here - Ceramic Arts Daily
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here - Ceramic Arts Daily
January 1999 1 2 CERAMICS MONTHLY January 1999 Volume 47 Number 1 “Del Jardin de Eva,” 6 inches in height, earthenware, by Gretchen Haeussler, San Juan, Puerto Rico, from “Ceramica Puertorriquena Hoy/Today.” 52 FEATURES 39 A Sojourn in Japan by Dale Huffman Experience expands aesthetic understanding 43 Legitimately Lower Taxes by Mark E. Battersby Hints for small businesses 45 Stan Welsh by Tobin Keller Sculpture completed during the last ten years 49 Smoked and Pit-Fired Porcelain by Rebecca Urlacher Subtle effects on handbuilt forms 52 Contemporary Puerto Rican Ceramics by L. Robin Rice Curated survey featuring works by 22 artists “Yunomi,” 4½ inches in height, stoneware with crushed granite, anagama fired to Cone 14, by Dale Huffman. 39 58 Suze Lindsay by Samantha Moore McCall Fun functional stoneware ■HK 66 The Yixing Effect by Marvin Sweet Exploring the importance of tea in art 70 The Slab Paintings of Linhong Li by Yuqian Chen; translated by Yufang Wang Breaking from tradition in Jingdeszhen Rebecca Urlacher working on a porcelain form in her Eugene, Oregon, studio. 49 The cover: “Darted Teapot,” 9 inches in height, salt-fired stoneware, by Suze Lindsay; see page 58. Photo: Tom Mills. January 1999 72 Katy McFadden by Jan Behrs Sculpture for garden settings 75 Artist’s Statement/Viewers’ Comments by Frank Ozereko Creator’s intention isn’t always what is perceived 101 Ecokarma by William Vogler Recycling glaze and clay in a new way 103 High-Temperature Iridescence by Gary Holt Love of glaze experimentation brings exciting results California artist Stan Welsh with works in progress. 45 3 UP FRONT 12 Free Summer Workshops Listing Deadline for April issue announced 12 Salt Invitational Group exhibition at the Brookfield Craft Center in Connecticut 12 Clay Exhibition in the Netherlands Vessel forms at Galerie Amphora in Oosterbeek 14 Marianne Weinberg-Benson Chess installation at NationsBank Plaza in Atlanta 14 International Exhibition of Bookends Creative shelf dwellers at Loes and Reinier in Deventer, Netherlands 14 Doug Herren Work by resident artist at the Clay Studio in Philadelphia 14 Doug Eubank Teapot featured at d’Art Center in Virginia 16 Scott Rayl Panels and bowls at the Folk Art Center in Asheville, North Carolina 16 Crossroads in Clay Third annual international exhibition in Ohio 18 Ardis Bourland Functional work at Mamaroneck Artists’ Guild in Larchmont, New York 18 Ceramic Sculpture Exhibition in California Mendocino Art Center features work by 13 artists 18 Farraday Newsome Sredl Majolica-decorated vessels at Twist in Portland, Oregon 18 Bob Barry and Elizabeth Levine Editor Ruth C. Butler Associate Editor Kim Nagorski Assistant Editor Connie Belcher Assistant Editor H. Anderson Turner III Editorial Assistant Renee Fairchild Production Specialist Robin Chukes Advertising Manager Steve Hecker Customer Service Mary R. Hopkins Circulation Administrator Mary E. May Publisher Mark Mecklenborg Editorial, Advertising and Circulation Offices 735 Ceramic Place Post Office Box 6102 Westerville, Ohio 43086-6102 Telephone: (614) 523-1660 Fax: (614) 891-8960 E-mail: [email protected] [email protected] [email protected] [email protected] Website: www.ceramicsmonthly.org New York artists at Laramie County Community College in Cheyenne, Wyoming 20 Guardians of Technology by Joyce Kris toffy-Hewlett Architectural installation at the University of Texas, Pan American 22 Antonio Tobias Mendez Figurative work at the Hodson Gallery at Hood College in Frederick, Maryland 24 John Berry Teapots on view at Arlesford Gallery near Winchester, England 24 Kathryn Story by Lisa Mandelkern Installation at New Mexico State University, Las Cruces 24 Susan Goldstein and Larry Watson Member’s show of the Kentucky Guild of Artists and Craftsmen 26 Gail Kendall and Jeff Oestreich Functional vessels at Gallery 1021: Lill Street in Chicago 26 Simon Ho Sculptural work at Anna Leonowens Gallery in Halifax, Nova Scotia 26 The Suomi International College of Art + Design First design school in the U.S. to use Finnish education methods 28 Dharma Strasser Wall installations at Nancy Margolis Gallery in New York City 28 Ceramic Sculpture by Women Artists Exhibition at the Clay Art Center in Port Chester, New York DEPARTMENTS 8 Letters 30 New Books 36 Video 78 Call For Entries 78 International Exhibitions 78 United States Exhibitions 80 Regional Exhibitions 82 Fairs, Festivals and Sales 86 Suggestions 88 Calendar 88 Conferences 88 Solo Exhibitions 90 Group Ceramics Exhibitions 91 Ceramics in