works decorative textural
elements such as hash marks and zig-zags into the surface with a spackling
edge or a wire loop.
An expanded version of this article is online at
www.ceramicsmonthly.org.
the author A frequent contributor to Ceramics Monthly, Scott Ruescher works for the Arts in Education
Program at the Harvard Graduate School of Education.
“S uare Box with Peaked Blue Top,” 10 in. (25 cm) in height,
slab-built stoneware, with copper blue glaze and ashing slip,
wood fired to Cone 10, by Diana Thomas, Phillips, Maine.
47
The Poetic Vessels of Ted Saupe
by Memoree Joèlle
“ ormer Shadow,” 25 in. (64 cm) in height, thrown earthenware
and stoneware, low fired with salt, 2005.
To encounter art that pulls you in by all of your senses is a powerful experience; one that may be recounted over time in a story to
a friend or even reborn in a future dream. Its power comes from
the reality that the moment of being affected by a work of art is
essentially made up of a culmination of moments experienced by
the artist, and the realization that his or her life experiences are
expressed before you in whatever medium he or she chose to use. In
the case of ceramics artist Ted Saupe, clay is manipulated into poetic
visions that articulate not only his personal story, but the story of
the clay itself. He expressed in an interview that he is “indebted to
the entire history of ceramics.” Perhaps that explains why, on seeing
his work for the first time, I was overwhelmed by a sense of revisiting
a time or place that seemed vaguely familiar, yet couldn’t quite be
recalled. It is the essence of nostalgia. But Saupe’s vessels transport
more than a sense of time; they convey eloquently an expression of
life and its complexity, as well as its simplicity.
Saupe is a professor of ceramics at the University of Georgia’s
Lamar Dodd School of Art in Athens, where he has taught for eleven
years. In all, he has taught ceramics for more than twenty years
and the same energy he brings to his own work he brings to the
classroom. He enjoys motivating his students to create meaningful
pieces of art, which he deems just as important as imparting crucial
technical information. His expertise in all sides of the art process
is evident in his work.
The artist works both in earthenware and stoneware to build his
large pots, which are usually around 22 inches high and 13 inches in
diameter. Saupe initially throws pieces on the wheel before assembling them together to make one vessel, and then reworks the clay
from both the inside and outside, manipulating the form in order
to produce a more organic structure. He uses a minimal amount of
glaze in order to preserve the inherent texture of the clay, and often
leaves visible marks of his hand, creating a more intimate experience
for the viewer. A considerate observer will perceive the physicality
of each piece, and that is part of what makes the vessels strong. A
tiny crack or a rough patch of clay makes them irresistible to touch.
They are reminiscent of vintage furniture, bringing to mind imagery
of a great aunt’s kitchen table, its peeling layers of paint elegantly
weathered by time and the elements.
The beauty of history is found, metaphorically, in each piece.
Etched into the surface are tiny Paleolithic figures and objects,
swarming around fragments of sentences in a stream-of-conscious-
48
“Paint Aint,” 23 in. (58 cm) in height, thrown earthenware and stoneware, low fired with salt, 2004.
49
“Smelter,” 13¹⁄₂ in. (34 cm) in height, thrown earthenware and stoneware, low fired with salt, 2004, by Ted Saupe, Athens, Georgia.
ness manner. Studying the surfaces of the vessels, I am reminded
of the cave paintings at Lascaux, curious sketches that ultimately
began the evolution of human artistic expression. While visiting
his studio, Saupe told me that his main historical influence is early
Minoan funerary and storage clay jars, which hold the mystery of
the past for us now, but originally served as functional pieces. Being objects of art, Saupe’s pots have evolved through the history of
ceramics into containers that hold ideas and concepts rather than
food or objects.
Words compliment the visual experience, and the ultimate impact is art that is brimming with life. Circling the pieces, I realized it
would take hours to really see all of the intricate sketches and words
buzzing all over each one. They are a collection of snapshots from
the artist’s day, references to the history of pottery and scenes from
his subconscious. They may make up a memory or a dream. They are
not consciously composed, and Saupe stresses that he doesn’t try to
intellectualize his work. It is more about telling a story that is open
to interpretation. His narrative is the narrative of life; the evolution
of art and human existence, and the commonplace of the everyday.
There is a certain childlike innocence that exists in Saupe’s pots;
both in their simplistic, asymmetrical structures, as well as in the
crude figures etched into, and sometimes jutting out of, the rough
clay surfaces. I discovered that many of the pieces were inspired by
the work of his six-year-old daughter, whose playful drawings are
pinned to the wall of his studio. “I’m fascinated by the way children
compose drawings,” Saupe says, “where they will show a front view
and a side view of something simultaneously, and gravity doesn’t exist, like in Chagall paintings.” Saupe’s figures express emotive energy
characterized by sporadic placement around the jars. The simple
lines that make up the human anatomy defy logic and proportion,
with the effect of metamorphosing an ancient Greek sketch with
postmodern minimalism. However, Saupe is not a postmodernist; he reverently works the past into his art as a construction of
truth. Saupe’s art is an example of the extraordinary, because the
extraordinary is art that is executed masterfully, affects its audience
emotionally, mentally and physically, and transcends time.
50
Lebeth Lammers
by Robert Franklin
Of her origins as a ceramist, Lebeth Lammers
has said, “From earliest childhood, I have made
things with my hands.” For Lammers, a finished
piece is both a tactile and a visual expression.
Understanding comes only later, after many
repetitions. The viewer’s own direct experience
of her work, through touch and sight, is so
important to Lammers that she refuses to title
even her sculpture. “With the art they see, every
viewer has an opportunity to get what is there
to be gotten,” she says. “I do not want to dictate
their experience of a piece to them.”
Her connection to spontaneous, unmeditated
inspiration leads Lammers to continually explore
new forms of expression in clay. Her metier is
functional stoneware and porcelain, but the
muse of the ceramics artist also leads her to
create sculpture. Whatever the form, her work
combines intimacy and lightness of form with a
distinct muscularity—the hallmarks of her art.
These, an uncanny eye for materials and her
thirty years of technical experience, produce a body
of work that is equally at home in the realms
of the everyday, the aesthetic and the spiritual.
The basic element of her functional work is
the bowl, but she makes many common forms
of utilitarian pottery, from vases to cups to
teapots. Lammers’ throwing is lighter than
that of most functional potters, but her work
is never delicate or fussy. In her art, refinement
and strength harmonize.
Her bowl forms are classically simple, but
other work is less traditional. Large vases often
incorporate natural themes such as leaves or
lily pads. Representational and abstract images, exquisitely carved in bas-relief, appear in
other pieces. Lammers’ teapots are high fired
and usually ash or celadon glazed. She frequently
includes three-dimensional images of tree frogs
to add whimsy to each piece.
In functional work, though, the bowl is
Lammers’ first love, because its formal simplic-
Double-walled vessel, 14 in. (36 cm) in height, thrown and slab-built stoneware,
with copper and manganese stain over sgraffito decoration, coil-built inner bowl,
with iron saturate glaze on the interior and gold leaf on detail.
51
ity makes it a vehicle for other modes of expression.
“The bowl is like a canvas,” she says. “Glaze patterns
create an abstract painting to which firing gives just
the right amount of unpredictability.”
Lammers uses the materials and techniques of
ceramics, while looking to the aesthetics of abstract
painting. This orientation is not surprising from
someone whose academic training was in painting and
drawing. Her glaze palette is broad, ranging from
strong titanium yellow, cobalt blue and matt black
to the subtler celadon and ash green.
Moving from bowls as functional pieces to
double-walled bowls as sculpture was for Lammers
both a short step and a journey of a thousand miles.
The canvaslike quality of the bowl remains, as does
the abstract nature of the glazed surface. But in the
double-walled structure, aesthetics supplant utility.
A piece that is functional on one level, exists on another as abstract, a striving for pure aesthetic expression. And beyond simple beauty, the spiritual values
of myth and allegory arise. Lammers’ double-walled
bowls move beyond the purely aesthetic toward
M O N T H L Y
methods
Double-Walled Vessels
Unlike many ceramics artists who throw double-walled bowls as a single piece,
Lammers constructs hers from four separate parts: a large outer and a small
inner bowl, a slab for the top, and a teacup-sized bowl, which is inverted and
supports the inner bowl. Lammers feels this produces a finer, less “clunky”
finished work than the all-in-one approach.
In her first double-walled pieces, Lammers brought the inner edge of
the slab up to the lip of the smaller bowl. This produced a finished piece
that seemed to emphasize functionality. More recently, she extends the slab
slightly over the lip of the inside bowl and thins its edge to an almost-razor
fineness. Uncannily, this visually flattens the inside bowl, rendering the threedimensional work a planar design of pure color and shape. Lammers found
the inspiration for this technique in architecture at the Live Oak Friends
Meeting House in Houston. This place of meditation was designed by artist
James Turrell. In the middle of the roof is a 11×11-foot opening, bordered
by the edge of the sheet metal roof. Looking up from inside the building, the
thinness of this edge has the visual effect of rendering the vastness of space
two dimensional.
Double-walled bowl, 10 in. (25 cm) in diameter, thrown and slab-built stoneware, with copper and manganese stain, and black glaze coil-built inner bowl
with yellow crackle glaze. The pattern on the top surface is achieved by impressing latex molds of lily pads into a soft slab, by ebeth ammers, Houston, Texas.
52
metaphor. Look at her finest double-walled bowl from the side and
so doing, benefit all craftspeople in the community whether their
it is a perfect bowl shape, matt black. But rotate the gaze upward
work was ever shown there or not.
and, initially hidden from view, is a burst of color given organic life
“Lebeth saw the big picture,” says Lancaster. “She understood
and movement by the firing process. A single piece then, suggests the
how an institution can take a community’s appreciation and supfunctional, embraces pure beauty and, to the sensitive eye, reveals
port for craft to a whole new level.”
its spiritual dimension.
Lammers soon found herself on the advisory council of the
One variation on the double-walled bowl calls up a darker metaCenter and later became a member of its board of directors. While
phor. For the small interior bowl, Lammers substitutes an open-work
on the board, she used her connections with Texas potters to bring
structure that suggests a bird’s nest or basket. It is empty and reveals
them to the attention of the Center. That, in turn, gave her the
the dark interior of the larger bowl below. Instead of nascent life,
opportunity to talk to potters about the value of the institution to
there is only absence. Eggless, the birds have flown.
them and their work.
This sense of connection to the natural
world informs not only Lammers’ visual
aesthetic, but her choice of materials as
well. Her sculptural pieces often incorporate mud mined from a side canyon
of the Rio Grande River applied as slip.
When fired, it crawls to form patterns that
are fluid and organic, like the river itself.
This ability to convey a sense of place is
one of the things viewers value about the
Rio Grande slip. Used alone, it produces
an array of color and depth from pale yellow and ochre to olive and black. Added
colorant gives a rich background to the
same visual phenomena.
As vivid as her work is, there is another
side to Lammers that requires exposition:
her support for ceramic art and the community of ceramics artists. For the past
twelve years, Lammers has been a member
of and a driving force behind the Houston Potters Guild. This twelve-member
cooperative retail space and gallery has
supported the work of Houston potters
Teapot, 12 in. (30 cm) in height, ash glazed with handbuilt frog feet and lid
for over 25 years.
and two teacups, 5 in. (13 cm) in height, handbuilt stoneware, with ash glaze.
Lammers says, “I would encourage
When the Center could not budget funds for equipment for clay
artists everywhere to pursue the cooperative structure of doing
artists-in-residence, Lammers used those same connections to get two
business.” The Guild allows each person to “mind the store” only
large kilns donated. As a result, the Center always has at least one
once every twelve days, leaving the remaining time to make work.
and usually two potters making work.
“You keep almost everything you earn,” she adds, “and you get to
Lancaster, who is also on the board of the American Craft Counmake business decisions yourselves. That, plus working with other
cil,
and sees the finest craft in the country daily, calls Lammers’
like-minded people makes the cooperative an ideal business model
art “elegant and eloquent.” She adds, “Lebeth’s work is of museum
for working artists.”
quality from the simplest functional cup to the finest double-walled
In 2001, Ann Lancaster, now executive director of Houston
bowl. So few artists touch both ends of the spectrum—the funcCenter for Contemporary Craft came to the Guild to solicit input
tional and the aesthetic, the poetic.”
and advice on what the city needed as a space to exhibit fine craft.
Works by Lebeth Lammers will be on view at Design Works (www.
Now one of the strongest promoters of contemporary craft in the
designworks2.com) in Galveston, Texas, June 3–July 8 and at the
Southwest, the Center was only an idea at that time.
Houston Center for Contemporary Craft (www.crafthouston.org) durLancaster found an enthusiastic and knowledgeable volunteer
ing the month of November 2006. For further information on Lebeth
in Lammers. What Lammers saw was the possibility to start an
Lammers, see www.lebethlammers.com.
institution that could help bring fine craft to the public and, in
53
Paula Murray
Honoring the Natural World
by Nancy Baele
From a high shelf in her Québec, home, Paula Murray takes two black
and rust, elongated pots. She places them beside a vessel from her latest
“Fragmented Earth” series and laughs at her beginner’s luck, saying
the two pots are held together by wood ash and glaze. Weighted with
pennies to prevent them from tipping, the pots are just as weighted
with the ideals she had as a young potter. They mark the first step in
a singularly focused journey: to balance the physical and the spiritual,
and to show, through porcelain’s fragility and strength, parallels in
nature and in the human experience.
Murray lives on Meech Lake, in the heart of the Gatineau Hills,
and has spent four years at sea, sailing from Canada to South America
with her husband and two children. What she has absorbed from
her close connection to seas, rivers and lakes, and from living in and
walking through forests and along shorelines, is reflected in the sky
and earth colors of her glazes and in her forms. Her pieces mirror her
sense of wonder at the vast range of the genus mollusk; at the way rock
is riven by water and ice; at the power of hurricane strength winds; at
undulations imprinted on sand; and, at the earth, verdant or seamed
and drought-cracked.
Thinking about the stress inherent in nature has made her revere
it as a necessary catalyst in the cycle of renewal and regeneration,
physically, emotionally and mentally. Over the past 25 years, her work
has been devoted to exploring the nature of stress and its particular
porcelain aesthetic. Her pieces have become larger and more sculptural,
weighted with an equilibrium that is both meditatively philosophical
and firmly grounded in the material properties of clay and the elemental shaping forces of fire, air and water.
She hastens to make clear that when she is working she is conscious
of symbolic elements but she does not like the intellectual pretension
that often accompanies an analysis of a potter’s work. “First and fore-
PHOTO: DAVID BARBOUR
“Pulse of ife,” 6¹⁄₂
54
“All that Remains,” 19 in. (48 cm) in height, coil-built paper clay, fired to Cone 6 in an electric kiln,
with glaze and terra sigillata, then salt fired to Cone 06 and sandblasted.
55
most, there is the physical act of making a pot,” she says. “It demands
forms of shell and tortoise shapes, classic vases or round-bottomed
a long apprenticeship, and respect for the materials and the process.”
bowls. Salt glazed in earth and sky colors, they seem distillations of a
The first significant step in her apprenticeship began at Sheridan
slow evolution, their surfaces bearing almost invisible traces of small
College in Toronto, where the late Ruth Gowdy McKinley was her
assaults, delicate reminders of peril, near ruin. All offer a Zenlike
mentor. “She had a quiet, strong personality and never worked at a
promise of a calm center.
frenzied pace,” Murray explained. “She was a powerful influence on
Murray works in four-month cycles, developing a series, stabilizme because of her reverence for craftsmanship. Her work was chaste.
ing the forms over several electric kiln firings, then glazing the work
Her philosophy was that everything she made be beautiful and useand firing it in her salt kiln. She explains, “I like the tactile intimacy
ful. I felt honored when she asked me to help with wood firing. Every
of this process. A lot of my pots express fragility and beauty, stresses.
month I would split the wood and see Ruth’s relationship to the firing
I want to convey the shape of a feeling, and always, in my finished
process, her ritualistic way of starting early in the morning, raising the
work, I want the firing technique to reflect the sense of mystery that
heat slowly, controlling the fire. It was a Zen experience.”
comes from the process. I want each piece to carry with it the idea of
When she left Sheridan, Murray worked twelve- to fifteen-hour days
being on a journey with other pieces. When they support each other
in shared studios, perfecting her skills in throwing, casting, handbuildin the kiln and influence each other’s coloration by their very presence,
ing and firing. Eventually, she and her husband were able to build a
they are, for me, a symbol of the strong sense of community I felt at
studio beside their home, where she continues to devote herself to the
sea, where there was a great sense of interdependency necessary for
exploration of porcelain’s possibilities.
survival, even though each boat, like each pot, represents an isolated
Fifteen years ago, she began experimenting with incorporating
and individual way of life.”
into the clay a type of fiberglass, called “surface veil,” which is used in
Her home is filled with collections of shells and her own work.
wooden boat restoration. At the time, it was a solution to a technical
She is pleased that the pots she placed on the table to mark the start
problem for a sculpture entitled “Nautilus,”
commissioned by the Regional Municipality of Ottawa-Carleton for the atrium of
its new building. Nautilus consisted of 33
large porcelain arcs that needed to be strong
enough to be removed from the mold and
transferred to the kiln without breaking.
Since then, she has evolved the technique to
exploit the warping, stress lines and patterns
that can be created by the fiberglass. This
marriage of materials has become central to
her ideal of 21st-century life, where clay—a
symbol of primal earth—and fiberglass—a
symbol of a highly developed commercial
technology—are in balance through creative choice and an appreciation for the
ephemeral moment when there is a unique
conjunction of forces.
Her appreciation for the ephemeral
was heightened by experiencing storms at
sea. “With a boat,” she says, “you can steer
but that’s the limit. Your responsibility lies
within that parameter. I have discovered
that skills in sailing and in potting are
remarkably similar. Both are dependent on
being observant and disciplined and having
purposeful intentions. I find the more I
train myself to appreciate my experiences,
even if it involves loss or pain, the more it
leads to clarity of vision.”
Her recent work shows how honed
this clarity of vision has become. They are
fusions of near rupture and serene beauty,
“ eathered,” 11 in. (29 cm) in height, porcelain with fiberglass, fired to Cone 10
in an electric kiln, with copper saturate and terra sigillata, then salt fired to Cone 06.
echoing nature and human history in their
56
M O N T H L Y
methods
Stress Management
by Paula Murray
For a number of years I have been developing a body of work
that I call my “Stress Management” series. These pieces are
made of porcelain casting slip with a 25% ball clay content
to encourage movement of the clay when the work is drying.
I layer the casting slip in a plaster mold and imbed a pattern
of fiberglass in the clay as I go. The fiberglass I work with is
a type called “surface veil,” which was originally acquired to
restore a cedar strip canoe. Purchased by the foot in 48-inchwide rolls, the fibers resemble angel hair pasta. Through much
trial-and-error with a very high loss rate, I have developed
quite an expressive tool to explore my interest in our strength
and fragility, and the ephemeral nature of life. The organic
warping and cracking of the forms and the wonderful patterns
that emerge are the result of the tension created as the clay
shrinks in relation to the fibers, the thickness of the clay, and
the speed of the drying process.