Multimedia Exhibitions 92 Fairs, Festivals and Sales 93 Workshops 96 International Events 108 Questions 115 Classified Advertising 118 Comment: Discovering Clay Therapy by Leslie A. Ihde 120 Index to Advertisers 4 Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. Subscription Rates: One year $26, two years $49, three years $70. Add $ 12 per year for subscriptions outside North America. In Canada, add GST (registration number R123994618). Change of Address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, PO Box 6102, Westerville, OH 43086-6102. Contributors: Writing and photographic guidelines are avail able on request. Send manuscripts and visual support (photo graphs, slides, transparencies, drawings, etc.) to Ceramics Monthly, 735 Ceramic PL, PO Box 6102, Westerville, OH 43086-6102. We also accept unillustrated texts faxed to (614) 891-8960, or e-mailed to [email protected] Indexing: An index of each years feature articles appears in the December issue. Visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of all feature articles since 1953. Feature articles are also indexed in the Art Index and daai (design and applied arts index), available through public and university libraries. Copies: For a small fee, searchable databases and document delivery are available through The American Ceramic Society’s Ceramic Information Center, PO Box 6136, Westerville, OH 43086; e-mail [email protected] or telephone (614) 794-5810. Also through Information Access Company, 362 Lakeside Dr., Foster City, CA 94404; or University Microfilms, 300 N. Zeeb Rd., Ann Arbor, MI 48106. 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Copyright © 1999 The American Ceramic Society All rights reserved CERAMICS MONTHLY January 1999 5 Letters of the symbolism they added to the CaliforThere is no mention of postfire reduction in nia red clay mix. any of the Japanese writing on raku pottery. It stressed my abilities and knowledge toAlso I believe that Hal Riegger, along with get this pot made successfully, what with Paul Soldner, was the first to suggest postfir Ashes to Ashes some 16 different people involved in its ing reduction for enhancement of the glaze They were friends for over 50 years, since construction, most of whom had never color effects. handled clay before. So, not only were some For a number of years, at least 14,1 have before they were married. Of the 10 children they raised, three of the boys came on the of the cremation ashes added to help to open devoted all of my pottery efforts to raku; I week-long pottery workshops I held outdoors up the clay body, but sand was added as well. have been calling my work “American-style in various parts of the Western states in theThis helped cut down on shrinkage and raku.” I have had many write-ups where I 1960s and 1970s. I called it “primitive potavoid joint cracks. referred to my raku as such. tery” then; today, most call it pit firing. The The project was to be finished in three I do hope we can come up with some boys were well acquainted with odd clays weeks, in time for a celebration of her life. word or short group of words that we can call found on site on these trips, as well as the Therefore, the pit firing was replaced by a our style of so-called “raku.” intricacies of firing without a kiln and usingregular electric kiln firing to Cone 4. One thing is true: I get a lot of enjoyment anything from tires to dung as fuel. Quite a man with the camera (he’ll take from this method of firing, what with all the at reduction effects that I can come The mother passed away recently, and itpictures of the family in any circumstances postfiring was the family’s unanimous decision to make the drop of a hat), the surviving father tookup with. of most of the operation. More than Bob Hayden, Nampa, Idaho a clay container for the ashes. Everyone in photos the family who was here would take part in the technical side of the project, they reflect Making It as an Artist making this handbuilt pot. Not only were the the children, now parents in their own rights, each taking his or her turn working with clay. Being a concerned future artist, I have yet ashes to be contained in the pot, but because The pot was fired successfully and now to see an article related to not just surviving but making it as an artist. From the public to has a special place in this home of two people I’ve known and loved for so many years. Asmya professors here at Northern Illinois Uni versity, I have not heard an encouraging material, clay is considered a very therapeutic word about the possibility of graduate stu dents succeeding as artists—not as full-time teachers, janitors or security guards, but as full-time artists. Please publish articles on students who have gone through art school and are succeeding in the art world. Son, granddaughter and daughterPhilip Prisco, Aurora, 111. in-law working on pot. One of the things I’ve found hard to find information on is the process of getting started in the small-business industry. Please publish more success stories (and even fail ures) to give those of us just out of college some insight. Amy Montgomery, Goshen, Ind. Father, Chalmer Johnson, adds the finishing touches. In keeping with our commitment to provide an open forum for the exchange of ideas and opinions, the editors welcome letters from all readers. All letters must be signed, but names will be withheld on request. Mail to Ceramics Monthly, PO Box 6102, Westerville, OH 43086-6102, e-mail to [email protected] or fax to (614) 891-8960. 8 I’d like some exposure to the history, as well as cutting-edge art, but mainly I need different how-to techniques that I can use to stay alive in this competitive business. If I Completed pot drying before firing can’t make a living, I can’t experiment with to Cone 4 in an electric kiln. new art forms. Georgia Xydes, Austin, Tex. substance. In this case, it was especially so, helping the family through its grief. A Tool for Education What more can one ask of clay? I enjoy Ceramics Monthly tot its detailed Hal Riegger, Gridley, Calif. pictures and interviewslprofiles of artists. It does not make a person better in ceramics; it More on Raku I agree with Richard Garriott-Stejskal, is more a tool for education. Like wow—how did he make that? Maybe I can do that, too. November 1998 issue, in regards to describ ing our work as raku in the traditional senseThen there are the ideas from around the of Japanese pottery. He had most of his facts world, as well as an idea of how much my correct, but there were a few errors: stuff is worth. Robert Dennon, Scranton, Pa. Raku was not a family name when the ideogram was given to the son of Chojiro. The Emperor liked Chojiro, an imported Down to Earth Korean potter, but had forced him (Chojiro) I enjoy every aspect of Ceramics Monthly. to commit suicide. The Emperor thought It’s the only art magazine I read from cover that he was to be overthrown by Chojiro. To to cover, and enjoy over and over. I’ve had other art magazines dealing with painting, prove his loyalty, Chojiro committed suicide. CERAMICS MONTHLY January 1999 9 Letters etc., and they speak a language that’s difficult to understand. CM is honest and down to earth—like every potter I’ve met so far. Perhaps it’s the medium we use! Deborah Blackwell, Delavan, Wis. Upgrade Dialogue I would like to see critical reviews of exhibitions—especially of functional work. Not just descriptionlpraiselhow-to. Try to upgrade the reader’s dialogue from function! nonfunction to strong work/weak work. Geoffrey Wheeler, Holland, Mich. Metamorphosis There is a fine line where craft enters the realm of art. More discussions of how and when a potter evolves into an artist is appreci ated. Here in the South, such a transition or metamorphosis is impossible. Anna Gundlach, Walland, Tenn. Seeking Guidance What I know about ceramics probably makes me dangerous. I often look to Ceram ics Monthly for guidance and ideas. I am most interested in articles that teach and provide how-to information as opposed to those that are little more than a platform to display an artist’s ego. A. E. “Gene”Denny, Longview, Wash. Materials Information Needed Please assist us potters by including more information on raw materials availability (price, producerlsupplier, etc.) and function. Amy Gossett, Rome, Ga. The American Ceramic Society’s annual Potters Guide provides just the type of infor mation you seek; it contains hundreds of listings for ceramics manufacturers, suppliers and services, plus a geographic locator to help you find those companies nearest to you. See page 81.