The vessels are fired in stages. First they are fired unglazed
to Cone 10 in an electric kiln using saggars filled with silica
sand to support the forms. The stress cracks are filled with
slips, glazes, eroded by sandblasting or knit together with
paper clay as work on each piece continues. The work is
completed in a small, low-temperature salt kiln. Terra sigilattas, slips and glazes are applied with an airbrush, with
a final coat of sugared water to toughen the surface. The
pieces are stacked directly touching each other, filling the
kiln to enhance the flame patterns and texture induced by
the reducing salted atmosphere. This kiln is fired to Cone
06 over eight hours, reducing heavily after 800°C (1474°F)
and salted twice above the burners.
“A ay ut,” 15¹⁄₂ in. (39 cm) in height, porcelain with fiberglass, fired to Cone 10 in an
electric kiln, with copper saturate and terra sigillata, then salt fired to Cone 06, by Paula
Murray, Chelsea, u bec, Canada.
of her journey have such an affinity with her latest work. “To think
these came out of near disaster,” she says, recalling how she and other
students at Sheridan had been told by their landlord that they could
tear down an old garden shed for their first wood firing. The wood
was so old it didn’t burn slowly but seemed to evaporate. They were
firing for 27 hours but couldn’t get the kiln up to temperature. Ruth
came to the rescue by bringing her own wood. “These pots came
from that firing,” Murray says. “They mean a lot to me because the
older we get, the more we realize that we choose our own perspective
and I see them as part of the unity of my total work.” The distance
she has traveled from this salvaged beginning is most apparent in the
perception, implicit in her latest work, that clay, shaped and glazed
to her vision, represents both earth and human body. Beauty lies in
the unique imprint of the object’s passage through time. Her Fragmented Earth series is tangible evidence of her belief that creativity
is an indication of the life force unfolding over a broad span of time.
She says, “I believe the artist’s role is to try to understand this life
force by articulating it and giving it form. My intention has always
been the same. I want to make objects about the nature of being in
and honoring the natural world.”
57
“Three Stacking S uares,”
17 in. (43 cm) in height, thrown
and altered stoneware, with slip,
salt fired to Cone 10, 450.
58
Translating from the Subconscious
by Nancy Utterback
April 5, 1987. My heart pounding, I opened the salt kiln this morning. It was completely filled with my journal pots. Two months of work.
I smiled to see evidence of deep snow, melting icicles and isolation. With
the warm sun on my face and the sounds of spring all around me, I had
completely forgotten winter. No one else will ever know that these are
talking pots. The winter of ’87 lives on.
By the time I was eleven years old, I had become fascinated by
how mankind had used symbols to represent different ideas, how
many languages and alphabets existed. I seriously thought about
becoming an archaeologist because I was so intrigued with the idea
of piecing together people’s artifacts and fragments of their written
language to figure out the way they lived. I loved the idea of their lives
being recorded in a kind of code that we puzzled over later, trying to
understand who they were.
At the same time, I began to question everything. I wanted to
understand where we came from, and the truth behind our legends
and myths. I wanted to know what God had really said and if he really existed. I announced to my parents that I was going to read the
Bible. Both my parents tried to discourage me. I was too stubborn to
listen; I made a promise to myself to read at least ten pages a night.
When the cop pulled up behind me and turned on his lights, my
heart skipped a beat. It was 2 A.M. and I was parked by the old car
wash, watching the studio next door intently. I was writing by flashlight
in my journal, and I was certain this wasn’t against the law.
“Keep your hands on the wheel,” he instructed, and asked what
I was doing. “Drinking a Dr. Pepper and writing in my journal,” I
responded. As I handed him my driver’s license he asked me to show
him the soda and the journal.
I held up the Dr. Pepper.
It was impossible to make him understand that
I was just hanging around, harmless, waiting until
the last potter had left the communal studio so I
could go in and work alone. It was even harder to
explain that my journal was private and that he
couldn’t see what I was writing, not ever. After
some discussion, we compromised: I held the
journal up, and let him look at it from a distance.
I started keeping my first diary in the third
grade. I’ve always needed a place to tell my secrets.
In the ’70s, I worked in studios in which I shared
space and equipment. My need for privacy made
me someone who staked out the studio and waited
until everyone else had gone home. I was a kind
of clay vampire, working through the night and
lying low during the day.
In 1985, I finally built my own studio, complete with kiln yard. As I stood in my studio
reflecting back over the years, I started thinking
“Black and ellow Bowl,” 15 in. (38 cm) in diameter, thrown stoneware,
with slip, salt fired to Cone 10, 115.
about the possibilities of keeping a journal in clay.
I wanted to explore my inner space privately and
travel over the surface of the clay in my mind. I
My mother had a beautiful Bible, leather bound, lots of illustrawanted to speak in a different language between me and my subcontions and red lettering at the top of every page. Night after night I
scious. The kind of private language I had invented as a child.
held this giant book and read my pages. After a few weeks my parents
Keeping a journal has always been about privacy. I grew up with
became really concerned. I had become withdrawn and quiet. My
three brothers who loved teasing and tormenting me. Their favorite pasfather asked me to tell him what I had learned. I couldn’t really tell
time was stealing my diary and reading it aloud to anyone who would
him any of the Bible stories because none of them made sense. He
listen. I knew I had to figure out some way to keep my journal private.
59
PHOTOS: LARRY B. UTTERBACK
“Stretched Vase,” 18 in. (46 cm) in length, thrown and altered stoneware, with slip, salt fired to Cone 10, 250.
said that unless I was learning something, he was not going to let me
continue reading the Bible.
I looked up at him and said I had learned that the Bible was written
in code. His eyebrows raised, he looked over at my mother. “Well,
she has learned something.” He nodded and quietly left my room.
That moment changed everything. I finished reading the Bible ten
months later, and, with great relief, put it back in its place on the shelf.
September 1961. I’m practicing writing backwards like Leonardo da
Vinci. You have to hold it in front of the mirror to read it. Miss Denny
says he needed to keep his writing so no one else could read it just like me.
The idea of writing in code stuck with me. I began by writing
backwards, and then in my own language made up of simple symbols
and drawings. I loved looking at Asian calligraphy and was intrigued
by Egyptian hieroglyphics. My simple symbols took me to other
countries in my imagination and encouraged me to explore different
cultures through books and art. I had found a way to write in my diary
everyday, so my brothers—or anyone else, for that matter—would
not be able to decipher it. I had found privacy.
Years earlier I had discovered that even simple words could be a
kind of code. I wanted to find out if a piece could hold the meaning
of a word even if the word itself was not visible.
I made a series of pieces that I called “touch pots.” They were
completely closed round or oval forms with a word or a phrase on
the inside. These were fun pieces and they sold well. I don’t know if
anyone ever unlocked the meaning inside. The piece would have had
to have been broken and the shards examined for someone to know
they had a meaning as part of their inner surface.
My work has always changed slowly—I agonize over every tiny
design change. Moving into my new studio, working alone, I exploded with change. I spent several days in my basement pulling out
yellowed diaries, studying the bizarre record of my mind as a young
girl. Over the next weeks I worked on forms that would give me a
surface I could use like a page to paint my entries. For the first time
I was actually having fun testing slips and trying different oxide
combinations. I read every recipe I could get my hands on. I was just
learning about salt firing and started experimenting with different
ways to introduce the salt. I began to fine tune the wetness of the
surface. I practiced brushstrokes and I began recording daily journal
entries onto each pot.
I felt the same satisfaction I had felt when my brothers were no
longer able to read my diary. I could see that the symbols and drawings
formed a pattern; a surface that could stand on its own even if the
person holding the pot didn’t know it was a journal entry. I moved
inward, discovering parts of myself I hadn’t known.
August 26, 1986. I just peeked into the kiln. As usual, I made a
marathon out of the firing. I glazed for two days with little sleep, fired
all night and, yes, I am admitting I fell asleep during the firing. I let the
60
kiln go too long, didn’t start my salting as usual. We had to blast the
salt in at Cone 10. I have been so nervous. Looks great! Maybe I have
discovered something?
tion with myself. Innuendo, humor, great joy and deep sadness
all find their way into this one-on-one dialog.
Now I know that it is safe to share myself and enjoy the closeness that comes late at night with my talking pots glowing in the
flame. I also know that all the symbols and imagery that find their
way onto my pots are from my inner language; it comes easily
like any first language. Translating it into English or explaining
the many layers of meaning are the only times I feel it is complex.
While the pages of my journal become plates and cups, and
my sketch pad is turned into vases and platters, I continue my
conversation with clay, always alert for new meanings and surprising translations.
After one long day decorating pots, I returned to the house
and fell asleep exhausted. The following day I was shocked to
see a door painted on the surface of many of the pieces. It had
a keyhole, sometimes blocked and sometimes open, and, to my
surprise, I found keys painted in and around other entries. I had
never consciously chosen this as a symbol. It hit me then that it
was the door of opportunity.
What most amazed me was that the image of the door seemed
to guide me to open up to other possibilities. I
had always interpreted my work in the reverse.
I thought about my life and wrote in my journal
to express myself. In this case, I translated a message from my subconscious. I hadn’t realized it,
but I was ready to explore new territory. I reached
for the key and opened the door.
I had spent a lifetime trying to find privacy
and the space to work alone. Now, after five years
of solitude, I began to crave companionship. I
took a job teaching two classes a week at a community pottery facility. Teaching encouraged me
to share that sacred part of myself with people
I barely knew. As a result, my journal pots took
on a new dimension. Evidence of a personal
journey surfaced. Teaching guided me to find
ways to share the way clay can take us to our
creative center.
I began to make more time for hiking and
exploring the world around me. After a wonderful day at my favorite park I began painting
landscapes onto my pieces. I used simple newspaper stencils and found myself drifting back
to elementary school. I worked quickly, and
the work was fresh and challenging. I returned
to the same state of meditation I had been in
when I painted the doors of opportunity—not
analyzing the way I was working, but sinking
into that space between conscious thought and
the dream world.
Many symbols have been born out of that
dreamy state of subconscious awareness and
many have come from everyday experiences. I’m
often amazed at how I enter my studio, begin a
simple task and many hours later emerge as if I
am coming out of a trance. The walk from my
studio to my back door is like waking up after a
long and meaningful dream.
In my studio, working in clay, I live in the
moment, I challenge myself, and I listen to my
heart. I am able to slip into that sacred space
arge pitcher, 12 in. (30 cm) in height, thrown stoneware with slip, salt fired,
where I can touch my own heart and hear my
with overglaze enamel, 125, by Nancy tterback, Erie, Colorado.
own voice. I have perfected the art of conversaCeramics Monthly May 2006
61
call for entries
Deadlines for Exhibitions, Fairs and Festivals
See call f or en tri es on li n e at w w w . cerami csmon th ly. org
International Exhibitions
June 16 entry deadline
B alti more, Marylan d “World Women: On the Horizon” (October 7– November 12), open to ceramics made by women about women. Juried from
slides or digitals. Jurors: Janet Mansfield, potter,
publisher/editor of C erami cs: Art an d P ercepti on
and C erami cs T ech n i cal; Heeseung Lee, studio
artist; and Lydia Thompson, sculptor and assistant
professor of ceramics at Virginia Commonwealth
U niversity School of Arts. Fee: $15 for up to 5
entries. For further information and prospectus,
contact Leigh Taylor Mickelson, Baltimore
Clayworks, 5707 Smith Ave., Baltimore 21209;
e-mail [email protected];
see www.baltimoreclayworks.org; or telephone
(410) 578-1919, x18.
August 14–October 6 entry deadline
I ch eon , R epubli c of K orea “Fourth World Ceramic
Biennale 2007 Korea (CEBIKO)” (April 28– June 17,
2007), open to works in two categories: ceramics
for use and ceramics as expression. Juried from
slides or digitals. Cash awards; grand prize KRW 60
million (U S$55,000). For further information, contact Shinhee Park, Curatorial Dept., World Ceramic Exposition Foundation, 467-020, San 69-1,
Gwango-dong, Icheon-si, Gyeonggi-do; e-mail
[email protected]; see www.wocef.com
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)RU'HWDLOVRQKRZ,DQPDGHWKHSRWVJRWRRXUZHEVLWH
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62
or www.worldceramic.or.kr; telephone (82) 31
631 6572; or fax (82) 31 631 1614.
United States Exhibitions
May 5 entry deadline
W i n d h am, New Y ork “Journeys in Clay 2006”
(June 17– July 30). Juried from 5– 10 slides or photos. Juried by Ruth Sachs and Joan Snyder. Sales
Commission: 30% . For further information, contact Donna Barrett, Greene County Council on the
Arts, PO Box 463, 398 Main St., Catskill, NY
12414; e-mail [email protected]; see
www.greenearts.org; telephone (518) 943-3400;
or fax (518) 943-5502.
W aln ut C reek , C ali f orn i a “By Hand: A National
Juried Exhibition of Traditional and Innovative
Craft” (July 9– September 10), open to all craft
media. Juried from slides. Juror: Suzanne
Baizerman. Fee: $35 for up to 3 entries. Awards.
For prospectus, send SASE to Melanie Chang,
Bedford Gallery, 1601 Civic Dr., Walnut Creek
www.bedfordgallery.org; or telephone (925)
295-1423.
B uf f alo, New Y ork “Craft Art Western New York
2006” (September 16, 2006– January 7, 2007),
open to past or current residents of western New
York. Juried from slides or digitals. Juror: Lloyd
Herman, director, Smithsonian’s Renwick Gallery.
Contact Burchfield-Penney Art Center, Buffalo State
College, Rockwell Hall, 1300 Elmwood Ave., Buffalo 14222; e-mail burchfl [email protected]; or
telephone (716) 878-6011.
D i x H i lls, New Y ork “Patterns in Clay,” exhibition
in conjunction with “All Fired U p” Potters Council
Conference (July 8– August 13). Juried from up to
7 slides or CD. Fee: $15. For further information,
contact Ruth Sachs, Art League of Long Island, 107
E. Deer Park Rd., Dix Hills 11746; e-mail
[email protected]; see www.artleagueli.org; or
telephone (631) 462-5400.
May 30–September 4 entry deadline
L oui svi lle, K en tuck y “NCECA 2007 Clay National
Biennial Exhibition— Old Currents, New Blends: A
Distillation of Art and Geography” (March 14–
June 23, 2007). Juried from digitals. Fee: $30;
NCECA members, $15 for two works. Jurors: Syd
Carpenter, Silvie Granatelli and Nick Kripal. Purchase and merit awards. Sales commission: 70% .
Contact NCECA, 77 Erie Village Square, Ste. 280,
Erie, CO 80516-6996; or see www.nceca.net.
E ugen e, Oregon “Look! Positive Sexuality in Art”
(August 2– 30), open to all media smaller than 60
inches. Juried from slides or CD. Juror: Robert
Canaga and Mary Nyquist Koons. Fee: $30 for up
to 3 entries. Sales commission: 50% . Awards. For
prospectus, send SASE to Planned Parenthood
Health Services of Southwestern Oregon, 360 E.
Tenth St., Ste. 104, Eugene 97401; e-mail
[email protected]; see www.new3rs.info; or telephone (541) 344-1611 x14.
June 19, 2006, entry deadline
R oss, C ali f orn i a “Second National Juried Exhibition” (October 1– 22), open to all media. Juried
from slides or digital on CD. Fee: $30 for up to 3
entries. Juror: Rene de Guzman, visual arts curator
at Yerba Buena Center for the Arts. Awards: over
$2500. For prospectus, send SASE to Marin Society
of Artists, PO Box 203, Ross 94957; or see
www.marinsocietyofartists.org.
July 14 entry deadline
I n d i an apoli s, I n d i an a “ClayFest 2006” (September
5– 29), open to current and former residents of
Indiana. Juried from slides. Fee: $20 for 3 entries.
For further information and prospectus, contact
the U niversity of Indianapolis, Dept. of Art and
Piece due by May 29th, 2006.
Winner announced on July 1st.
Go to www.RowePottery.com
and click on 2006 Pottery Contest to find out details
and download the entry form, or give us a call
at 800.356.5003!
63
call for entries
Design, 1400 E. Hanna Ave., Indianapolis 46227;
e-mail [email protected]; or telephone (317)
788-3253.
August 1 entry deadline
E stes P ark , C olorad o “10th Annual Lines into
Shapes” (September 22– October 15), open to all
media. Juried from slides. Fee: $12 per entry, up to
3 entries. Awards: $5000. For further information
and prospectus, send an SASE to Art Center of
Estes Park, PO Box 3635, Estes Park 80517; see
www.artcenterofestes.com; telephone (970) 5865882 or (970) 586-0543.
F armi n gton H i lls, Mi ch i gan “From Our Perspective” (September 21– October 13), open to
women artists in all media. Juried from digitals.
Fee: $25 for 3 entries. Awards: Best-in-Show,
$300; purchase, $250; 3 honorable mentions,
$100 each; Presidents award, $100. For further
information, contact Sandra Happel, Oakland Community College, 27055 Orchard Lake Rd.,
Farmington Hills 48334; telephone (248) 5223565; e-mail [email protected]; see
www.oaklandcc.edu/womencenter/artshow.htm.
Man ch ester, New H ampsh i re “Ceramics Biennial Exhibition 2006” (October 13– November 13),
open to works made predominantly of clay. Juried
from digitals. Juror: Mary Barringer. Fee: $25 for
up to 2 entries. Awards: $2000. For prospectus,
send SASE to New Hampshire Institute of Art, Sara
Zela, 77 Amherst St., Manchester 03101; e-mail
[email protected]; see www.nhia.edu; or telephone
(603) 836-2572.
September 1 entry deadline
P ad ucah , K en tuck y “BLU EgrassCLAYnational”
(November 4– December 30). Juried from up to 5
slides. Juror: John U tgaard. Fee: $25. Awards:
$1500. For prospectus, send SASE to Blue Clay,
Yeiser Art Center, 200 Broadway St., Paducah
42001; see www.yeiserartcenter.org; or telephone
(270) 442-2453..
W ayn e, P en n sylvan i a “Craft Forms 2006” (December 1, 2006– January 24, 2007), open to all
craft media. Juror: Gretchen Keyworth, director/
chief curator Fuller Craft Museum. Fee: $25.
Awards: $3000. For prospectus, send SASE to
Wayne Art Center, 413 Maplewood Ave., Wayne
19087; or see www.wayneart.org.
The Only Kiln
Venting System
that Removes
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Regional Exhibitions
B i lox i , Mi ssi ssi ppi “George Ohr Rising: Gulf States
Juried Competition” (August 25– September 27),
open to artists residing in Alabama, Florida, Louisiana, Mississippi and Texas. Juried from slides or
jpegs. Fee: $15 for 3 entries. Awards: $1800. For
further information, contact Marjie Gowdy, OhrO’Keefe Museum of Art, 136 G.E. Ohr St., Biloxi
www.georgeohr.org; telephone (228) 374-5547;
or fax (228) 436-3641.
Pittsburgh, Pennsylvania “WAD Clay Institute Juried
Clay Annual” (August 25– September 30), open to
all ceramists residing in Washington D.C., Delaware, Kentucky, Maryland, New Jersey, New York,
Ohio, Pennsylvania, West Virginia and Virginia.
Juried from slides. Juror: Ron Korczynski. Fee: $20
for up to 3 entries. Awards: cash and purchase. For
prospectus, contact WAD Clay Institute, 2100
Mary St., Pittsburgh 15203; or telephone Gerry
Dinnen (412) 279-9956.