—Ed. Gauging Supply Purchases As retail manager of a Bay Area ceramics supply company, I consider Ceramics Monthly required reading each month. Without a doubt, it helps gauge what our customers will be looking for (i.e., raw material ingredients from recipes, books) and talking about. Meredith Winer, Emeryville, Calif. Whoops! Thanks very much for the photo and description of my piece in the article “The Attraction of the Intimate” in the November issue. However, I live in Westmount, Que bec, not Ontario. Claire Salzberg, Westmount, Que., Canada 10 CERAMICS MONTHLY January 1999 11 Up Front Free Summer Workshops Listing The 1999 “Summer Workshops” listing will appear in the April issue of Ceramics Monthly. Potters, craft schools, colleges/ universities or other art/craft institutions are invited to submit information about summer ceramics programs (regularly scheduled classes are excluded) by February 1. Simply provide the workshop name and/or a synopsis of what will be covered, location, opening and closing dates, level of instruction, instructors name, languages spoken, fee(s), contact address, plus a telephone number that potential participants may call for details. Captioned slides from last years workshops are welcome and will be considered for publication in this listing. Please mail information and slides to Summer Workshops, Ceramics Monthly, Post Office Box 6102, Westerville, Ohio 43086-6102. Announcements may also be e-mailed to [email protected] or faxed to (614) 891-8960. Salt Invitational The Brookfield Craft Center in Connecticut presented the exhibition “Salt Fired: Form and Surface.” Focusing on sculp tural forms within functional boundaries, the show featured more than 25 works by 11 artists—Joseph Bennion, Spring Richard Launder’s “Double Offering I,” 43 inches in height, residual salt fired. Robert Compton’s “Salt Box,” 5 inches in height, thrown and altered; at Brookfield (Connecticut) Craft Center. City, Utah; Rick Berman, Atlanta, Georgia; Robert Compton, Bristol, Vermont; Greg Federighi, Seattle; Terry Gess, Penland, North Carolina; Michael Kline, Worthington, Massachusetts; Richard Launder, Bergen, Netherlands; Jeff Oestreich, Taylor Falls, Minnesota; Byron Temple, Louisville, Kentucky; Bill Van Gilder, Gapland, Maryland; and David Wright, Moorestown, New Jersey. Arja Hoogstad and Nicoline Nieuwenhuis Ceramics by Arja Hoogstad and Nicoline Nieuwenhuis were featured in an exhibition at Galerie Amphora in Oosterbeek, Netherlands. After applying colored slips to the surfaces of her bowl shapes, Nieuwenhuis draws, scratches and paints motifs Greg Federighi teapot, approximately 12 inches in height, salt-glazed stoneware, fired with wood to Cone 9 in a noborigama. Submissions are welcome. We would be pleased to consider press releases, artists' statements and photos/slides in con junction with exhibitions or other events of interest for publica tion in this column. Mail to Ceramics Monthly, Post Office Box 6102, Westerville, Ohio 43086-6102. 12 Arja Hoogstad’s “Tombuktu,” approximately 8 inches in height; at Galerie Amphora, Oosterbeek, Netherlands. CERAMICS MONTHLY January 1999 13 Up Front from nature, such as grasses, water and reeds. Adding a thin layer of transparent glaze to each piece, she then single fires them in an electric kiln to 1050°C (1922°F). Inspired by the architecture and patterns found during her travels to the Middle East and Africa, Hoogstad builds her works from a mixture of stoneware and porcelain that has been colored with stains and shaped into slabs and strips. To establish a rhythm and enhance the surface of her vases, as well as objects shaped as towers, boats or sarcophagi, she often insets a few wide, usually dark in color, strips. Marianne Weinberg-Benson “Games People Play,” a ceramic chess installation by Georgia artist Marianne Weinberg-Benson, was on view recently at NationsBank Plaza in Atlanta. While the forms are based on the characters from the game of chess, the drawings on each piece depict the psychological and emotional games that people play with each other, focusing on the conscious and unconscious manipula tions of individuals and their efforts to control their environment, their relationships and their future. Thrown from porce lain and joined together while still damp, each piece is partially glazed (with specific areas masked off), fired and Marianne Weinberg-Benson’s “Honey you have my total sandblasted. Using attention,” 15 inches in height, pastels, Weinbergwheel-thrown porcelain; at Benson then draws an NationsBank Plaza, Atlanta. image on the unglazed surface. “The pastels allow for an immediacy and spontaneity in the drawings as well as a larger palette of colors than any glazed surface would accommodate,” she says. Bookmarket of Deventer, the show featured 1 to 3 bookends by 29 artists from France, Germany, Great Britain, the Nether lands, Norway and Spain. Doug Herren Vessels by resident artist Doug Herren were exhibited at the Clay Studio in Philadelphia. While the main part of his work centers around thrown pottery forms, Herren is increasingly using handbuilding and sculptural techniques to create massive Doug Herren’s “Open-Weave Platter,” 27 inches in height, slab built; at the Clay Studio, Philadelphia. lidded jars, vases, platters, etc. To highlight the variety of forms and textures, he adds little decoration, preferring a monochro matic surface. “Through this focus upon the sheer physicality of the clay medium, I work to incorporate and contrast a broad range of effects,” he says, “from the pillowy and sinuous qualities offered by throwing, through the more complex, calligraphic and architectural-industrial effects found in handbuilding.” Doug Eubank A salt-fired stoneware teapot by North Carolina potter Doug Eubank was featured in the eighth annual “Mid-Atlantic Art Exhibition.” Presented at d’Art Center in Norfolk, Virginia, the show was open to fine art and craft in two and three dimen- International Exhibition of Bookends “Boek and Steunen,” an international exhibition of ceramic bookends, was presented at Loes and Reinier in Deventer, Neth erlands. Commemorating the tenth anniversary of the yearly Paulien Ploeger bookends, approximately 5½ inches in height, earthenware and salt-glazed stoneware; at Loes and Reinier, Deventer, Netherlands. 14 Doug Eubank’s “Wavy Teapot,” 14 inches in height, handbuilt, salt fired, stoneware, $400; at d’Art Center, Norfolk, Virginia. CERAMICS MONTHLY January 1999 15 Up Front sions. Selections were made by juror William J. Hennessey, director of the Chrysler Museum of Art (Norfolk). Scott Rayl A series of slab-built ceramic panels and bowls by Fairview, North Carolina, artist Scott Rayl was featured recently at the Folk Art Center in Asheville, North Carolina. A graduate of ity, craftsmanship and diversity come to mind. However, in the end, personal taste plays the largest role and, after all, this is why someone is asked to be a juror. “As a potter, I was pleased to see the range of utilitarian wares submitted to the competition. The art form of utilitarian pottery is unique because of its association with food and daily Gerard Ferrari’s “Tea Pot,” 15 inches in height, $1300. Scott Rayl’s “David and Goliath,” 10 inches in height, earthenware panel with various slips and underglazes, $250; at the Folk Art Center, Asheville, North Carolina. Tulane University in New Orleans with degrees in anthropology and studio art, Rayl combined both interests in producing the forms on view. “The mystery and allure of ancient art has intrigued me for years,” he commented. “I try to capture some of that cryptic quality in my own work by mentally placing myself in the same time and location of a particular ancient culture, then exploring how I would express my faith and understanding of scripture using that cultures artistic imagery.” To achieve the look of an archaeological artifact, Rayl usually begins by rolling out slabs of clay and allowing them to become bone dry. The edges are snapped off, then the surface is painted with a slip and the piece is fired. After transferring a line draw ing to the fired surface, Rayl applies colored slips, stains and underglazes. The slab is fired again to Cone 06-04. Occasion ally, a piece is fired for a third time, then more color is added with acrylic paints. Bede Clarke’s “Language Door,” 18 inches in height, $500; at the Middletown (Ohio) Fine Arts Center. use. With pottery, daily rituals of nourishment can nurture our souls as well as our bodies. “Humor is an element included in the exhibit,” he contin ued, “a subtle and elusive quality worthy of recognition. Obses sion is another quality I enjoy in work. Seeing very obsessive work makes me curious about the person who makes it. Some times it is the pure simplicity of a piece that stands out. “Wood firing has become a common technique used in our Crossroads in Clay field and, unfortunately, much of the work being done with it For the recent “Miami Valley Third Annual Crossroads in Clay has become predictable and boring. The technique of raku Exhibition,” juror Josh DeWeese, director of the Archie Bray firing suffers in this way also,” DeWeese concluded. “However, Foundation in Montana, selected 60 works by 57 artists from there are those artists who continue to explore these techniques across the United States. “When asked to jury a competition in new and innovative ways, revealing wonderful surface treat such as this, one must try to establish some kind of criteria for ments resulting in the fire. It is often a question of whether the judging the work,” DeWeese commented. “Words like original technique is appropriate for a particular piece or not. Successful 16 CERAMICS MONTHLY Up Front work employs the magic of the fire as an element, while not relying entirely on the grace of the kiln to bring it success.” Ardis Bourland Functional ware by Coral Gables, Florida, potter Ardis Bourland was exhibited recently