K an sas C i ty, Mi ssouri “Viva la Terra: celebrating
life . . . in clay” (September 17– 30), open to
expressions of the power of clay as a healing
64
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"Amaco/Excel kilns allow me to work in smaller batches,
move through ideas quickly, and experiment more."
Jim Kemp
Recipient of "Creative Renewal Grant"
Indiana Arts Commission
"It's a lot easier to fire the EX-399 electric kiln than
a gas kiln. I had to attend to my gas kiln for
12 hours. Now firing is usually 6 hours and the
kiln shuts off automatically. The Creative Renewal
Fellowship Arts Grant paid for the electrical
wiring and an equipment purchase of two
Amaco/Excel EX-399 models".
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EX-399 kilns."
To buy a "Play With It" T-shirt
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American Art Clay Co., Inc. • (800) 374-1600 • www.amaco.com
65
call for entries
medium. Juried from slides. Juror: Steven Hill.
Fee: $35 for 3 entries, 1 detail of each. Awards:
$1000. For prospectus, send # 10 SASE to Susan
Speck, 5932 Nall, Mission, KS 66202; e-mail
[email protected]; see www.kcclayguild.org;
or telephone (816) 363-1373.
Fairs and Festivals
L ayton , New Jersey “36th Annual Peters Valley
Craft Fair” (September 29– October 1). Juried from
slides. Fee: $25. Booth fee: $350. Cash awards.
Contact Peters Valley Craft Center, 19 Kuhn Rd.,
Layton 07851; e-mail [email protected]; see
www.pvcrafts.org; or telephone (973) 948-5200.
Mon tclai r, New Jersey “Spring Brookdale Park Fine
Art and Crafts Show” (June 17– 18), open to all
handcrafted work. Juried from 3 slides/photos of
work; 1 of booth. Booth fee: $305 for 10×12-foot
space. Contact Rose Squared Productions, Inc., 12
Galaxy Ct., Hillsborough, NJ 08844; see
www.rosesquared.com; or telephone (908)
874-5274.
August 1 entry deadline
L i ttle R ock , Ark an sas “28th Annual Arkansas Craft
Guild Christmas Showcase” (December 1– 3), open
to handmade crafts. Juried from 4 slides or photos
of work and 1 of booth. Fee: $15. Booth fee: $250
for 10×10-foot space. For further information
and prospectus, contact ACG Showcase, Arkansas
Craft Guild, PO Box 800, Mt. View, AR 72560;
253-2951.
C ran f ord , New Jersey “Fall Nomahegan Park Fine
Art and Crafts Show” (September 30– October 1),
open to all handcrafted work. Juried from 3 slides/
photos of work; 1 of booth. Booth fee: $305 for
10×12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844;
see www.rosesquared.com; or telephone (908)
874-5274.
U pper Mon tclai r, New Jersey “Fine Art and
Crafts Show at Anderson Park” (September 16–
17), open to all handcrafted work. Juried from 3
slides/photos of work; 1 of booth. Booth fee: $305
for 10×12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ
08844; see www.rosesquared.com; or telephone
(908) 874-5274.
New Y ork , New Y ork “Celebrating Women’s Creativity” (November 8– 26), open to women artists.
Juried from slides or actual work. For prospectus,
send SASE to the Pen & Brush Inc., 16 E. 10th St.,
New York 10003; see www.penandbrush.com; or
telephone (212) 475-3669.
October 1 entry deadline
Mon tclai r, New Jersey “Fall Brookdale Park
Fine Art and Crafts Show” (October 14– 15), open
to all handcrafted work. Juried from 3 slides/
photos of work; 1 of booth. Booth fee: $305 for
10×12-foot space. Contact Rose Squared Productions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844;
see www.rosesquared.com; or telephone (908)
874-5274.
F or a free call for entries listing, submit information on juried events
at least four months before the entry deadline. A dd one month for
listings in J uly , and one month for listings in September. R egional
exhibitions must be open to more than one state. Submit online at
www.ceramicsmonthly.org; mail to Call for E ntries, Ceramics
Monthly , 735 Ceramic Pl., Suite 100, Westerville, OH 43081; e-mail
[email protected]; or fax (6 14) 89 1-89 6 0.
66
67
new books
From Mud to Music
Making and Enjoying Ceramic
Musical Instruments
by B arry H all
This abundantly illustrated book explores a
remarkable transformation: how the simplest of
materials—clay or mud—can be used to make
tools for producing one of the most complex
human expressions—music. It covers a vast array
of ceramic musical instruments, from ancient
examples to works by
today’s leading makers.
An accompanying audio CD provides examples of the music
that can be created from
clay instruments.
The book identifies
four main families of
instruments—idiophones (self sounders),
membranophones (skinned drums), aerophones
(wind instruments) and chordophones (stringed
instruments)—as well as unique hybrids. Each
family is described in detail, and construction
techniques and considerations specific to clay are
explained. A chapter on technical issues addresses
topics such as clay selection, tuning and shrinkage,
and glazing versus not glazing. In-depth profiles
introduce some of the premier clay instrument
makers from around the world, and a full-color
gallery section presents examples of their work and
the work of many other artists. In addition, the
book presents detailed step-by-step demonstrations for five different types of instruments: the
side-hole pot drum, ocarina, goblet drum, sideblown fl ute and whistle fl ute. 259 pages including
an appendix with notes on the accompanying CD,
glossary, bibliography, list of resources and materials, list of contributors, photo credits and index.
4 4 0 color photographs. $ 4 8 .00. ISBN
1 -57 4 9 8 -1 3 9 -0. Published by the American Ceramic Society, 735 Ceramic Pl., Suite 100, Westerville,
OH 43081; e-mail [email protected]; see
www.ceramics.org; or telephone (614) 794-5890.
Ceramic Faults
and Their Remedies
Second Edition
by H arry F raser
It would be impossible to find a ceramics artist
who has not experienced the frustration caused by
the myriad technical difficulties that can arise when
working with clay. This book is dedicated to
helping ceramics artists quickly identify the nature,
causes and remedies of a multitude of problems
that can arise during ceramic production. Now in
its second edition, it has been redesigned with color
illustrations, and the text
has been revised, updated
and expanded to refl ect
new developments.
The book is divided
into four main sections:
faults arising in clay and
bisque ware; faults arising from slip-casting processes; faults arising in
glazing and glazed ware; and faults arising after
decoration. Additions to the second edition include a new chapter on ceramic testing methods
and an expanded chapter on health and safety,
which includes procedures on how to avoid problems. 1 9 2 pages including foreword, appendixes
and index. 7 1 color and 50 black-and-white photographs. Softcover, $ 3 4 .50 (£ 1 7 .9 9 ). ISBN (U .S.)
1 -8 8 9 -250-50-2 ISBN (U .K.) 0-7 1 3 6 -7 1 9 1 -2.
Published in the U.S. by Gentle Breeze Publishing,
PO Box 1484, Oviedo, FL 32765. Published in the
U.K. by A&C Black, Alderman House, 37 Soho Sq.,
London W1D 3QZ England; see www.acblack.com;
or telephone 44 2077 580 200.
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calendar
Conferences, Exhibitions, Workshops, Fairs
See calen d ar on li n e at w w w . cerami csmon th ly. org
Conferences
Connecticut, Lakeville May 12–14 “Clay—The
Art of Earth and Fire International Ceramic Symposium,” featuring Warren MacKenzie, and includes
demos, exhibitions, tea ceremony, plus a panel discussion with Deborah Bedwell, Joy Brown, Val Cushing,
John Jessiman, Samuel Morse and John Williams. Contact Hotchkiss School, 11 Interlaken Rd., PO Box 800,
Lakeville 06039; see www.hotchkiss.org; or telephone
(860) 435-4423.
Michigan, Kalamazoo May 12–14 “Tea Time: The
Art of the Teapot,” includes demos and lectures with
Bennett Bean, Richard Bresnahan, Fong Choo and Jeri
Hollister, plus an exhibition. Fee: $100. Contact
Kalamazoo Institute of Art, 314 S. Park St., Kalamazoo
49007; see www.kiarts.org/school; or telephone (269)
349-7775, x3101.
Minnesota, Minneapolis September 13–17 “Tiles
of the Northern Plains: Building on Tradition,” includes
tours, lectures, demos, workshops and exhibitions. For
further information, contact the Tile Heritage Foundation, PO Box 1850, Healdsburg 95448; e-mail
[email protected]; see www.tileheritage.org
or www.handmadetileassociation.org.
Montana, Helena Jun e 22–24 “2006 Archie Bray
International,” includes lectures, demos and exhibition by over 12 international artists to celebrate the
opening of the David and Ann Shaner Resident Artist
Studio Complex. Fee: $160; members, $125; former
Bray resident artists, $100. Contact Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave.,
Helena 59602; see www.archiebray.org; or telephone
(406) 443-3502.
New York, Nassau Jun e 23–25 “British Ceramics:
A Newly Discovered Potter’s Tip in Burslem 1795–
1805,” includes lectures and exhibition. Fee: $435.
Contact Eastfield Village, PO Box 539, Nassau 12123;
or telephone (518) 766-2422.
New York, New York Jun e 1–4 “SOFA New York
2006,” lectures, exhibitions and benefit. For further
information, e-mail [email protected]; or see
www.sofaexpo.com.
Oregon, Portland Jun e 1–4 “Craft Organization
Development Association (CODA) Conference 2006,
Creating Value/Provoke Change: Shaping the Future
of Craft,” includes panels, presentations, peer discussions, exhibitions and tours. E-mail Linda Van Trump,
[email protected]; see www.codacraft.org; or telephone (870) 746-4396.
Australia, Brisbane July 10–14 “Verge: 11th National Ceramics Conference,” includes lectures, critiques, panels, exhibitions, workshops and trade show.
Contact Fusions: Australian Network of Clay and Glass
Artists, Verge conference committee, PO Box 1414,
New Farm, Brisbane, Queensland 4005; e-mail
[email protected]; see www.fusions.org.au; telephone (61) 7 3358 5122; or fax (61) 7 3358 4540; or
see www.verge2006.org.au.
Hungary, Kecskemét November 7–10 “Critical
Studies . . . Contemporary Writing for the Ceramic
Arts,” lectures and presentations by Gabi DeWald, Dr.
Ichi Hsu and Janet Mansfield. Fee: 50,000 HUF
(US$235), includes lunch. Contact International Ceramics Studio Kecskemét, Kápolna u. 11, Kecskemét
H-6000; e-mail [email protected]; or telephone (36) 76
486 867.
Solo Exhibitions
Arizona, Tempe th rough August 5 “The Ceramic
Art of R. Michael Johns”; at ASU Art Museum Ceramics
70
Research Center, Arizona State University, Mill Ave.
and Tenth St.
California, Pomona th rough July 1 Steve Tobin,
“Exploded Earth”; at the American Museum of Ceramic Art, 340 S. Garey Ave.
California, Sacramento th rough July 2 “Viktor
Schreckengost: National Centennial Exhibition.” July
22–October 8 James Lovera, “Craters from Fire”; at
Crocker Art Museum, 216 O St.
May 4–27 Rebekah Bogard; at exploding head
gallery, 924 12th St.
Florida, St. Petersburg May 6–20 Jason Lachtera;
at St. Petersburg Clay Company, 420 22 St., S.
Georgia, Atlanta th rough October 31 Niki de
Saint Phalle, “Niki in the Garden”; at the Atlanta
Botanical Garden, 1345 Piedmont Ave., NE.
Georgia, Decatur May 13–Jun e 3 Kyle Carpenter;
at MudFire Clayworks and Gallery, 175 Laredo Dr.
Hawai‘i, Honolulu th rough Jun e 6 Jun Kaneko,
“Tropical Reflection: Drawings, Paintings and Sculpture”; at the Contemporary Museum at First Hawaiian
Center, 999 Bishop St.
th rough Jun e 18 David Kuraoka; at the Honolulu
Academy of Arts, 900 S. Beretania St.
Illinois, Chicago th rough May 6 Dennis Lee Mitchell;
at Dubhe Carreño Gallery, 1841 S. Halsted St.
th rough Jun e 30 Dennis Lee Mitchell; at the Clarke
House Museum, 1827 S. Indiana Ave.
May 6–Jun e 17 “Meredith Brickell, “The Distance
Between”; at the Lillstreet Art Center, 4401 N.
Ravenswood Ave.
Illinois, Jacksonville May 6–28 Laura O’Donnell;
at David Strawn Art Gallery, 331 W. College Ave.
Indiana, Ft. Wayne May 6–27 Brad Schwieger,
“New Constructions”; at Charlie Cummings Clay Studio, 4130 S. Clinton St.
Iowa, Dubuque th rough Apri l 16 Elizabeth Shriver;
at Dubuque Museum of Art, 701 Locust St.
Kentucky, Covington th rough May 27 Patrick L.
Dougherty, “Puzzlin’ Evidence”; at the Carnegie, 1028
Scott Blvd.
Massachusetts, Lenox May 6–Jun e 4 Giselle Hicks,
“Nesting.” Jun e 17–July 16 Michael McCarthy, “Studio Pottery”; at Ferrin Gallery, 69 Church St.
Minnesota, Duluth th rough July 2 Daisy Brand,
“Ceramic Images of a Frightening Past”; at Tweed
Museum of Art, University of Minnesota Duluth, 1201
Ordean Ct.
Minnesota, Minneapolis May 5–July 2 Lawson
Oyekan; at Northern Clay Center, 2424 Franklin Ave. E.
Minnesota, Rochester th rough Jun e 4 Judy
Onofrio, “Come One, Come All”; at Rochester Art
Center, 40 Civic Center Dr., E.
Missouri, St. Louis May 5–Jun e 11 Melody Ellis; at
Xen Gallery, 401 N. Euclid.
Missouri, Sedalia th rough May 21 Steven Montgomery, “Broken”; at the Daum Museum of Contemporary Art, State Fair Community College, 3201 W.
16th St.
Montana, Billings Jun e 1–August 1 Marcia Selsor;
at St. John’s Chapel Art Gallery, 3940 Rimrock Rd.
Montana, Bozeman th rough May 10 Kevin Waller;
at Michelle Gantt Ceramics Gallery + Studio, Emerson
Center, 111 S. Grand Ave., #108.
Nebraska, Omaha th rough May 12 Liz Vercruysse,
“Contemporary Totemic Icons”; at Nebraska Arts Council Showcase Gallery, 1004 Farnam St., Plaza level.
th rough May 27 “Jun Kaneko: Beyond Butterfly”;
at Bemis Center for Contemporary Arts, 724 S. 12th St.
New Hampshire, Manchester th rough May 15
Gerry Williams, “Mythopoetic”; at New Hampshire
Institute of Art, 148 Concord St.
New Jersey, Clinton th rough Jun e 4 “Bennett
Bean: Influences and Objects.” Jun e 11–August 20
Toshiko Takaezu; at Hunterdon Museum of Art, 7
Lower Center St.
New Mexico, Madrid May 6–Jun e 2 Patrick L.
Dougherty, “New Expressions in Clay”; at MisenkoContinued
Boldman Fine Arts, 2875 Hwy. 14.
71
calendar
solo exhibitions
New York, Alfred through June 26 “Viktor
Schreckengost National Centennial Exhibition”; at the
Schein-Joseph International Museum of Ceramic Art,
NY State College of Ceramics at Alfred University.
New York, Beacon June 10–July 2 Tony Moore; at
Bau, 161 Main St.
New York, Cazenovia May 19–June 30 John
Jessiman; at Chameleon Gallery, 53 Albany St.
New York, New York through May 6 John Pagliaro.
through May 13 Wouter Dam. Bodil Manz. through
July 8 Sir Anthony Caro, “The Kenwood Series”; at
Garth Clark Gallery, 24 W. 57th St., Ste. 305.
through May 31 “Clement Massier Art Pottery”; at
Jason Jacques Gallery. 29 E. 73 St.
through July 30 “The Art of Betty Woodman”; at
the Metropolitan Museum of Art, 1000 Fifth Ave.
New York, North Salem through June 3 Phyllis
Savage, “Tea Wares”; at Hammond Museum and
Japanese Stroll Garden, 28 Deveau Rd.
New York, Syracuse through May 21 “Only an
Artist: Adelaide Alsop Robineau, American Studio Potter”; at the Everson Museum, 401 Harrison St.
North Carolina, Charlotte through June 26 “Viktor
Schreckengost National Centennial Exhibition”; at Mint
Museum of Craft + Design, 2730 Randolph Rd.
North Carolina, Durham through May 21 Cynthia
Aldrich, “By George: Ceramic Sculpture of a Distinctly
Political Nature”; at Durham Arts Guild, 120 Morris St.
Ohio, Cleveland through August 13 Viktor
Schreckengost, “Animals in Art: Clay Creatures”; at
the Cleveland Zoo, 3900 Wildlife Way.
Ohio, Columbus May 20–June 30 Janis Mars
Wunderlich; at Sherrie Gallerie, 937 N. High St.
Ohio, Portsmouth through May 6 Juliellen Byrne,
“A Knowing Innocence”; at Southern Ohio Museum,
825 Gallia St.
Pennsylvania, Erie through June 1, 2007 Eva
Zeisel; at the Erie Art Museum, 411 State St.
Pennsylvania, Philadelphia through May 14
Adelaide Paul, “anatomies, animali, anime.” May 5–
28 Robert Sutherland. June 2–July 2 Sanam Emami; at
the Clay Studio, 139 N. Second St.
through May 31 Andrea Gill; at Hurong Lou Gallery,
320 Race St.
Texas, Longview May 13–July 9 Marla Ziegler; at
Longview Museum of Fine Arts, 215 E. Tyler St.
Texas, San Angelo through June 25 David Furman,
“Figures of Speech”; at San Angelo Museum of Fine
Arts, One Love St.
Washington, Tacoma June 10–October 2 Akio
Takamori, “Between Clouds and Memory”; at Tacoma
Art Museum, 1701 Pacific Ave.
Wyoming, Buffalo through July 15 Blair Meerfeld;
at Margo’s Pottery and Fine Crafts, 1 N. Main St.
Group Ceramics Exhibitions
Arizona, Tempe through August 5 “A Ceramic
Legacy: Selections from the Stéphane Janssen and R.
Michael Johns Collection”; at ASU Art Museum Ceramics Research Center, Arizona State University, Mill
Ave. and Tenth St.
Arkansas, Monticello through May 25 “First Annual National Juried Cup Show”; at University of
Arkansas at Monticello, Taylor Library.
California, Davis through May 28 “30 Ceramics
Sculptors”; at John Natsoulas Gallery, 521 First St.
through June 3 “17th Annual California Clay Competition”; at the Artery, 207 G St.
through June 1 Get Fired: Hot Ceramics from the
ACGA,” Tom Decker, San and Tom Post, Barbara
Sebastian and Lidija Tkalcevic; at Davis Art Center,
1919 H St.
through June 26 “Get Fired: Hot Ceramics from the
Continued
ACGA”; at the Pence Gallery, 212 D St.
72
GEIL KILNS
Buy Once, Buy a Geil!
MOVING
SOON?
Please send your new address to:
Ceramics Monthly Circulation Department,
735 Ceramic Place, Suite 100
Westerville, OH 43081. Or Telephone:
(614) 794-5890; Fax: (614) 891-8960
Working hand-in-hand ... so you
can spend more time in the studio
and less time on the road.
The premier handmade event in America.
3000 Chestnut Avenue, Suite 300
Baltimore, MD 21211
800-432-7238
Fax: 410-889-1320
www.AmericanCraft.com
Is the Philadelphia Buyers Market of American Craft right for you?
Visit us this July 21 - 23, 2006! Email [email protected] with
“Visit BMAC” in the subject line for more information.
KPS 370 KICKWHEEL KRUNCH
Anderson Ranch Arts Center
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Summer Workshops 2006
Robert Brady
Mark Burleson
Doug Casebeer
Terry Gess
Andrea Gill
John Gill
Sam Harvey
Jun Kaneko
Tony Marsh
Alleghany Meadows
Brad Miller
Ron Nagle
Lisa Orr
Walter Ostrom
David Pinto
Donna Polseno
Juan Quezada
Beth Robinson
Ralph Scala
Mark Shapiro
Sandy Simon
Paul Soldner
Peter VandenBerge
Bill van Gilder
Mikey Walsh
Stan Welsh
Robert Winokur
Paula Winokur
Michael Wisner
Field Workshops 2007
Jamaica
Cone 10, Reduction
Cone 6, Oxidation
April 20 – 28, 2007
Akio Takamori, David Pinto
& Doug Casebeer
Clay Problems Should Be The
Last Thing On Your Mind!
We Think You Deserve Better!
Residencies 2006-2007
Mark Shapiro, Two Geometric Teapots
One-month, two-month,
three-month and six-month residencies. Call or email for
more information.
Visit our web site or call to join our mailing list
970.923.3181
www.andersonranch.org
370 KICKWHEEL KRUNCH STONEWARE
Cones 6-10. This is a very warm, salmon-colored clay in oxidation,
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04 Bisque. Oxidation, reduction, wood or salt. Medium grog.
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A Division of KPS Clay Company, LLC
73
calendar
group exhibitions
California, Kenwood th rough Jun e 30 Gerald
Arrington, Elizabeth Frank, Todd Reed and Jenni Ward;
at the Sculpture Garden at Wildwood Farm, 10300
Sonoma Hwy.
California, Lincoln th rough May 28 “Feats of Clay
X IX ”; at Gladding McBean, 601 Seventh St.
California, Pasadena th rough Jun e 24 “U nder the
Infl uence— An Intergenerational Collaboration,” James
Coquia and Paul Soldner; at X iem Clay Center, 1563 N.
Lake Ave.
California, San Francisco th rough May 21 “From
the Fire: Contemporary Korean Ceramics”; at the
Asian Art Museum, 200 Larkin St.
California, Saratoga th rough May 29 “Clay at the
Hakone Gardens”; at Hakone Japanese Gardens, Big
Basin Rd.
Colorado, Golden th rough May 7 “Colorado Clay
2006”; at Foothills Art Center, 809 15th St.
Colorado, Grand Junction May 5–Jun e 24 “Contemporary Clay ’06”; at the Art Center, 1803 N. 7th St.
Connecticut, Lakeville May 5–Jun e 18 “Clay—
The Art of Earth & Fire”; at the Hotchkiss School, 11
Interlaken Rd.
D.C., Washington th rough May 16 “Black &
White,” X iaosheng Bi, Lynne Chytilo, Kathy Erteman,
Jennifer Hatfield, Elizabeth Kendall and Joyce Michaud.
May 19–Jun e 14 “Architectural Ceramics,” Soveig
Cox, Jason Green, Eric O’Leary and Robert Winokur; at
cross mackenzie ceramic arts, 1054 31st St.
Georgia, Decatur th rough May 6 “The Atlanta
Teapot Festival”; at MudFire Clayworks, 175 Laredo Dr.
Hawai‘i, Honolulu May 20–Jun e 24 “Raku
74
Ho‘ olaule‘ a— Annual Juried Exhibition”; at the ARTS
at Marks Garage, 1159 Nuuanu Ave.
Illinois, Chicago May 13–Jun e 10 “Casas Grandes:
Ancient Ceramics of Northern Mexico”; at Douglas
Dawson Gallery, 400 N. Morgan.
Illinois, Oak Park Jun e 3–July 5 “The Soda Chicks,”
Suze Lindsay, Linda McFarling and Gay Smith; at Terra
Incognito Studios & Gallery, 246 Chicago Ave.
Maine, Deer Isle Jun e 1–30 “Platters in Black and
White: Collaborations”; at Dowstudio, 19 Dow Rd.
Maine, Portland May 5–Jun e 30 “Functional and
Sculptural Art for the Garden”; at Maine Potters Market, 376 Fore St.
Maryland, Baltimore May 6–Jun e 4 “An Extravagance of Salt & Pepper: Containers, Shakers, Concepts”; at Baltimore Clayworks, 5707 Smith Ave.
Massachusetts, Brockton th rough Jun e 7 “Looking Back, Looking Forward: The State of Clay in Massachusetts.” th rough Jun e 18 “The Beauty of U se: The
Mingei Pottery of Hamada, Shimaoka, Matsuzaki &
Tsuchiya”; at Fuller Craft Museum, 455 Oak St.
Massachusetts, Lenox Jun e 17–July 16 “The
Watershed Residency: One Year Later”; at Ferrin Gallery, 69 Church St.
Michigan, Detroit th rough May 12 “Landscape.”
May 19–July 14 “Teapots”; at Pewabic Pottery, 10125
E. Jefferson.
Michigan, Kalamazoo May 12–July 16 “Tea Time:
The Art of the Teapot”; at Kalamazoo Institute of Arts,
314 S. Park St.
Minnesota, Minneapolis May 5–July 2 “Does Size
Matter,” Beth Lo, Justin Novak, Peggy Preheim; at
Northern Clay Center, 2424 Franklin Ave., E.
Mississippi, Jackson Jun e 17–September 10 “From
the Fire: Contemporary Korean Ceramics”; at the
Mississippi Museum of Art, 201 E. Pascagoula St.
Missouri, Kansas City Jun e 1–July 1 “Dinnerware
Show”; at Red Star Studios Ceramic Center, 821 W.
17th St.
Montana, Missoula May 5–27 “Odyssey Center
for the Arts— Past and Present Residents Exhibition.”
Jun e 2–24 “Wood Fire 2006.” Jun e 22–July 22 “International Cup Exhibition”; at the Clay Studio of Missoula,
910 Dickens.
New Jersey, Layton th rough May 7 “The Elegant
Table”; at Peters Valley Craft Center, 19 Kuhn Rd.
New Jersey, Surf City May 27–Jun e 26 “Jersey
Shore Clay National 2006”; at m.t. burton gallery,
JSCN ’06, 1819 Long Beach Blvd.
New Jersey, West Caldwell May 1–Jun e 30
“Hunnebedden”; at Bouzard-Hui Gallery, 697 Bloomfield Ave.
New Mexico, Albuquerque May 5–26 “Celebration of Clay 2006”; at Arts Alliance Gallery, Courtyard
Shopping Ctr., 1100 San Mateo Blvd.
New Mexico, Santa Fe th rough May 20 “Nature/
Culture.” May 26–Jun e 24 “Earthenware.” Jun e 30–
July 29 Malcolm Davis, Mary Law, Peg Malloy, Kent
McLaughlin, Blair Meerfeld, McKenzie Smith; at Santa
Fe Clay, 1615 Paseo de Peralta.
New York, Alfred Jun e 1–September 29 “Receptive Volumes”; at the Schein-Joseph International Museum of Ceramic Art, NY State College of Ceramics at
Alfred U niversity.
New York, New York th rough May 6 “Ceramic
Figures Between the Wars”; at Garth Clark Gallery, 24
W. 57th St., Ste. 305.
th rough May 19 “Great Pots: Vessel as Art, 1900–
2000, 20th Century Ceramics from the Newark Museum”; at U BS Art Gallery, 1285 Ave. of the Americas.
th rough Jun e 10 “Trade, Taste and Transformation:
Jingdezhen Porcelain for Japan, 1620– 1645”; at China
Institute Gallery, 125 E. 65 St.
May 18–Jun e 17 “Annual Members Showcase and
Children’s Show”; at Jane Hartsook Gallery, Greenwich House, 16 Jones St.
New York, Port Chester May 6–28 “Rising Stars”;
at the Clay Art Center, 40 Beech St.
New York, Syracuse th rough May 14 “Shaped
Clay 2006 National High School Ceramics Exhibition”;
at the Everson Museum of Art, 401 Harrison St.
New York, Water Mill May 26–Jun e 19 “Out of
the Earth,” Hana Anteby, Susan Broderick, Sydney
Butchkes, Mary Jaffe, Jack Rosenberg, Cati Van Milders.
Jun e 23–July 17 “The Art of Serving,” Malcolm Davis,
Outi Putkonene, Eve Behar; at Celadon, A Clay Art
Gallery, 41 Old Mill Rd.
New York, White Plains May 22–July 28 “Ceramic Invitational” at Westchester Art Workshop, 196
Central Ave.
North Carolina, Charlotte th rough July 2 “Fancy
Rockingham Pottery: The Modeller and Ceramics in
19th-Century America.” th rough November 12 “Buncombe County Pottery from the Leftwich Collection”;
at Mint Museum of Art, 2730 Randolph Rd.
North Carolina, Creedmoor th rough Jun e 1 “Master Craftsmen Series,” Ron Meyers and Silvie
Granatelli.” Jun e 9–September 10 “Fresh Catch,”
Alan and Rosemary Bennett; at Cedar Creek Gallery,
1150 Fleming Rd.
Ohio, Cincinnati th rough Jun e 18 “Marvels of
Maiolica: Italian Renaissance Ceramics from the
Corcoran Gallery of Art Collection”; at Taft Museum of
Art, 316 Pike St.
Ohio, Columbus th rough Jun e 25 “Stories in Clay,”
Julie Byrne, Jenny Mendes and Janis Mars Wunderlich;
at Ohio Craft Museum, 1665 W. Fifth Ave.
Ohio, Kent May 3–Jun e 10 “Sixth Annual National
Juried Cup Show”; at Downtown Gallery, 223 N.
Water St.
Pennsylvania, Haverford May 19–Jun e 13 “Inspired U tility: Exceptional Ceramic Vessels”; at Main
Line Art Center, Old Buck Rd. and Lancaster Ave.
Pennsylvania, Lancaster th rough May 21 “14th
Annual Strictly Functional Pottery National”; at Southern Market Center, S. Q ueen and Vine sts.
Pennsylvania, Philadelphia th rough May 14 “Annual Student Exhibition.” May 5–13 “Clay in Mind.”
May 5–28 “Context: The Written Word— A Group
Exhibition.” May 19–Jun e 25 “Trompe l’Oeil Sculpture— A Group Exhibition.” Jun e 2–July 2 “Made at
the Clay Studio.” Jun e 29–July 30 “Third Annual
Marge Brown Kalodner Graduate Student Exhibition”;
at the Clay Studio, 139 N. Second St.
Pennsylvania, Wilkes-Barre th rough May 21
“Committed to Clay,” Joe Bennion, Randy Johnston,
Mary Law, Jeff Oestreich and Sandy Simon; at Sordoni
Art Gallery, Wilkes U niversity, 150 S. River St.
Texas, El Paso Jun e 29–September 23 “Multiplicity: Contemporary Ceramic Sculpture,” Shawn Busse,
Marek Cecula, Bean Finneran, Kay Hwang, Denise
Pelletier, Jeanne Q uinn, Gregory Roberts and Juana
Valdes; at Stanlee and Gerald Rubin Center for Visual
Arts, U niversity of Texas El Paso, 500 W. U niversity Ave.
Texas, San Angelo th rough Jun e 25 “The Sixteenth San Angelo National Ceramic Competition”; at
San Angelo Museum of Fine Arts, One Love St.
Virginia, Alexandria May 1–Jun e 4 “Fired U p.”
Jun e 5–July 7 “Platters”; at Scope Gallery, Torpedo
Factory, 105 N. U nion St.
Virginia, Richmond th rough July 9 “Parian Porcelain: A Nineteenth-Century Passion.” th rough September 24 “Traditions in Miniature: The Louise
Westbrook Collection of Chinese Ceramics”; at U niversity of Richmond Museums, Lora Robins Gallery of
Design from Nature.
Washington, Anacortes Jun e 2–25 “Clay, Fire
and Form”; at Gallery at the Depot, 611 R Ave.
Washington, Kirkland Jun e 9–August 29 “Clay? ”;
at Kirkland Arts Center, 620 Market St.
Wisconsin, Racine Jun e 20–November 25 “Treasure Hunt: Teapots”; at the Charles A. Wustum Museum of Fine Arts, 2519 Northwestern Ave.
tury Modern: Native American Art in Scottsdale”; at
the Heard Museum, 2301 N. Central Ave.
Arizona, Tucson th rough Jun e 3 Three-person
exhibition including ceramics by Toni Sodersten; at
Obsidian Gallery, 4320 N. Campbell, Ste. 130.
California, Exeter th rough Jun e 28 “That Extra
DImension,” including ceramics by Carol Clum, Nancy
Jonnum and Marn Reich; at the Courthouse Gallery of
the Arts, 125 S. B St.
California, Los Angeles th rough May 20 “Hot Tea
2006”; at del Mano Gallery, 11981 San Vicente Blvd.
California, San Francisco th rough Jun e 18 “International Arts and Crafts”; de Young Museum, 50
Hagiwara Tea Garden Dr., Golden Gate Park.
D.C., Washington th rough May 29 “Freer and
Tea: 100 Years of the Book of Tea.” “Artists of the Edo
1800– 1850”; at the Freer Gallery of Art, Smithsonian
Institution, Jefferson Dr. at 12th St., SW.
Ceramics in Multimedia
Exhibitions
Arizona, Phoenix th rough August 13 “Mid-CenCeramics Monthly May 2006
75
Georgia, Moultrie May 4–Jun e 30 “Essential Nature: Asian Inspired Painting and Sculpture,” including
ceramics by Mark Fletcher; at Colquitt County Arts
Center, 401 Seventh Ave., SW.
Illinois, Chicago th rough May 11 “Size Matters,”
including ceramics by Danelle Dvorak and Hong-Ling
Wee; at Woman Made Gallery, 2418 W. Bloomingdale.
May 26, 2006–Jan uary 1, 2007 “Tutankhamun and
the Golden Age of Pharoahs”; at the Field Museum,
1400 S. Lake Shore Dr.
Iowa, Sioux City th rough May 14 “Found Pieces,”
including ceramics by Peter Scherr. th rough Jun e 18
“Opening the Vault: Selections from the Permanent
Collection 1980 to the Present”; at Sioux City Art
Center, 225 Nebraska St.
Massachusetts, Cambridge th rough Jun e 30, 2007
“The Moche of Ancient Peru: Media and Messages”; at
Peabody Museum, Harvard U niversity, 11 Divinity Ave.
2006 MASTERS’
SERIES WORKSHOPS
Charlie and Linda
Riggs
July 2 - 9
Raku, Saggar Firing, and
Special Effects
Surface Visuals and Textures
Nick Joerling
August 13 - 20
Pots and Possibilities in
Stoneware
Beginning round and pushing,
cutting, coaxing, and stretching into
forms of human experience and
nature while maintaining function.
Photo by Kimi Hefty
Matt Long
July 23 - 30
Porcelain and Soda
Throwing and handbuilding
porcelain with emphasis on line,
gesture, and utilization of slips.
Meira Mathison
August 3 - 10
Porcelain Tableware as Art
Exploring alterations by carving,
cutting, scoring, stamping, and
manipulating to create new
shapes and ideas.
Judith Carol Day
See Website for Details
Sculptural Symbols:
Dreams Into Clay
calendar
multimedia exhibitions
Massachusetts, Lenox May 6–June 4 “2006 Season Preview: Gallery Artists,” including ceramics by
Cynthia Consentino, Karen Karnes, Mark Shapiro and
Wendy Walgate. June 10–July 12 Two-person exhibition including ceramics by Michael Sherrill; at Ferrin
Gallery, 69 Church St.
Minnesota, Duluth through January 7, 2007
“Across Space, Time and Meaning”; at Tweed Museum of Art, University of Minnesota Duluth, 1201
Ordean Ct.
Missouri, St. Louis through June 4 Two-person
exhibition including ceramics by Yael Shromoni; at
Craft Alliance, 6640 Delmar Blvd.
New Hampshire, Manchester through June 26
“Voces y Visiones: Highlights from El Museo del Barrio’s
Permanent Collection”; at Currier Art Museum, 201
Myrtle Way.
New York, Brooklyn through December 31
“Beauty Beyond Words?: Calligraphy in Asian Traditions”; at Brooklyn Museum of Arts, 200 Eastern Pkwy.
New York, New York through May 5 “Annual
Adult Art Show,” including ceramics by Maria Snyder;
at the Children’s Aid Society, Greenwich Village Art
Center, 219 Sullivan St.
through September 3 “A Passion for Asia: The
Rockefeller Family Collects”; at the Asia Society, 725
Park Ave.
May 5–October 29 “Feeding Desire: Design and the
Tools of the Table, 1500–2005; at the Cooper-Hewitt
National Design Museum, 2 E. 91st St.
North Carolina, Charlotte through August 6
“Crosscurrents: Art, Craft and Design in North Carolina.” through November 26 “Mint Menagerie: Critters from the Collection”; at Mint Museum of Craft +
Design, 220 N. Tryon St.
Ohio, Westerville through June 2 “The Arts of
West Africa, côte d’ivoire, liberia, burkino faso, mali and
sierra leone”; at Frank Musuem of Art, 39 S. Vine St.
Pennsylvania, Lancaster through May 21 “Crafts
National”; at Lancaster Museum of Art, 135 N. Lime St.
Pennsylvania, Philadelphia through May 21 “A
Delicate Constitution: Reconsidering the Decorative
Aesthetic,” including ceramics by Linda Cordell and
Colleen Toledano; at Philadelphia Art Alliance, 251 S.
18th St.
Texas, Dallas through May 7 “The Origins of
Sacred Maya Kingship”; at Dallas Museum of Art,
1717 N. Harwood St.
Texas, Galveston June 3–July 8 “Revolving Cycles,”
including ceramics by Lebeth Lammers; at Design
Works, 2119-A Postoffice St.
Wisconsin, Racine through May 21 “Let’s Enjoy a
Laugh: Humor and Whimsy in RAM’s Collection”; at
the Racine Art Museum, 441 Main St.
Fairs, Festivals and Sales
Also at Laloba Ranch
Tom & Elaine Coleman
Randy Brodnax & Don Ellis
Biz Littell
Laloba Ranch
Art Center
33516 County Road 43A
Steamboat Springs, CO 80487
tel. 970/870-6423 fax. 970/870-6452
website: www.lalobaranch.com
Graduate and Undergraduate Credit
Biz Littell, Professor of Record
California, San Diego May 21 “Mudfest Clay
Olympics”; along the 3800 block of Ray St.
California, Santa Monica May 13–14 “Santa
Monica Indian Art Show”; at Santa Monica Civic
Auditorium, 1855 Main St.
Colorado, Boulder May 4–7 “Boulder Potters
Guild Spring Sale”; at Boulder County Fairgrounds,
Hover Rd.
Connecticut, Tolland May 12–14 “20 Anniversary
Invitational Pottery Exhibition/Sale”; at Tolland Arts
Center, Tolland Green.
Illinois, Monmouth June 10 “100th Anniversary
Celebration of Western Stoneware Pottery”; at Town
Square, Downtown.
Illinois, Sugar Grove May 20 “Blackberry Ridge
Potters Annual Kiln opening”; at Blackberry Ridge
Potters, 40W903 Norris Rd.