at the Mamaroneck Artists’ Farraday Newsome Sredl’s “Vase with Fruit and Magnolias,” 181/2 inches in height, terra cotta with lowfire glazes; at Twist, Portland, Oregon. Oregon. Continuing her “investigation of the juxtaposition of patterns with vessels that utilize both high relief and painterly surface treatments,” Sredl has begun to address the idea of “death in the midst of life.” While the upper portions of many of Sredl’s latest vessels are highly decorated, the lower sections are relatively stark, with black-and-white (usually floral) patterns. Bob Barry and Elizabeth Levine “New York Ceramics,” an exhibition of sculpture by Bob Barry and pottery by Elizabeth Levine, was presented recently at the Fine Arts Gallery of Laramie County Community College in Cheyenne, Wyoming. A professor of art at the Brooldyn campus of Long Island University, Barry is interested Ardis Bourland’s “Mr. and Mrs. Pot,” to approximately 8 inches in height, glazed stoneware, reduction fired; at the Mamaroneck Artists’ Guild, Larchmont, New Guild in Larchmont, New York. Some forms were thrown and altered, while others were built from textured slabs. Soda firing was employed to achieve flashing on the surfaces. Ceramic Sculpture Exhibition in California Works by 13 artists were presented in “Ceramic Sculpture: A Fine Art View” at the Mendocino Art Center in Mendocino, Bob Barry’s “After,..,” 16 inches in height, terra cotta, plastic and glass, $400; at the Fine Arts Gallery, Laramie County Community College, Cheyenne, Wyoming. George Timock’s “Raku Vessel No. 307,” 15 inches in width, $3000; at the Mendocino (California) Art Center. California. The show featured sculpture by established as well as emerging artists, highlighting the fact that styles and philoso phies differed from artist to artist. Farraday Newsome Sredl Glazed terra-cotta forms by Phoenix, Arizona, artist Farraday Newsome Sredl were exhibited recently at Twist in Portland, 18 Elizabeth Levine’s “Serpentine Form,” 25 inches in length, earthenware, $350. CERAMICS MONTHLY January 1999 19 Up Front in creating testaments to daily living that address the “specialness of our everyday encounters with others.” A studio potter in Manhattan, Levine began handbuilding earthenware vessels after six years of working on the wheel. She used slab- and coil-building techniques, as well as pinching, to create this series of works, her objective being “to create func tional serving pieces for use on a buffet table. The idea is to create pieces that elevate food and at the same time are beauti ful,” she explains. “These pieces have a sense of movement, decorative texture and volume.” Guardians of Technology by Joyce KristoJJy-Hewlett Once in a while, an opportunity unfolds in such a smooth, uncomplicated chain of events that one wonders if it weren’t predestined. Such was the case late in 1995 when I was chal lenged by a fellow art professor to do an architectural ceramic installation for the University of Texas, Pan American, in Edinburg, Texas. For six years, two 12-foot concrete columns with a brick lintel looking like “two oversized rolls of toilet paper” had stood in front of the Student Services Building, The “master warrior” was built on a 12-foot-long, curved, Masonite form that was one-fourth the circumference of the concrete columns. which is also the computer center. As I thought about the building, the architecture on campus, the area, the students, the ideas started to take shape. The architectural design of the buildings on campus has been influenced by the Spanish style of architecture, with Romanesque arches on every building; the student population is about 95% Mexican-American. With this in mind, I initially decided on a geometric design incorporating Aztec or Mayan imagery as a starting point. While I was looking through boolcs at the library, a photograph of the Toltec warriors in Mexico jumped off the page at me. The columns in front of the build ing were 12 feet high and 12 feet in circumference, so I knew there would be room to put four warriors on each column, with a foot of border on top and bottom. My drawing was enthusiastically approved by the people in charge of buildings and grounds, and finance. They made the typically academic motion of presenting it to the President s committee, where it was approved and funding made available. Quite to my surprise, all I had to do was come up with a final budget, which was soon approved. While I was ordering the necessary supplies and equipment, the university took over space in an old building about 2 miles from campus, and the art department was given a large section 20 of