Kansas, Salina June 8–11 “Smoky Hill River Four
76
CONTEMPORARY CERAMIC
FORMULAS
John W. Conrad
Re-released now as a paperback.
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stoneware, and 66 aventurine, crystal, and
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book is worth the section on crystal glazes
alone.” 165 pages, 8¹⁄₂" × 11".
$21.60 contact your distributor
FALCON COMPANY
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GEIL KILNS
Real Professionals
Do Know the Difference!
SHOWS
artists get noticed
2007 Wholesale Show
Baltimore, MD Feb.
–
2007 Retail Shows
Baltimore, MD Feb.
–
Atlanta, GA Mar. –
St. Paul, MN Apr.
San Francisco, CA Aug.
–
Sarasota, FL Nov.
–Dec.
exhibitor application deadline:
JULY 31, 2006
www.craftcouncil.org/apply
800.836.3470
77
–
Charlotte, NC Nov. –
calendar
fairs, festivals, sales
Rivers Craft Market Show.” Jun e 10–11 “Smoky Hill
River Festival Fine Art/Fine Craft Show”; at Oakdale
Park, Mulbery St.
“Icosahedron” by Kyle Osvog; at Art-A-Whirl Studio
Tour, Minneapolis, Minnesota.
Michigan, Detroit Jun e 2–5 “16th Annual For the
House & Garden Show”; at Pewabic Pottery, 10125 E.
Jefferson.
Minnesota, Minneapolis May 19–21 “Art-AWhirl,” open studios. For maps, see www.nemaa.org.
Minnesota, St. Croix Valley May 13–14 “14th
Annual Pottery Studio Tour & Sale.” For further information, see www.minnesotapotters.com.
Montana, Missoula May 6 “Potsketch,” auction;
at the Clay Studio of Missoula, 910 Dickens.
New Jersey, Cranford Jun e 3–4 “Spring Nomahegan Park Fine Art and Crafts Show”; Springfield Ave.
New Jersey, Verona May 20–21 “Fine Art and
Crafts at Verona Park”; Bloomfield Ave. and Pleasant
Valley Way.
New York, New York May 27–29 an d Jun e 3–4
“Washington Square Outdoor Art Exhibition”; on
U niversity and Washington places.
Jun e 3–4 an d 10–11 “30th Annual American Crafts
Festival”; at Lincoln Center, 140 W. 56th St.
New York, Port Chester Jun e 8–11“Summer Studio Sale”; at the Clay Art Center, 40 Beech St.
New York, Water Mill th rough May 21 “Spring
Pottery Sale”; at Celadon, A Clay Art Gallery, 41 Old
Mill Rd.
North Carolina, Charlotte May 13 “North Carolina Pottery & Craft Sale”; at Historic Rosedale, 347 N.
Tryon St.
Oregon, Portland May 5–7 “Ceramic Showcase
2006”; at the Oregon Convention Center, 777 N.E.
Martin Luther King Jr. Blvd.
Pennsylvania, Indiana County May 6–7 “Indiana
County Potters Association Studio Potters’ Tour.” For
further information, see www.potterstour.com; or telephone (814) 257-9879.
Texas, Austin May 13–14 “3rd Annual Art of the
Pot StudioTour & Sale.” See www.artofthepot.com.
Texas, Fayetteville May 6–7 “7th Annual
Fayetteville Art Walk”; on the Town Square.
Virginia, Chantilly May 5–7 “Sugarloaf Crafts
Festival”; at the Dulles Expo Center, 4320 Chantilly
Place Center.
Wisconsin, Cambridge Jun e 10–11 “Cambridge
Pottery Festival and U .S. Pottery Games”; at Lake
Ripley Park.
Workshops
Alabama, Tuscaloosa May 15–Jun e 2 “Zen and
the Art of Tea,” making and firing teaware with W.
Lowell Baker and Dr. Cathy Pagani. Beginning through
advanced. Contact W. Lowell Baker, U niversity of
Alabama, Box 870270, Tuscaloosa 35487-0270; e-mail
[email protected]; see www.art.ua.edu; or telephone (205) 348-3748.
Alaska, Fairbanks May 26–28 “Handbuilding”
with Judy Weeden. Contact Mary Gebhard, Fairbanks
Potters Guild, 2635 Stellar Way, Fairbanks 99712;
e-mail [email protected]; telephone (907) 4881800; or see www.fairbankspotters.org.
California, Mendocino May 6–7 “Alchemy of the
Wheel” with Sam Clarkson. May 20–21 “The Cup”
with Karen Massaro. May 27–29 “Fire and the Beauty
of the Arch Form” with Kent Rothman. Fee: $275. Fee
(unless noted above): $175. Contact Mendocino Art
Center, PO Box 765, Mendocino 95460; see
www.mendocinoartcenter.org; or telephone (800) 6533328 or (707) 937-5818.
California, Ojai Jun e 22–25 “Luster Glaze Workshop” with Myra Toth. Fee: $750, includes lunch,
participants must bring 4– 5 bisqued pieces of their
own work. Contact Beatrice Wood Center for the Arts,
8560 Ojai-Santa Paul Rd., Ojai 93023; e-mail
[email protected]; see www.beatricewood.com;
telephone (805) 646-3381; or fax (805) 646-0560.
California, San Jose May 27–28 “Animal Sculptures on the Wheel” with Judith Enright. Fee: $200;
Orchard Valley Clay Art Guild and Association of Clay
and Glass Artists, $180. Contact Judith Enright, Black
Leopard Clayware, 2213 Radio Ave., San Jose 95125;
e-mail [email protected]; telephone (408) 4484597; or see www.blackleopardclayware.com.
California, Santa Clara November 3–5 “Portrait
Class” with Philippe Faraut. Contact Matt Hoogland,
Clay Planet, 1775 Russell Ave., Santa Clara 95054;
295-3352.
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photo above. Call (775) 884-2777 or please visit www.cressmfg.com.
78
California, Solana Beach October 7–8 “Architectural Decorative Pillars in Clay” with Irene De Watteville.
Fee: $195. Contact Sheila Menzies, Tile Heritage Foundation, PO Box 1850, Healdsburg, CA 95448; e-mail
[email protected]; see www.tileheritage.org;
telephone (707) 431-8453; or fax (707) 431-8455.
California, Sunnyvale May 20–21 “Throwing
Large” with Eric Struck. Fee: $115; OVCAG, ACGA or
MECAC members, $105. Contact Mother Earth Clay
Art Center, 790 Lucerne Dr., Sunnyvale 94085; e-mail
[email protected]; see www.mamasclay.com;
telephone (408) 245-6262; or fax (408) 245-6267.
Colorado, Carbondale May 13 “Teapots and Tuning up Your Throwing Skills” with Lauren Kearns. Fee:
$60. Contact Carbondale Clay Center, 135 Main St.,
Carbondale 81623; e-mail [email protected];
see www.carbondaleclay.org; telephone (970) 9632529; or fax (970) 963-4492.
Colorado, Loveland September 15–17 “Portrait
Class” with Philippe Faraut. Contact Karen Dreith,
Sculpture Depot, 418 Eighth St., SE Unit B, Loveland
80537; e-mail [email protected]; or telephone
(800) 260-4690.
Colorado, Snowmass Village September 9–22
“Developing Your Pottery Voice” with Doug Casebeer,
Alleghany Meadows, Aysha Peltz and David Pinto. Fee:
$1100, includes studio fee. Contact Anderson Ranch
Arts Center, PO Box 5598, Snowmass Village 81615;
or see www.andersonranch.org.
Connecticut, Brookfield May 5–6 “Porcelain Throwing” with Angela Fina. May 13–14 “Spanish Handbuilding Techniques” with Louis Mendez. May 20–21
“Master Workshop” with Jack Troy; or “PMC Boxes &
Lockets” with CeCe Wire. Contact Brookfield Craft
Center, 286 Whisconier Rd., PO Box 122, Brookfield
www.brookfieldcraftcenter.org; telephone (203) 7754526; or fax (203) 740-7815.
Connecticut, Guilford August 12–13 “Lidded Vessels” with David MacDonald. Intermediate through
professional. Contact Lisa Wolkow, Guilford Art Center, 411 Church St., Guildford 06437; e-mail
[email protected]; telephone (203) 453-5947;
see www.guilfordartcenter.org; or fax (203) 453-6237.
Florida, St. Petersburg October 2–7 an d / or 9–14
“The International Architectural Ceramics Symposium,”
hands- on workshop with Peter King and Xinia Martin.
Fee: 2 weeks, $1500; students, $1400; 1-week, $795;
students, $745. November 11–17 “Atmospheric Firing” with Chuck Solberg. Fee: $350; students, $300.
F ebruary 24–25, 2007 Workshop with Tom and Elaine
Coleman. Contact Jennifer Lachtera, St. Petersburg
Clay Company, 420 22nd St. S, St. Petersburg
www.stpeteclay.com; or telephone (727) 896-2529.
Florida, Winter Park October 14–15 Workshop
with Ron Meyers. Contact Crealdé School of Art, 600
St. Andrews Blvd., Winter Park 32792; see
www.crealde.org; or telephone (407) 671-1886.
Georgia, Decatur May 20–21 “Understanding Clay
& Glaze Chemistry” with Ron Roy. Fee: $125. September 16–17 “Thrown and Altered Majolica” with Posey
Bacopoulos. Fee: $125. October 7–9 “Dreaming in
Clay with Metal” with Lisa Clague. Fee: $275. November 3–5 “Ornament and Abstraction” Liz Quackenbush.
Fee: $275. Contact MudFire Clayworks, 175 Laredo
Dr., Decatur 30030; see www.mudfire.com; telephone
(404) 377-8033.
Illinois, Antioch May 13 Workshop with Tony
Wincherster. Fee: $50. Contact Antioch Pottery Works,
25942 Heart-O-Lakes Blvd., Antioch 60002; e-mail
[email protected]; see www.antiochpottery.com;
or telephone (847) 838-1040.
Illinois, Chicago Jun e 1–5 “Ash and Flash WoodFire Workshop.” Fee: $250, includes materials and
camping, participants must bring up to 25 lbs of Cone
10 bisqueware. All skill levels. E-mail Gina
[email protected]; see www.ashandflash.com; or
telephone (800) 252-8221.
Illinois, Crystal Lake October 6–7 Demo with Lana
Wilson. Contact Molly Walsh, McHenry County College, 8900 Rte. 14, Crystal Lake 60014; e-mail
[email protected]; see www.clayworkersguild.com;
or telephone (815) 455-8697.
Louisiana, Monroe July 10–15 “Crystalline Porcelain Workshop” with Donald R. Holloway. Fee: $250,
includes materials, firings and two meals. Contact Donald
R. Holloway, Crosscraft Originals, 18 Jana Dr., Monroe
71203; e-mail [email protected]; telephone (318)
343-7658; or telephone/fax (318) 343-9220.
Maine, Deer Isle September 3–9 “Collaborations:
Exploring Form” with Karen Karnes and Mark Shapiro.
Fee: $365. Contact Haystack Mountain School of
Crafts, PO Box 518, Deer Isle 04627; telephone (207)
348-2306; e-mail [email protected]; see
www.haystack-mtn.org; or fax (207) 348-2307.
Maryland, Frederick May 6–7 “Chinese Brushwork” with Xiaosheng Bi. Fee: $170. Contact Hood
College, Ceramics Program, 401 Rosemont Ave.,
Frederick 21701; telephone (301) 696-3456; or see
www.hood.edu/academic/art.
Massachusetts, Somerville Jun e 3–4 “Large-Scale
Handbuilding” with Rebecca Hutchinson. Fee: $320;
members, $160. Contact Mudflat, 149 Broadway,
Somerville 02145; see www.mudflat.org; telephone
(617) 628-0589; or fax (617) 628-2082.
Massachusetts, Stockbridge May 20–21 “Garden Mosaics: Treasures from Shards” with Marlene
Marshall. Fee: $140, includes materials. All skill levels.
Contact IS183, Art School of the Berkshires, PO Box
1400, Stockbridge 01262; e-mail [email protected];
see www.is183.org; tel (413) 298-5252; or fax (413)
Continued
298-5257.
Jack will tell you that Trinity’s
White Modeling Clay really
fits the Bill!
Trinity Ceramic Supply, Inc
9016 Diplomacy Row
Dallas, TX 75247
214 631-0540
www.trinityceramic.com
79
calendar
workshops
Massachusetts, Truro May 27–28 “Raku Firing
Workshop.” Fee: $200. September 4–8 “Raku, Smoke
& Pit” with Ron Dean. September 11–15 “The Marriage of Form and Surface” with Mary Barringer. Fee/
session: $450. Contact Truro Center for the Arts Castle
Hill, 10 Meetinghouse Rd., Box 756, Truro 02666;
e-mail [email protected]; www.castlehill.org; telephone
(508) 349-7511; or fax (508) 349-7513.
Massachusetts, Williamsburg May 13–14 “Beginner Pots: Introduction to the Wheel” with Frank
Edge. Fee: $205. May 19–21 “Raku Firing: Painting
with Color” with Bob Green. Fee: $230. May 27–29
“Intermediate to Advanced Wheel Throwing” with
Michael Connelly. Fee: $295. June 2–4 “Finding Your
Voice in Clay” with Sharon Pollock. Fee: $295. June 4–
10 “Earthenware and Majolica: Terra Cotta Pottery”
with Sharon Pollock. June 24–26 “Colored Clay” with
Naomi Lindenfeld. Fee: $295. July 1–15 “High School
Ceramics Program Session I.” Fee: $2600, includes
materials, lodging, meals and field trips. July 16–30
“High School Ceramics Program Session II” Fee: $2600;
both weeks, $5000; includes materials, lodging, meals
and field trips. July 30–August 9 “Accelerated Studio
Arts Program,” ages 16–18. Fee: $1400, includes
lodging and meals. August 10–13 “Wheel Throwing
and Ancient Firing Techniques” with Bob Green. Fee:
$385. August 13–19 “Sculpting the Human Figure”
with Harriet Diamond. August 20–26 and/or October
22–28 “Multifaceted World of Clay” with Bob Green.
September 2–4 “Make It/Mold It: Ceramic Mold Making” with Ruth O’Mara. Fee: $295. September 17–23
“Working with Porcelain: Design and Decoration”
with Phoebe Sheldon. September 24–30 “Ceramic Tile
Making: From Trivets to Floors” with Sharon Pollock.
October 9–15 “Sculpting the Human Figure” with
Judith Abraham. Fee (unless noted above): $360.
Contact Snow Farm: the New England Craft Program,
5 Clary Rd., Williamsburg 01096; e-mail
[email protected]; see www.snowfarm.org; telephone (413) 268-3101; or fax (413) 268-3163.
Michigan, Kalamazoo May 12–14 “Tea Time: The
Art of the Teapot,” demos with Bennett Bean, Richard
Bresnahan, Fong Choo and Jeri Hollister. Fee: $100.
Contact Kalamazoo Institute of Arts, 314 S. Park St.,
Kalamazoo 49007; see www.kiarts.org; or telephone
(269) 349-7775 x3108.
Mississippi, Tougaloo July 16–22 “Art Colony
2006—Salt Kilnbuilding Workshop” with Don-Hung
Chung. Contact Minnie Watson, Tougaloo College,
500 W. County Line Rd., Tougaloo 39174; or telephone (601) 977-7839.
Missouri, Kansas City November 4–5 Workshop
with Sam Chung. February 3–4, 2007 Ron Meyers.
November 3–4, 2007 Workshop with Linda
Christianson. Contact Red Star Studios Ceramic Center, 821 W. 17th St., Kansas City 64108; see
www.redstarstudios.org; telephone (816) 474-7316.
Missouri, St. Louis May 6 “Figurative Sculpture”
with David Millman. Fee: $60; members, $50. Contact
Craft Alliance, 6640 Delmar Blvd., St. Louis 63130; see
www.craftalliance.org; or telephone (314) 725-1177.
Montana, Belgrade May 19–21 “Portrait Class”
with Philippe Faraut. Contact Cathy Huyser, Art Castings of Montana, 20900 Frontage Rd., Ste. C1, Belgrade
59714; e-mail [email protected]; or telephone
(406) 388-1185.
Montana, Helena September 29–October 1 “New
Directions and Endless Manipulations” with Doug
Casebeer and Eddie Dominguez. Fee: $350, includes
materials and firing. Skill levels vary. Contact the
Archie Bray Foundation for the Ceramic Arts, 2915
County Club Ave., Helena 59602; e-mail
[email protected]; see www.archiebray.org;
telephone (406) 443-3502; or fax (406) 443-0934.
New Hampshire, Northwood May 6–7 “Burnin’
80
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81
calendar
workshops
Pots: Raku Glazing and Firing” with Jeff Brown. Fee:
$120, participants must bring bisqueware. Contact
Jeff Brown Pottery, 950 First NH Tpk., Northwood
www.jeffbrownpottery.com; or telephone (603)
942-8829.
New Jersey, Demarest May 29 “Precious Metal
Clay Jewelry” with Susan Kasson Sloan. Fee: $105,
includes firing. Beginning through advanced. Contact
Lorraine Zaloom, the Art School at Old Church, 561
Piermont Rd., Demarest 07627; telephone (201) 7677160; e-mail [email protected]; see
www.occcartschool.org; or fax (201) 767-0497.
New Jersey, Layton May 20–21 “Mud Glorious
Mud: A Beginners Journey” with Sara Patterson. Fee:
$240. May 26–28 “Printing with Colored Clays” with
Mitch Lyons. Fee: $325. May 27–29 “The Basics and
Beyond,” throwing with Susan Beecher. Fee: $315.
September 2–4 “Alternative Mold Processes” with
Lynn Munns. Fee: $340. September 8–10 “Innovative
Handbuilding Techniques” with Lana Wilson. Fee:
$320. All include materials and firing. Skill levels vary.
Contact Jennifer Brooks, Peters Valley Craft Center, 19
Kuhn Rd., Layton 07851; e-mail [email protected]; see
www.petersvalley.org; telephone (973) 948-5200; or
fax (973) 948-0011.
New York, Dix Hills May 23–24 “Raku Fire” with
Ruth Sachs. Participants must bring up to 7 pieces of
bisqued raku clay or stoneware with grog. Contact
Ruth Sachs, Art League of Long Island, 1 Treeview Dr.,
Melville, NY 11747; see www.artleagueli.org; or telephone (631) 452-5400.
New York, Honeoye July 24–28 “Portrait Class”
with Philippe Faraut. Contact Charisse Faraut, PCF
Studios, PO Box 722, Honeoye 14471; e-mail
[email protected]; or telephone (585) 229-2976.
New York, Port Chester May 7, 21 “Raku Workshop” with Denis Licul. Fee: $75. May 20–21 “Animals
in Clay” with Joe Bova. Fee: $175. August 9–10
“Outdoor Animals: Sculpture for your Garden” with
Susan Halls. Fee: $175. Contact Clay Art Center, 40
Beech St., Port Chester 10573; or telephone (914)
937-2047.
New York, Water Mill May 6–7 “Handbuilding
and Engobes” with Barbara Hanselman. May 20–21
“Altering Methods for Functional Potters” with Susan
Beecher. September 16–17 “Raku” with Bill Shillalies.
October 14–15 “Tile Making” with Frank Giorgini.
Fee: $325; members, $250. Fee (unless noted above):
$275, members $200. Workshops held at Celadon
Gallery. Contact Clay Art Guild of the Hamptons, 51
Round Pond Ln., Sag Harbor, NY 11963; e-mail
[email protected]; telephone (631) 899-3599; or
fax (631) 725-4605.
New York, White Plains May 24 “On and Off the
Wheel” with Mark Shapiro. $125; students, $85.
Beginning through advanced. Contact Lisa Santalis,
Westchester Art Workshop, 196 Central Ave., White
Plains 10606; e-mail [email protected]; see
www.sunywcc.edu/waw; or telephone (914) 606-7511.
North Carolina, Asheville May 22–26 “Ornately
Functional: Form & Surface” with Kristin Kieffer. Fee:
$425, includes registration. September 8–10 “Movin’
On” with Cynthia Bringle. Fee: $200, includes registration. September 22–24 “Everything in the Glaze
Kitchen” with Peter Pinnell. Fee: $200, includes registration. Contact Odyssey Center for the Ceramic Arts,
236 Clingman Ave., Asheville 28801; e-mail
[email protected]; telephone (828) 2850210; or see www.highwaterclays.com.
North Carolina, Bailey November 4–5 “Forming
and Decorating Functional Pots” with Cynthia Bringle
and Bill van Gilder. Fee: $175. Contact Finch Pottery,
5526 Finch Nursery Ln., Bailey 27807; see
www.danfinch.com; or telephone (252) 235-4664.
82
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June 19—23
June 26—30
Matt Adams: Hand Built Vessels
Richard Hawley: Naked Raku
July 3—7
July 13—15
July 20—22
July 26—29
Blair Meerfeld: Forms From Parts
Hillary Kane: Teapots
Naussika Richardson: Majolica
Faith Gelvin: Mold Making
August 7—11 Mark Wong: Throwing Large Raku Vessels
August 7—18 John Bradford: Wood Kiln Building
August 14—18 Marilyn Coon: Clay Horses for Children & Parents
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Exclusive Manufacturers of
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Comprehensive catalog
available of products from:
Brent, Ceramic Services,
Cress, Creative industries,
Dolan, Duncan, Geil, Kemper,
Lockerbie, Mason, Mayco,
North Star, Orton, Shimpo
& Skutt
1400 East Pomona St.
Santa Ana, CA 92705
T: 714.541.4157
F: 714.541.2021
6230 Greyhound Lane #E
Las Vegas, NV 89122
T: 702.451.9898
F: 702.451.9928
Sh ard T eapot
P atrick Crabb
[email protected]
83
calendar
workshops
North Carolina, Brasstown May 7–13 “Baking
Dishes and Other Kitchen Pots” with Mary Dashiell.
May 14–20 “Cone 6 Glazes” with Lucy Hamilton and
Eric Reichard. May 21–28 “Sum of the Parts” with
Shane Mickey. Fee: $610. Fee (unless noted above):
$412. Contact John C. Campbell Folk School, 1 Folk
School Rd., Brasstown 28902; see www.folkschool.org;
telephone (800) 365-5724; or fax (828) 837-8637.
North Carolina, Lewisville May 5–7 “Portrait
Class” with Philippe Faraut. Contact Rebecca StoneDanahay, Forsyth Country School, 5501 Shallowford
Rd., PO Box 549, Lewisville 27023-0549; e-mail
[email protected]; or telephone (336)
945-2134 x423.
Pennsylvania, Farmington June 5–10 “In Response to Flame” with Kenton Baker and Beverly
Fisher. June 12–17 “Out of the Heart and onto the
Wheel” with Kevin Crowe. June 19–24 “Teapots
Finding Form” with Joe Sendek. June 26–July 1 “Porcelain: Thrown and Altered” with Brad Johnson. July
7–15 “Out of the Frying Pan” with Jim Dugan. Fee:
$695. July 17–22 “The Potters Wheel for Beginners”
with Donn Hedman. July 24–29 “The Process of
Discovery” with Trevor Youngberg. July 31–August 5
“Hot Metal, Hot Clay” with Dave Olson and Joe
Sendek. August 7–12 and 14–19 “Wheel-Thrown
Pottery” with Valda Cox. August 20–27 “CarbonTrapping Shino” with Malcolm Davis. Fee: $750.
August 28–September 2 “Surface Decoration Techniques” with Yoko Sekino-Bove. Fee: $480. Fee (unless noted above): $495, includes materials and studio
fees. Contact Touchstone Center for Crafts, 1049
Wharton Furnace Rd., Farmington 15437; e-mail
[email protected]; see www.touchstonecrafts.com;
or telephone (800) 721-0177.
Pennsylvania, Haverford May 6–7 “Throw, Facet,
Stretch & Dart” with Neil Patterson. May 20 and June
10 “Ceramic Critique” with Marian Pritchard. Contact
Main Line Art Center, Old Buck Rd. and Lancaster
Ave., Haverford 19041; see www.mainlineart.org; or
telephone (610) 525-0272.
Pennsylvania, Philadelphia May 7 “Explore Paper Clay” with Jerry Bennett. Fee: $140; members,
$130, includes materials. May 20 “Planters, Adult
and Child Workshop,” ages 6–12. Fee: one adult and
one child, $50; one adult and two children, $60.
Contact the Clay Studio, 139 N. Second St., Philadelphia 19106; e-mail [email protected]; or see
www.theclaystudio.org.
Pennsylvania, Pittsburgh May 20 “Zoomorphic
Forms: Functional & Sculptural” with Bernadette
Curran. Fee: $105; members, $95; includes materials,
must bring bag lunch. Contact the Society for Contemporary Craft, 2100 Smallman St., Pittsburgh 15222;
e-mail [email protected]; telephone
(412) 261-7003; see www.contemporarycraft.org.
Texas, Dallas September 8 (lecture)–10 Hands-on
workshop with Linda Christianson. Contact Craft Guild
of Dallas, 14325 Proton Rd., Dallas 75244; telephone
(972) 490-0303; or see www.craftguildofdallas.com.
Texas, Ingram May 18–19 “Tile: Making, Decorating, Marketing.” May 20–21 “Glaze Chemistry, Beginning to Advanced.” Instructor/session: Paul Lewing.
Fee/session: $70; members, $65. Contact Debbie Luce,
Hill Country Arts Foundation, PO Box 1169, Ingram
78025; e-mail [email protected]; or telephone (830) 367-5121.
Texas, San Antonio May 3–7 “Architectural Ceramics Intensive” with Peter King. Fee: $700. Contact
Southwest School of Art and Craft, 300 Augusta, San
Antonio 78205; e-mail [email protected]; see
www.swschool.org; telephone (210) 224-1848; or fax
(210) 224-9337.
Texas, Longview October 13–15 “Portrait Class”
with Philippe Faraut. Contact Renee Hawkins, Museum
84
GEIL KILNS
Started the
Downdraft Revolution!
8290 N. DIXIE DR.
DAYTON, OHIO
45414
(937) 454-0357
www.japanpotterytools.com
16 C.F. West Coast
West
Coast Kiln
For free info,
write
P.O. Box 2152
Lucerne Valley,
CA 92356
714-778-4354
85
calendar
workshops
of Fine Art, 215 E. Tyler St., Longview 75601; e-mail
[email protected]; telephone (903) 753-8103.
Virginia, Amherst May 12, 20 and 27 “Hikarigama
Firing at Tye River Pottery” with Kevin Crowe. Fee:
$250. Contact Hood College, Ceramics Program, 401
Rosemont Ave., Frederick 21701; telephone (301)
696-3456; or see www.hood.edu/academic/art.
Virginia, Arlington May 6–7 “Raku Kiln Building”
with Ramon Camarillo. Fee: $475. May 20 “Dancers,
Horses and the Translation of Movement into Sculptural Forms” with Susan Whittier. Fee: $85. Contact
Darlene Tsukamoto, Lee Arts Center, 5722 Lee Hwy.,
Arlington 22207; e-mail [email protected]; see
www.arlingtonarts.org/leearts.htm; telephone (703)
228-0558; or fax (703) 228-0559.
Wyoming, Cheyenne June 16–17 “Porcelain: The
Plasticity of a Line” with Alleghany Meadows. Contact
Laramie Community College, 1400 E. College Dr.,
Cheyenne 82004; telephone (307) 778-1164 or (307)
778-1239.
International Events
Australia, Adelaide, South Australia through
May 28 “Surface Tension,” Stephen Dixon, Sergei
Isupov and Paul Scott; at JamFactory Contemporary
Craft and Design, 19 Morphett St.
Belgium, Brasschaat May 28 “4th International
Ceramics Biennale”; at Castle of Brasschaat, Community Park
October 14–15 “Silk-Screen Printing on Ceramics”
with Ivo Nijs. Fee: C125 (US$150). November 18–19
“Slip Casting with Bone China” with Sasha Wardell.
Fee: C125 (US$150); or “Painting with Smoke” with
David Roberts. Fee: C135 (US$160). Each include materials and meals. Intermediate through professional.
Contact Patty Wouters, Atelier Cirkel, Miksebaan 272,
2930 Brasschaat; e-mail [email protected]; see
www.ateliercirkel.be; telephone/fax (32) 36 33 05 89.
Belgium, Brussels through June 27 Jean-François
Fouilhoux and Vibeke Fonnesberg Schmidt. June 17–
July 22 Barbro Åberg; at Puls Contemporary Ceramics,
4, place du Châtelain.
Canada, British Columbia, Vancouver June 1–
26 Stephanie Craig, “Specimen Collections.” June 29–
July 31 Geoff Searle, “Colors in Fire”; at Gallery of BC
Ceramics, 1359 Cartwright St., Granville Island.
Canada, Ontario, Brockville July 10–14 “Pottery—Wheel Throwing” with Christina McCarthy. July
17–21 “Smoke Firing & Terra Sigillata” with Lyse
Fleury. Participants must bring 15–20 bone-dry pieces
and 5–10 leather-hard pieces. July 24–28 “Clay Portrait Sculpture” with Ben Darrah. Fee: CAN$266.40
(US$227); senior citizens residing in Canada,
CAN$218.03 (US$186); includes materials. July 31–
August 4 “Chinese Painting—Birds/Fish/Dragonflies”
with Chia-Chi (George) Hsiung; or “Pottery Decoration—Dark Clay Body” with Darlene Kieffer. Participants must bring greenware and bisqueware. Fee
(unless noted above): CAN$221.40 (US$189); senior
citizens residing in Canada, CAN$173.03 (US$148).
Contact St. Lawrence College, 2288 Parkedale Ave.,
Brockville, Ontario K6V 5X3; e-mail [email protected];
see www.sl.on.ca; telephone (613) 345-0660 x3503;
or fax (613) 345-0124.
Canada, Ontario, Guelph May 27–28 “Second
Annual Potters Market”; Goldie Mill Park, Cardigan St.
Canada, Ontario, Toronto May 16–28 “blooming”; at Distill, 55 Mill St., #56.
June 8–August 12 Peter Powning, “clay : bronze :
glass”; at Sandra Ainsley Gallery, 55 Mill St., #32.
June 23–October 9 “Jean-Pierre Larocque: Clay,
Sculpture and Drawings”; at the Gardiner Museum,
111 Queen’s Park.
Canada, Montréal, Québec through May 13
86
GEIL KILNS
Real Professionals
Fire in a Geil!
(410) 235-5998
www.clayworkssupplies.com
Clay Whistles . . . the voice of clay
56 pages of clear instructions + illustrations
on making clay whistles, ocarinas, whistle
tools, plus tuning, PROBLEM SOLVING.
30-min. VHS video available.
Book now available in Spanish—72 pages
Silbatos de Arcilla . . . la voz del barro
Clay Whistles book (in English/Spanish) $11.95 +
$3.50 S&H (US Funds) Book + Video $34.95 + $3.50
S&H (US Funds) Canadian orders add $.75
The Whistle Press,
Dept. CM
www.whistlepress.com
E-mail: [email protected]
PO Box 1006
Petal, MS 39465
Telephone/Fax:
601-544-8486
Gallery and Gifts
BK008
www.chineseclayart.com
1-800-689-CLAY (2529)
Tel: 408-777-8319
Fax: 408-777-8321
Hole Cutters
Tile Cutters
Wood Molds
Ceramic Molds
Tool Set
Teapot Handles
Plastic Tools
Metal Tools
87
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calendar
international events
Summer Workshops
“Fauteux . . . ×3,” including ceramics by France Fauteux
Pronovost; at Canadian Guild of Crafts, 1460
Sherbrooke St., W, Ste. B.
Denmark, Skælskør May 7–11 “Wood and Soda
Firing” with Ann-Charlotte Ohlsson. Fee: DKr 1900
(US$312). May 22–26 “Building a Gas Kiln” with
Pekka Paikkari. Fee: DKr 1900; members, DKr 1700
(US$279); students, DKr 1200 (US$197). September
18–22 “Media Hybrids” with Brian Bolden and Colby
Parson-O’Keefe. Fee: DKr 1900; members, DKr 1700;
students, DKr 1200. October 7 “Creativity as Play”
with Sandy Brown. Fee: DKr 350 (US$58); members/
students, DKr 200 (US$33). October 23–27 “Vitrified
Print III” with Paul Scott. Fee: DKr 1900; members, DKr
1700; students, DKr 1200. Contact Guldagergård,
International Ceramic Research Centre, Heilmannsvej
31 A, 4230 Skælskør; e-mail [email protected]; see
www.ceramic.dk; telephone (45) 5819 0016; or fax
(45) 5819 0037.
In Durham, North Carolina
MARTY FIELDING
June 12-16
BERNADETTE CURRAN
June 19-23
For complete details
Visit our web site
www.claymakers.com
or call for a brochure
919.530.8355
'RQ·W0LVV7ZR*UHDW:RUNVKRSV
0D\Z1HLO3DWWHUVRQ
0D\-XQHZ0DULDQ3ULWFKDUG
GEIL KILNS
The Best Built Kiln
You Can Buy!
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+DYHUIRUG3$
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Annies Mud
Pie Shop
• Ceramic Supplies
& Equipment
Standard Clays, Skutt,
AMACO, Brent, Orton,
North Star, Kemper,
Giffin Tec, Aftosa,
Spectrum, L&L,
Mid South
• Raw Materials
• Classes
• School Discounts
(Unified Purchase Approval)
• Open 6 days a week!
(Closed Thursday)
3180 Wasson
Cincinnati, OH 45209
Call Toll Free
1-866-GET-CLAY (438-2529)
www.anniesmudpieshop.com
Subscribe to
Ceramics Monthly
“Scott’s Cumbrian Blue(s) Seascale Pigeon Vignette
No:3,” by Paul Scott; at JamFactory, South Australia.
England, Bovey Tracey, Devon through May 31
Kate Mellors, “Domestic and Garden Ceramics.” July
1–September 10 “Summer Exhibition”; at Devon Guild
of Craftsmen, Riverside Mill.
June 9–11 “Crafts at Bovey Tracey”; at the Mill
Marsh Park.
England, Bury St. Edmunds, Suffolk May 13–
June 24 “Elemental Insight”; at Bury St. Edmunds Art
Gallery, Market Cross.
England, Hundon May 27–28 “Smoke and Saggar
Firing Workshop” with Jane Perryman. Fee: £180
(US$313), includes materials, firing and lunch. All skill
levels. Contact Jane Perryman, Wash Cottage, Clare
Rd., Hundon, Suffolk CO10 8DH; e-mail
[email protected]; telephone/fax (44)
1440 786 228; or see www.janeperryman.com.
England, Leeds through July 30 Rebecca Appleby;
at the Craft Centre & Design Gallery, City Art Gallery,
The Headrow.
England, Liverpool through May 5 “Bluecoat
Around the Corner,” including ceramics by Cathy
Miles; at Cornerstone Gallery, Liverpool Hope University, Hope at Everton, 1 Haigh St.
England, London through June 10 Robert Marsden.
June 16–July 29 Philip Eglin; at Barrett Marsden Gallery, 17-18 Great Sutton St.
through September 3 “The Road to Byzantium:
Luxury Arts of Antiquity”; at Hermitage Rooms, South
Bldg., Somerset House.
May 3–24 David Garland; at Galerie Besson, 15
Royal Arcade, 28 Old Bond St.
England, Sherborne through May 13 Steve
Sheridan, “Pots from the Blue Mountains.” May 20–
June 17 Three-person show including ceramics by
Richard Batterham; at Alpha House Gallery, South St.
France, Cordes sur Ciel May 7–14 “Ceramics and
88
Contact Customer Service at:
Telephone:(614) 794-5890
Fax:(614) 899-6109
Photo by “Ken Proper Exposure”
“Performance of our Paragon
Viking kiln is flawless.”
—Jonathan Kaplan
“Paragon kilns have consistently
proved and demonstrated their dependability over many years for us,”
says Jonathan Kaplan of Ceramic Design Group in Steamboat Springs, Colorado.
“Paragon has ‘raised the bar’ with
their current Viking electronic kilns,”
Jonathan says. Describing
his Viking, he adds, “The
craftsmanship of the brick
work is unparalleled. The
redesigned electrical system
using mercury relays and
well designed wiring in a
Viking-28
large, well ventilated and accessible
switch box is totally user friendly.
“Paragon’s new Sentry electronic
controller provides a high degree of sophistication yet is totally easy to program. The controller is remarkably
flexible and has many built-in options
that make firing easy and consistent.”
Call or email for more information
and a free catalog. Find out more
about Paragon’s entire line of exciting,
high fire potter’s
kilns including
the new front
loading Iguana.
• 12-sided, 28” wide x 29” deep
interior
• Cone 10
• Sectional for easy moving
• Drop-down box opens forward
on a bottom hinge
• Spring counter-balance lid
• Top row of blank 2” high
firebrick, which is easy to
replace if damaged
• Orton’s Sentry digital controller
89
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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Cobalt Wholesaler
Tin Oxide Call for Pricing
Cobalt Oxide $29**
Cobalt Carbonate $19**
Chrome Oxide $4/lb.
Silver Nitrate $15/25g
Zinc Oxide $2.50/lb.
Nickel Oxide $7/lb.
Copper Carbonate $4/lb.
Bats
Undrilled–Formica surface
12" diameter, $2.85 each
14" diameter, $3.25 each
17" - 20" bats available. Call for pricing.
All bats discounted with bulk purchase.
FREE pound of Tin Oxide with the
purchase of 100 12" Bats!
Please add UPS shipping charge
to your order.
ANYBODY KNOWS IT'S
THE SERVICE!
Westerwald Chemicals
40 Pottery Lane
Scenery Hill, PA 15360
Tel: 724-945-6000
Fax: 724-945-5139
15% Restocking Charge
**We will match any competitors prices
Erotics” with Ottakar Sliva. Fee: C440 (US$527), includes materials and meals. Instruction in English,
French, German and Hungarian. September 3–9
“Throwing and Raku” with Frank Theunissen. Fee:
C395 (US$474), includes materials, firing and meals.
Instruction in Dutch, English, French and German.
Beginning through advanced. Contact Frank
Theunissen, LaCéramique, La Plaine, Cordes sur Ciel
81170; e-mail [email protected]; telephone (33)
5 63 53 72 97; www.laceramique.com.
France, Lot et Garrone September 4–9 “Paper
Clay” with Karin Heeman. Fee: C250 (US$299), includes materials, firing and lodging. Instruction in
Dutch, English, French and German. Contact Centre
de Céramique International, Château de Barry,
Auradou, Lot en Garonne 47140; e-mail
[email protected]; telephone (33) 5 53 40 64
88; or see www.karinheeman-ceramics.com.
France, Manosque June 1–30 Raku by Suzanne
Bouverat; at Galerie Voghera, 4 rue du Tribunal.
France, Nançay through July 2 Three-person exhibition including ceramics by Andoche Praudel; at Galerie
Capazza, Grenier de Villâtre.
France, Quimper May 20–October 20 “Un Oeuvre
de Faïence”; at Musée de la Faïence, 14 rue JeanBaptiste Bousquet.
France, Saint-Quentin-la-Poterie through January 7, 2007 “Pichets Extraordinaires.” June 4–July 23
Daniela Schlagenhauf, “Les Écritures Imaginées.” David
Roberts, “Painting with Smoke”; at Terra Viva Galerie,
rue de la Fontaine.
Germany, Berlin-Charlottenburg through August 7 “New Acquisitions.” through October 2
“Teabowls and Ceramic Tea Equipment.” June 10–
August 7 “Ceramics from Buergel”; at Keramik-Museum Berlin (KMB), Schustehrusstr. 13.
May 1–31 Inke and Uwe Lerch; at Galerie Theis,
Neufertstr. 6.
Germany, Frauenau July 12–28 “Ceramics—Three
Ways Towards Sculpture” with György Fusz. August
3–19 “Dream Vessels” with Heidi Kippenberg. Fee/
session: C420–500 (US$504–600). Contact Reinhard
Mader, Bild-Werk Frauenau, Pf. 105, Frauenau D94258; e-mail [email protected]; see
www.bild-werk-frauenau.de; telephone (49) 9926 180
895; or fax (49) 9926 180 897.
Germany, Koblenz through June 5 “Salt Glaze
2006”; at Galerie Handwerk Koblenz, Service et Messe
GmbH der Hanwerkskammer Koblenz, Rizzastraße
24–26.
Hungary, Kecskemét May 8–29 “Clay, Wood,
Fire & Salt” with Svend Bayer and Makoto Hatori.
September 6–28 “Narrative Sculpture” with James
Tisdale. Contact International Ceramics Studio
Kecskemét, Kápolna u. 11, Kecskemét H-6000; e-mail
[email protected]; or telephone (36) 76 486 867.
Italy, Certaldo (Florence) September 4–9 “Soda
Firing” with Terry Davies. For further information,
contact La Meridiana, Loc. Bagnano 135, 50052
Certaldo; telephone/fax (39) 0571 660084; see
www.lameridiana.fi.it.
Italy, Marsciano June 1–4, August 12–15, September 2–3, 9–10, 16–17, 23–23, 30–October 1, 7–8,
14–15, 21–22 and/or 28–29 “Stages of Raku Ceramics—Arts and Holidays.” Fee: 4 days, C430 (US$516);
2 days, C200 (US$240); includes materials and firing.
Meals: C15/meal (US$18). Lodging: C35/day (US$42).
Instruction in English and Italian. Beginning through
advanced. Contact Elisabetto Corrao, La Fratta ArtHouse, Vocabolo Fratta 157, Marsciano; e-mail
[email protected]; see www.lafratta.it; or telephone/fax 39 075 8785111.
Italy, Tuscany May 13–29 Five-day hands-on handbuilding and surface treatment workshop with Denys
James and Pietro Maddalena; five-day terra sigilatta
90
GEIL KILNS
Over 30 Years Experience
Behind the Kilns!
A
vailable at over
55 pottery-related
businesses in Australia,
Canada, New Zealand,
& the United States.
Visit our web site
for a current list.
Or order directly on our
secure web site at:
www.masteringglazes.com
Or by mail/fax from:
Frog Pond Pottery
PO Box 88
Pocopson, PA 19366
Phone/fax: (610) 388-1254
US $39.95 + $4.50 shipping by
Priority/Air Mail in North America
or $12 international air. See our
web site or call for other shipping
options. PA residents must add
6% sales tax. Checks, money or
postal orders, VISA/MC or school
purchase requisitions accepted.
Here is what others are saying about Mastering
Cone 6 Glazes:
“What a stupendous book! I’ve read it from cover to cover and find it packed with excellent ideas,
lovely glazes and solid concepts. This book marches glaze theory for potters miles into the future.”
Jim Robinson, Phoenix, Oregon
“What makes (this book) so remarkable is that it is almost entirely new information . . . The writing
style is . . . easy to understand, even in the most technical chapters . . . It will become a classic.”
Paul Lewing, Seattle, Washington writing in Ceramics TECHNICAL
“I am looking at about 50 tiles, all from your book . . . I tested . . . with my local standard frit instead
of the ones in the recipes . . . Everything really looks good . . . some real breakthroughs here.”
Alisa Liskin Clausen, Aabenraa, Denmark
“I’m looking forward to switching to your glaze bases. They are exactly what I’ve been trying to
achieve for years . . . ”
Ken Russel, Clarksville, Missouri
“Best selling book we have ever stocked and we carr y them all!!!!!”
Bob Millavec, Claymaker, San Jose, California
91
SUMMER RAKU
CELEBRATION
All Day Saturday,
July 15, 2006 • $95.00
Guests of Honor:
Dave & Boni Deal
Paul Anton
calendar
NEW
New Name
Larkin Furnace Construction
workshop with Giovannni Cimmati. Fee: CAN$4975
(US$4261), includes airfare, lodging, some dinners,
materials and tours; without airfare, CAN$3546
(US$3037). Contact Denys James, Discovery Art Travel,
182 Welbury Dr., Salt Spring Island, British Columbia
V8K 2L8 Canada; e-mail [email protected]; see
www.denysjames.com; or telephone (250) 537-4906.
Japan, Gifu through October 16 “European Noble
Wares”; at Museum of Modern Ceramic Art, Gifu, 42-5 Higashi-machi, Tajimi-shi.
Japan, Shigaraki through June 25 “The Human
Form in Clay”; at Shigaraki Ceramic Cultural Park,The
Museum of Contemporary Ceramic Art, 2188-7
Shigarakicho-Chokushi.
Mexico, Valle de Guadalupe November 11–13
“South of the Border Talavera Tile Painting Retreat”
with Ivette Vaillard. Fee: $350. Limit of 10 participants.
Contact Sheila Menzies, Tile Heritage Foundation, PO
Box 1850, Healdsburg, CA 95448; e-mail
[email protected]; telephone (707) 4318453; see www.tileheritage.org; fax (707) 431-8455.
Netherlands, Amsterdam May 20–June 17
Kayoko Hoshino; at Galerie Carla Koch, Prinsengracht
510 sous.
Netherlands, Den Haag through July 2 “Birdwatching” at Gemeentemuseum De Haag, Stadhouderslaan 41.
Netherlands, Deventer May 7–June 2 “Five Studio Potters,” Jane Hamlyn, Johannes Peters, Inger
Rokkjaer, Takeshi Yasuda and Petri Voet; at Loes &
Reinier, Korte Assenstraat 15.
Netherlands, Leeuwarden through August 27
Sonja Landweer, “A Life’s Work.” Mariëtte van der
Ven, “No ID.” through September 17 “Mysterious
Celadon”; at Princessehof Leeuwarden, Grote
Kerkstraat 11.
Netherlands, 's-Hertogenbosch May 21–September 3 “Free Spirit, Contemporary Ceramics of Native
America”; at Sm's - Stedelijk 's-Hertogenbosch,
Magistratenlaan 100.
Republic of China, Shanghai through May 20
“The Iron Saga,” Mel Jacobson and Joe Koons; at c2
Gallery @ The Pottery Workshop, second fl., 220
Taikang Lu.
Scotland, Fife through May 7 “For Keeps: Contemporary Collecting in Scotland.” through June 4
“Craft Showcase,” including ceramics by Virginia Graham and Susan McGill; at Crawford Arts Centre, 93
North St., St. Andrews.
South Korea, Gyeongsangnam-do through October 1 “International Architectural Ceramic Exhibition”; at Clayarch Gimhae Museum, 358, Songjeong-ri
Jillye-myeon, Gimhae-si.
Spain, Zaragoza May 4–7 “Cerco 2006, Feria
Internacionel de Cerámica Contemporánea”; in the
multipurpose room of the Zaragoza Audtiroium.
Turkey, Istanbul, Cappadocia, Ankara September 14–October 5 “Turkey 2006 Excursion,” hands-on
workshop including handbuilding, colored porcelain
and decals with Mehmet Kutlu, then hands-on workshop with Erdogan Gulec, tours, and studio visits. Fee:
CAN$4685 (US$3975), includes airfare, lodging, breakfast; without airfare, CAN$2935 (US$2500). Deposit
due: May 15. For further information, contact Denys
James, Discovery Art Travel, 182 Welbury Dr., Salt
Spring Island, British Columbia V8K 2L8 Canada; e-mail
[email protected]; see www.denysjames.com;
or telephone (250) 537-4906.
W
E
N
W
E
N
is now
Larkin
Refractory
Solutions
New Location
2331 Varkel Way
PO Box 716
Lithonia, GA 30058
Same Great Service and
Even More Inventory
Available for
Immediate Shipment
New Phone
678-336-7090
New Fax
678-336-7094
www.LarkinRefractory.com
For a free listing, submit announcements at least two months
before the month of opening. Add one month for listings in July and
one month for listings in September. Submit listings online at
www.ceramicsmonthly.org; mail to Calendar, Ceramics Monthly ,
735 Ceramic Pl., Suite 100, Westerville, OH 43081; e-mail
[email protected]; or fax (614) 891-8960.
92
GEIL KILNS
PRESENTS THE
GEIL/COLEMAN
FIRING
WORKSHOP
The Only One of Its Kind!
July 29 - 31
A 3-day Tom Coleman and Paul
Geil workshop covering Coleman
glazes and kiln firing. Topics
include glaze applications,
spraying techniques, firing in a
Geil Downdraft Kiln and use of
kiln controllers.
LOCATION: Geil Kilns, 7201 Clay
Avenue, Huntington Beach, CA 92648
contact Sofia at (800) 887-4345 or
E-mail [email protected]
GEIL KILNS
7201 CLAY AVE. HUNTINGTON BEACH, CA 92648
800-887-4345 • Fax: 714-847-6145
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The Olsen Kiln Kits are designed,
patented, and built
by Fredrick Olsen
author of
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Write for a Free Brochure
Olsen Kiln Kits
60520 Manzanita #205
Mountain Center, CA 92561
Telephone 760-349-3291
Claydog
R a k u Ki l n
$825.00
Raku Accessories
L& R
S p ecialties, Inc.
PO Box 309
Nixa, MO 65714
1-877-454-3914
[email protected]
www.clayd og s.com
$41.00
Tongs
Potters Council is
hitting the road!
2006 Regional Conference Series
Visit www.potterscouncil.org/2006conferences
93
$135.00
8” extension ring
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securely online at www.ceramicsmonthly.org/classifieds.asp . See [email protected] for details.
buy/sell
C o m p l e t e c e r a m i c s b u s i n e s s f o r s a l e in Ohio!
$29,000 including inventory and all chattel: kilns,
paints, brushes, molds, clay, tables, showcases. For
more information, e-mail [email protected].
V i s i t w w w . p a p e r c l a y a r t . c o m for paperclay ceramic facts. Download articles for all skill levels.
P’Clay® and P’Slip®. Paperclay is affordable and
versatile. Order the book, Think by Hand, by calling
the Rosette Gault Studio, (800) 247-6553, 24/7.
N e w O l s e n k i l n k i t : 12 cubic feet, includes all
parts, frame, brick and instructions. Propane or natural gas. Near Sacramento, California. For details, call
(209) 267-0911.
F o r s a l e : Ceramics Monthly, 1999–2005 complete;
Clay Times, 1996–2005 (missing Jan/Feb 1996); Pottery Making Illustrated, 1997–2005 (missing Winter
1998). $500 OBO. Call Jeff at (707) 942-0216.
S l a b B u i l d i n g I l l u s t r a t e d ( e B o o k ) by Roberta
Laidman, $24.50. Revised 2006, 90 pages, 100+
illustrations. Download 5 MB, printable Adobe PDF
file: www.laidmanproductions.com/SBI_laidman.htm.
Questions, e-mail [email protected].
A r e y o u i n t e r e s t e d i n s e l l i n g your collection? I
am interested in purchasing collections of contemporary American and/or British studio pottery. Individual
pieces are fine as well. E-mail [email protected].
C o b a l t c a r b o n a t e and cobalt oxide. We have the
most competitive prices available. Quality guaranteed. Call for prices. (208) 521-0910.
Employment
C r a f t s m a n H o u s e G a l l e r y - C a f e - S t u d i o , St.
Petersburg, Florida. Seeking studio assistant.
Benefits include studio space with 24-hour access,
use of electric and gas kilns, and gallery representation. Responsibilities include piecework and
mixing glazes. Possibility of paid employment for
hours exceeding assistant trade agreement. For information, contact Stephanie at (727) 323-ARTS or
[email protected].
Events
T o m
T u r n e r will have his first show and sale
at his Mars Hill, North Carolina, studio on
May 6 and 7. Please call (828) 689-9430 or
e-mail [email protected] for directions.
www.tomturnerporcelain.com.
1 6 H a n d s s t u d i o t o u r , May 6 and 7. See March
2006 CM article. David Crane, Richard Hensley,
Silvie Granatelli, Donna Polseno, Ellen Shankin, Stacy
Snyder and Brad Warstler. With visiting potters: Kevin
Hluch, Nick Joerling and Mark Shapiro. Visit
www.16hands.com for information and map.
R y a n M c K e r l e y w o r k s h o p at Pottery West in Las
Vegas, Nevada—June 3 and 4. Ryan’s work can be
seen on the cover of Ceramics Monthly, March 2006.
Ryan is starting the workshop season at this new
pottery ranch. Contact Amy Kline at (702) 987-3023
for complete details.
K i l n b u i l d i n g w o r k s h o p , September 2006, Pottery
West, Las Vegas, Nevada. Tom Coleman, Tony
Ferguson and Amy Kline will build a double-chamber
wood-fired kiln, which will use one chamber for traditional wood fire and one for soda firing. Workshop will
continue in early October with Tony Ferguson discussing glazing and firing this kiln. Contact Amy at
(702) 987-3023 for complete details.
A p p r e n t i c e / i n t e r n s h i p . Small production pottery
in northwest Montana seeks motivated individual for
one-year position starting end of August. 40 hours/
week in exchange for studio space (includes materials and firing), room and board, monthly stipend,
gallery sales. Check www.whitefishpottery.com for
more details about applying.
“S e c o n d A n n u a l V a s e f i n d e r N a t i o n a l s ”: Please
see www.vasefinder.com for details.
E x c e lle n t o p p o r t u n it y fo r e x p lo r in g w o o d
f i r i n g in a natural Ozark forest setting. Studio assistant desired in exchange for room, board, small stipend, studio space and kiln space—anagama,
noborigama. For details, contact Joe Bruhin
(870) 363-4264.
I n b e a u t i f u l P o i n t R e y e s , C a l i f o r n i a , “Magic
Fire” with Molly Prier (CM March 2000). Handbuilding,
burnishing, beach pit firings. Working with clay in
simplicity, connecting to the four elements. July 21–
28. All levels, limit 8. $450. (415) 669-7337;
[email protected].
I n s t r u c t o r s n e e d e d for wheel throwing and
handbuilding shops in premier childrens’ sleep-away
camps in the Pocono Mountains, Pennsylvania. Excellent facilities and equipment. 90 minutes from New
York City. Excellent salary. From 6/20–8/17/06. Send
résumé to [email protected]; fax (973) 575-4188;
phone (973) 575-3333 ext. 124.
P o t t e r y c o u r s e S p a in : S e t h C a r d e w a n d S im o n
L e a c h team up to teach from the wheel. Great
Spanish experience! Also at the pottery, a fully
furnished 4-bedroom house is available to rent by
the week. www.cardew-spain.com; or e-mail
[email protected] for details.
P r o d u c t i o n p o t t e r s : full-time, year-round positions for skilled potters who are serious about throwing
salt-glazed production ware. Benefits. Send résumé
to Salmon Falls Stoneware, PO Box 452, Dover, NH
03821-0452; or [email protected]. We’re located
90 minutes north of Boston.
P a t H o r s l e y w o r k s h o p , September 23 and 24.
Pottery West, Las Vegas, Nevada. Contact Amy Kline
at (702) 987-3023 for complete details.
W o r k s h o p s i n F r a n c e a n d I t a l y : Silvie Granatelli,
May 29–June 9, 2006, “Pottery and the Foods
of France,” Cordes sur Ciel, near Toulouse;
Glenn Dair in Tuscany, Italy, “Pots of Place,”
October 1–15, 2006. Pottery Abroad, LLC, (706) 3772986; e-mail [email protected]; website
www.potteryabroad.com.
94
I r e l a n d p o t t e r y c o u r s e s . Summer 2006:
3 salt glaze/1 wood fire fully residential courses,
guest tutors and many extras. Marcus O’Mahony,
Glencairn Pottery, Waterford, Ireland. 353 58 56694;
for information, e-mail [email protected]; or
[email protected]; view the website at
www.marcusomahony.com.
V a l C u s h i n g will have his 2nd annual kiln opening/
sale beginning Friday, May 5, 4–9 P.M.; Saturday–
Monday, May 6, 7 and 8, 10 A.M.–5 P.M.; and by
appointment from May 8 to May 12. VC Pottery, 1497
Water Wells Rd., Alfred Station, NY 14803; telephone
(607) 587-9193.
Opportunities
D e n v e r a r e a g u i l d m e m b e r s h i p s available.
Individual studios, gas, raku and electric kilns,
plus other equipment. Gallery! Arvada Ceramic Arts
Guild, 5870 Olde Wadsworth Blvd., Arvada, CO 80003;
(303) 423-0448; www.arvadaceramicarts.org.
P o t t e r ’s r e t r e a t . T u c s o n , A r i z o n a . Furnished
cottages for rent on a private estate. Share a large
ceramics studio, kilns, pool and spa. The Hummingbird House. Call (520) 742-3969; or toll free
(877) HUMMING; www.hummingbirdhouse.com.
S t u d y w i t h m a s t e r p o t t e r T o m T u r n e r in a oneto-one teaching and learning experience. Information
is available at www.tomturnerporcelain.com; e-mail
[email protected]; phone (828) 689-9430.
Tom will have his first show and sale at his Mars Hill,
North Carolina, studio on May 6 and 7. Please call or
e-mail for directions.
personals
A m y K l i n e (Alfred 1990) is pleased to announce the
opening of Pottery West, a pottery ranch located in
Las Vegas, Nevada! Amy will carry on the tradition of
offering advanced education in ceramic art by offering workshops year round with the best ceramics
artists in the field. Contact Amy at (702) 987-3023 for
details on upcoming workshops.
publications
T a k i n g t h e M a c h o O u t o f B i g w a r e . New video
by Tony Clennell. Bigger Pots Made Easy! See review
in June CM 2005! Cost is $39.95 plus $5.00 S/H.
To order, phone (905) 563-9382; fax (905) 563-9383;
e-mail [email protected].
T h r o w in g O n e P ie c e G o b le t s o n t h e W h e e l.
Step-by-step instruction. 45-minute DVD or VHS.
$34.50 to Montrose Pottery, PO Box 705, Montrose,
CO 81401.
E X T R U D E IT ! G e t t in g t h e M o s t F r o m Y o u r
C l a y E x t r u d e r , new instructional videos by David
Hendley. Volume I—extrusions as handles, feet and
additions; Volume II—two-part dies for hollow extrusions; Volume III—the expansion box and extrusions
as building components. $40 each or $100 for the set
(more than four hours of video). (903) 795-3779;
www.farmpots.com.
real estate
A r k a n s a s g a l l e r y a n d s t u d i o for sale. 3180 square
feet on Main Street. For more information, e-mail
[email protected]; or call (479) 857-1800.
Ceramist’s home, two studios, k i l n r o
c o v e r e d o u td o o r fir in g w o r k s h o p . 5 4 0 0 - s q u
m u ltile v e l fa c ility d e s ig n e d a n d b u ilt fo r r a k u
e q u ip p e d , u n iq u e , fu n c tio n a l a n d s p a c io u s
a c r e s w ith s p e c ta c u la r v ie w s o f Z io n P a r k in s
U ta h . $ 5 2 5 ,0 0 0 . w w w .r a k u fo u n ta in s .c o m o r
fre e a t (8 6 6 ) 3 0 1 -8 6 4 9 .
Dauphin Island, Alabama. 2 6 0 0 - s q u a r e - f o o t h
w ith la r g e p o tte r y s tu d io o n G u lf C o a s t is
n e a r M o b ile , F a ir h o p e , F lo r id a P a n h a n
4 b e d r o o m s , 3 b a th s , g o u r m e t k itc h e n , p r o te c te
d u n e s a n d w o o d s . N e v e r s to rm d a m a g e d . W a
g u lf b e a c h e s , b a y a n d A u d u b o n s a n c tu
$ 2 9 9 ,0 0 0 . C a ll ( 5 0 5 ) 5 2 2 - 2 3 4 2 o r ( 2 5 1 ) 4 2 3 - 6
c la y in k @ e a r th lin k .n e t.
Awesome contemporary home d e s i g n
a r tis ts w ith fu ll- p r o d u c tio n p o tte r y s tu d io , in c
e le c tr ic k iln , w h e e l, s la b r o lle r , s h e lv e s , d r y in g
n o r th lig h t, p lu s a la k e v ie w a n d la k e p r iv ile g e
p r o x im a te ly 1 8 5 0 s q u a r e fe e t, 3 b e d r o o m s , 2
m a s te r w ith je tte d tu b , c a th e d r a l c e ilin g in g r e a
w ith n a tu r a l fir e p la c e . W o o d e d b a c k y a r d , p e r e
p r iv a te , q u ie t r o a d . H is to r ic a l C la r k s to n , M ic
$ 2 5 9 ,0 0 0 . (2 4 8 ) 5 1 5 -3 4 5 7 .
o m e
la n d
d le ;
d b y
lk to
a ry .
7 8 6 ;
e d b y
lu d in g
ra c k s ,
s . A p b a th s ,
t ro o m
n n ia ls ,
h ig a n .
Accept credit cards i n
w h o le s a le /h o m e - b a s e d /In t
b u s in e s s . N o a p p lic a tio
m in im u m . N o le a s e r e q
F ir s t o f O m a h a M e r c h a n t P
(8 8 8 ) 5 4 9 -6 4 2 4 .
y o u r c e ra
e rn e t a n d
n fe e . N
u ir e m e n t.
r o c e s s in g .
m ic s r e ta il/
c ra ft-s h o w
o m o n th ly
R e tr ie v e r /
P le a s e c a ll
Master Kiln Builders. T
r ie n c e d e s ig n in g a n d b u
c u s to m k iln s fo r u n iv e r s
s c h o o ls , a r t c e n te r s a n d
s a lt k iln s , w o o d k iln s , r a k u
s c u lp tu r e b u r n o u t k iln s , c
e le c tr ic k iln s . C o m p e titiv e p
fa x (6 1 2 ) 2 5 0 -6 2 0 8 .
w e n ty -o n e y
ild in g b e a u
itie s , c o lle
p r iv a te c lie
k iln s , s to n e
a r k iln s a n d
r ic e s . D o n o v
e a rs
tifu l,
g e s ,
n ts .
w a re
s p e
a n . P
e x p e s a fe ,
h ig h
S o d a /
k iln s ,
c ia lty
h o n e /
Ceramics Consulting Services o f f e r s t e c h n i c a l
in fo r m a tio n a n d p r a c tic a l a d v ic e o n c la y /g la z e /k iln
fa u lts a n d c o r r e c tio n s , s lip c a s tin g , c la y b o d y /g la z e
fo r m u la s , s a lt g la z in g , p r o d u c t d e s ig n . C a ll o r w r ite
fo r d e ta ils . B u y W h a t E v e r y P o tte r S h o u ld K n o w ,
$ 3 1 .2 0 a n d S a fe ty in th e C e r a m ic s S tu d io , $ 2 5 .5 0 .
J e ff Z a m e k , 6 G le n d a le W o o d s D r ., S o u th a m p to n , M A
0 1 0 7 3 ; ( 4 1 3 ) 5 2 7 - 7 3 3 7 ; e - m a i l fix p o t s @ a o l . c o m ; o r
w w w . fix p o t s . c o m .
rentals
Studio space available in Brooklyn, 1
m in u te s fr o m M a n h a tta n : 1 6 w h e e ls , s la b r o lle
e x tr u d e r , tile p r e s s , m o ld - m a k in g e q u ip m e n
lo ts o f s p a c e a n d a ffo r d a b le . F o r fu r th e r in fo r m a tio
c a ll ( 7 1 8 ) 2 1 8 - 9 4 2 4 .
travel
services
o m a n d
a re -fo o t
. T o ta lly
o n 1 .7 5
o u th e rn
c a ll to ll
Custom kilnbuilding and repair o f e l e c t r i c ,
g a s , w o o d a n d s a lt k iln s . R e p a ir s o n a ll m a k e s
o f c e r a m ic s a n d r e fr a c to r y e q u ip m e n t. W e ld in g .
M o ld m a k in g . C o n s u ltin g fo r a ll c e r a m ic s n e e d s .
S e r v in g th e H u d s o n V a lle y , N e w J e r s e y , N e w
E n g la n d a n d b e y o n d . C o n ta c t D a v id A lb a n a t
a lb a n 7 @ c o r e .c o m ; ( 8 4 5 ) 3 5 1 - 5 1 8 8 .
0
r,
t,
n
Fall 2006 Japan Tour. T r a v e l w
te r y e x p e r t a n d lo n g tim e r e s id e n
B iz e n , H a g i a n d K a r a ts u . F u r th
w w w .r o b e r tfo r n e llc e r a m ic a r ts .c o m
Craft and folk art tours. M
M a r a m u r e s W in t e r F e s t iv a l, M o r o
C e n t r a l A s ia . S m a ll, p e r s o n a liz e d
6 7 7 6 C M W a rb o y s , B y ro n , N Y 1 4
ith J a p a n e s e p o tt/p o tte r to K y o to ,
e r in fo r m a tio n a t
.
e x ic o , B u
c c o , I n d ia
g ro u p s . C
4 2 2 ; (5 8 5
lg a r ia , R o m a n ia ,
, B u rm a , T u rk e y ,
r a f t W o r ld T o u r s ,
) 5 4 8 -2 6 6 7 .
Overseas ceramics workshops and tours—
T u r k e y , I s t a n b u l a n d C a p p a d o c i a : 9 / 1 4 –1 0 / 4 / 0 6 ,
w o r k s h o p s w ith M e h m e t K u tlu a n d E r d o g a n G u le c .
S m a ll, c u ltu r a lly s e n s itiv e g r o u p s u s in g lo c a l tr a n s la to r s a n d e x p e r ts . D is c o v e r y A r t T r a v e l, D e n y s J a m e s ;
w w w .d e n y s ja m e s .c o m ; d e n y s @ d e n y s ja m e s .c o m .
Ceramics residency
e n o u s te c h n iq u e s . F e e o f
s tu d io , m a te r ia ls , to u r s , lo d
( a ir fa r e a d d itio n a l) . w w w .s
in Ghana.
$ 2 3 5 0 in c lu d
g in g a n d m e a
tu d io m a te c e r
China Ceramics tour,
B e ijin g , X ia n , J in g d e z h e n , H a
S h a n g h a i. $ 2 6 5 0 . w w w .C h
C h in e s e C la y A r t@ h o tm a il.c o m . C
B o x 1 7 3 3 , C u p e r tin o , C A 9 5 0 1 5 ; ( 8
L e a rn
e s e q
ls fo r 3
a m ic s
J u n e 8 –2
n g z h o u , Y
in e s e C la y
h in e s e C la
0 0 ) 6 8 9 -C L
Visit Central American potters w i t h
P e a c e . J u l y 8 –2 0 . E x p e r i e n c e t h e t e r r a tio n s o f E l S a lv a d o r , H o n d u r a s a n d N ic a r a
c o v e r s a ll e x p e n s e s e x c e p t a ir fa r e . C o n ta c
B o x 1 0 4 3 , B is b e e , A Z 8 5 6 0 3 ; ( 5 2 0 )
p e te r@ p o tp a z .o rg .
2
ix
A
y
A
in d
u ip p
w e e
.c o m
, 2 0 0 6 .
in g a n d
rt.c o m ;
A rt, P O
Y (2 5 2 9 ).
P o tte rs F o r
c o tta tr a d ig u a . $ 1 1 0 0
t P F P a t P O
4 3 2 -4 6 1 6 ;
index to advertisers
A .R .T . S tu d io ..................................... 6
A a rd v a rk ........................................... 8
A C e rS B o o k s ............................... 1 2 , 8
A fto s a ................................................
A m a c o a n d B re n t ...................... 2 3 , 6
A m e r ic a n C r a ft C o u n c il ..................... 7
A m e r . M u s e u m o f C e r a m ic A r ts ........ 1
A n d e rs o n R a n c h ............................... 7
A n n i e ’s M u d P i e S h o p . . . . . . . . . . . . . . . . . . . . . . . 8
A s ia n A r t M u s e u m ............................. 1
A x n e r P o tte ry ......................................
A z u s a P a c ific U n iv . ........................... 1
B a ile y P o
B a m b o o
B e n n e t t ’s
B ig C e r a m
B r a c k e r ’s
B r ic k y a r d
B u y e rs M
7
3
9
2
5
7
3
3
8
7
3
C o y o te C la y & C o lo r .......................... 1 0
C re s s ................................................. 7 8
D a v e n s ..............................................
D e l V a l ...............................................
D is c o v e r y A r t T r a v e l ..........................
D is p la y Y o u r A r t b y G la s s ic a .............
D o la n T o o ls .......................................
D r a g o n fly J o u r n e y s ...........................
D u n c a n E n te r p r is e s ................... C o v e
8 2
7 6
8 4
6 6
6 6
7 7
r 3
E a r th a n d F ir e P o tte r y ........................ 3 2
E c h o C e r a m ic s .................................. 9 0
E u c l i d ’s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 8
9
tte ry ........................ 1 , 8 , 9 ,
T o o ls ...................................
P o tte ry ...............................
ic S to r e .c o m .......................
...........................................
...........................................
a rk e t o f A m e r. C ra ft ............
2 9
8 6
C a r o lin a C la y .....................................
C e r a m ic S e r v ic e s ..............................
C e r a m ic S h o p , T h e ...........................
C e r a m ic S u p p ly C h ic a g o ..................
C e r a m ic S u p p ly C o m p a n y .......... 6 6 ,
C h in e s e C la y A r t ...............................
C la s s ifie d s .........................................
C la y A r t C e n te r ..................................
C la y m a k e r s .......................................
C la y w o r k s S u p p lie s ...........................
C o n tin e n ta l C la y ................................
C o r n e ll ...............................................
8 0
8 5
8 6
9 0
8 7
8 7
9 4
9 1
8 8
8 6
3 0
8 4
7
7 0
7 2
6 4
7 3
F a lc o n ............................................... 7 6
F la t R o c k ........................................... 8 2
F o n g C h o o W o rk s h o p ....................... 8 6
G e il K
G e o rg
G iffin
G la z e
G re a t
G re a t
iln s ..................................... 1 1 ,
ie s ...........................................
T e c ...........................................
M a s te r ......................................
L a k e s .......................................
R iv e r W o o d w o r k in g .................
H a n d m a d e
H e r r in g D e s
H ig h w a te r C
H o tc h k is s S
L a
ig
la
c h
m p s h a d e s ..................
n s /S la b M a t ..................
y s ................................
o o l ..............................
9 2
3 2
6 9
8 8
7 5
7 2
K ic k w h e e l P o tte r y .............................. 7 3
L & L .....................................................
L & R ................................................... 9
L a g u n a C la y C o . ......................... 1 2 , 2
L a lo b a R a n c h .................................... 7
L a r k in R e fr a c to r y S o lu tio n s ......... 9 2 , 9
P o tte r y V id e o s .c o m
4
J a p a n P o tte r y T o o ls ........................... 8 4
J o e B o v a ........................................... 7 2
K e n tu c k y M u d w o rk s .......................... 9 0
R o w e P o tte ry W o rk s .......................... 6 3
7
M a in L in e A r t C e n te r .........................
M a s te r K iln B u ild e r s ..........................
M a s te r in g C o n e 6 G la z e s ..................
M e n d o c in o A r t C e n te r .......................
M id - S o u th ..........................................
M ile H i ...............................................
M K M P o tte r y T o o ls ............................
M o s s r o c k C la y S tu d io .......................
M u d to o ls ...........................................
8 8
8 8
9 1
8 6
2 6
6 4
8 1
3 2
3 2
S a p ir S tu d io .......................................
S h a k e ra g W o rk s h o p s ........................
S h e ffie ld P o tte r y ................................
S h im p o ..............................................
S ie r r a N e v a d a ...................................
S k u tt .......................................... C o v e
S m ith - S h a r p e ....................................
S O F A .................................................
S o ld n e r C la y M ix e r s ..........................
S p e c tr u m G la z e s ..............................
S p e e d b a ll A r t P r o d u c ts ............. C o v e
S ta n d a rd ...........................................
S ta r flo w e r F a r m a n d S tu d io s .............
N a
N e
N e
N o
8 1
8 2
9 0
8 1
T a o s C la y ..........................................
T r in ity ................................................
T r u r o /C a s tle H ill .................................
T u c k e r ’s P o t t e r y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
b e rth e
v a d a D
w M e x
rth S ta
rm .......................................
a n ’s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ic o C la y ..............................
r .................................... 3 1 ,
3
O ls e n K iln s ........................................ 9 2
O ly m p ic K iln s .................................... 7 1
8 0
8 2
8 3
7 7
............................ 6 8
3
6
P a
P C
P e
P o
P o
P o
P o
r a g o n In d u s tr ie s ............................
F S tu d io s ......................................
te r P u g g e r .....................................
tte r s C o u n c il ..................................
tte rs S h o p ......................................
tte ry N o rth w e s t ..............................
tte ry W e s t ......................................
95
8 9
9 2
9 0
9 3
9 2
8 9
8 0
9 1
7 6
8 7
2 5
7 6
r 4
8 5
2 1
8 0
6 2
r 2
7 4
8 2
8 3
7 9
8 0
8 5
U .S . P ig m e n t ..................................... 9 3
V e n t- A - K iln ........................................ 6 4
W a
W e
W e
W h
W is
ig e d
k s
.
rd .................................................
s t C o a s t K iln .................................
s te r w a ld .......................................
is tle P r e s s .....................................
e S c r e e n p r in t ...............................
8 4
8 4
9 0
8 6
8 2
Comment
skeletons in the cupboard
by Frank Gosar
Some day soon, it will happen to you. fronted by Franken-pot, painstakingly re- Leach video in which he proclaimed that
You’ll be at a dinner party at a friend’s assembled with Krazy G lue and epoxy the fl at rim was the ideal form. I think
house or Sunday supper at Mom’s. putty (possible even gold leaf, depending every potter in Minnesota and western
There’ll be a pregnant pause in the con- on the sophistication of the conservator), Wisconsin has one of those and none of
them pour . . .”
versation, coy looks. Someone will say, a bolt through its figurative neck.
Engage the pot and its owner. BeBesides, breaking those old pots
“Do you remember this?”
And with a fl ourish, it’s there: The smacks of the worst revisionist history. cause that piece of clay, embarrassing or
Thing from the Past; The Monster in the Embarrassing or not, they’re a fact; part not, has done something miraculous. It
Box; The Skeleton in the Cupboard. Tea- of our past; a record of our path from has become a treasure, a special part of
pots that dribble; pitchers that gush; curly pinch to coil to whatever lofty ceramic someone’s life, whether it is because of a
plates, leaden bowls, cups from Abstract promontory we occupy now. It never connection to the artist, association with
an occasion, or just
Expressionist hell.
the day-to-day acMeeting old pots can
cumulation
of
be as embarrassing as
Meeting old pots can be as
memories that premeeting old lovers. You
embarrassing as meeting old lovers.
cious things accrue.
know they were special
This is what we’re
once. You were proud to
You know they were special once.
trying to do every
be seen with them. You
You were proud to be seen with them. time we set up our
may have even loved
booth with our curthem. But now you think
You may have even loved them.
rent best work. It’d
you can do much better.
But now you think you can do
be a shame to miss a
“It’s like the horrible
chance to learn more
museum of my pottery,”
much
better
.
about how that consays my friend G race, “all
nection happens.
these terrible old things.
U ltimately, you just have to let go.
I’ll say, ‘ Mom don’t use that stuff ’ and hurts to be reminded of where we came
then she’ll get out this awful plastic from, nor that some day we may be just Pots are like children. You put your best
melmac and say, ‘ What can I do? You as embarrassed by what we are proud of efforts into making them perfect, but
won’t make me any new dishes.’ But I today. Those who forget the past are con- then one day they leave home. You may
wince a little at their choices, but once
demned to re-pot it, right?
don’t have time.”
That’s not to say that breaking pots is they are a part of someone else’s life, you
I’m not sure it matters. The “Horrible
Museum of Your Pots” is a historical col- wrong. But do it in the now. R eexamine can’t have them back.
“Actually, I don’t mind seeing my old
lection. New acquisitions add to, rather your standards from time to time, rethan supplant old exhibits. They’re all membering that today’s not-quite second pots,” says Jon. “It’s my high-school postill there, waiting for their place in the could be tomorrow’s G host of Christmas etry that I never want to see again! ”
Hmmm. He has a point. There was
Present Past.
display rotation.
Old pots are a lot like those embar- that thing I wrote for my sister’s wedding
“Oh G od! I just want to take it and
drop it on the fl oor and say, ‘ Oops, let rassing family stories your siblings trot when I tried to be E.E. Cummings . . .
me make you a new one.’” confides my out every Thanksgiving. They sting a but I digress.
little, make you squirm, but they’re a
friend Tom.
I know that temptation well. I’m only part of your shared history and you can the author Frank Gosar quit advertising
stopped by the sure and certain knowl- cope with them in much the same way: to study ceramics at the University of Oredge that if I do “accidentally” destroy you tell your side of the story. “Oh Lord, egon in 1985. His production pottery can
the pot, on my next visit I will be con- that’s when I’d just seen that Bernard be seen at www.offcenter.biz.
96
ARTIST UPDATE
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IN ART
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Thomas Deir, Artist
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Artist
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