the building for future graduate art studios—about 330x90 feet of enclosed space. It wouldn't be using the building for another year, though, so I had all the space I could hope for. When the ceramics department ordered a new slab roller, I obtained the old one. Things were falling into place. The first step in the process was to make a life-size drawing of the warrior, as well as the top and bottom borders, to get an idea of what they would look like on the columns. From this drawing, a tracing was made, with tile cut lines added. On a copier, the tracing was enlarged 5% to allow for clay shrinkage. The top border has an arch over each warrior, reflecting the architectural style of the campus buildings. To bring history and the 20th century together, I inserted four math- and sciencerelated symbols below the arch: the schematic symbol for a transistor, a sine wave, and the Greek symbols for infinity and pi. A faculty member labeled them the “Guardians of Technol ogy,” and the name stuck. The next step was to make a form over which to build the master. Constructed of Masonite protected with polyurethane and covered with canvas, the curved form was 12 feet long and one-fourth the circumference of the column. It was placed on a table made of plywood with sawhorse supports. Once the 2 tons of clay were delivered, I built the master warrior. After it was completed, I incised tile cutting lines that would be visible on the molds. I had budgeted money for two student assistants, and at this phase of the project, they were brought in to help make the plaster molds. Unfortunately, one assistant soon quit, leaving Eloy Rodriguez and me to do the rest of the production work. Eloy rolled out the slabs of clay and pressed them into the molds; when the clay had dried sufficiently, we flipped it out of the molds onto the curved form. I then cut and cleaned the tiles—all 2912 of them. (The space between each figure was filled with an additional 7200 commercial tiles.) My major concern was working on a curve, and what would happen when these tiles were dried and fired. To avoid warping, I made the tiles less than 4 inches across. The back of each tile was inscribed with a letter, a number and an arrow indicating its orientation. After repeating the process four times, we decided to take a break and fire the first warrior. We were able to fit one entire warrior, as well as a fourth of the top and bottom borders, into the Jdln for the Cone 8 firing. We put grog on the kiln shelves to act as ball bearings as the clay shrank in the firing. I was apprehensive about the firing, fearing warping or cracking or anything else that could go wrong at high temperature. My fears were put aside, though, when we opened the Idln and found all the pieces intact, still fitting the form, with no gaps between tiles and column. There was no uniformity in the color or tone of the tiles (due to uneven reduction in the old kiln), but that permitted an interesting blend of subtle changes. Leaving the tiles unglazed also gave them strength and elegance, and the colors blended in with the varying colors of the brick on the building. The last firing turned out to be a mystery. All the tiles came out a rich chocolate brown, much darker than any of the previous tiles. The only difference between this and the previous firings was that it occurred on one of our two days of “winter” and it was windy. Therefore, we had placed kiln shelves around the bottom to prevent the pilot from blowing out. When we laid out all the warriors in the studio, this final one looked like the “black sheep” of the family. A choice had to be made—we either needed to remake and refire the entire warrior, or mix and match. Deciding on the latter, we exchanged darker CERAMICS MONTHLY January 1999 21 Up Front tiles for lighter ones, getting all the tiles out of letter sequence. The end result was an interesting blend, and I liked the look. After the schools maintenance crew sandblasted the paint off the columns, we were ready to start installation, with the help of another graduate student, Fausto Gonzalez. The tiles, equip ment and supplies needed to install the project were stored in a building about one block from the columns. We were able to borrow scaffolding, a cart to load up all the supplies and a hose for the duration of our work. Each day, the three of us loaded up the scaffolding and supplies, wheeled them to the columns, then took them back again at the end of the day. I laid out one-fourth of the column on paper, put Ms-inch tile setters between each tile and traced around the tile. Next, I put wax paper over the drawing, then 12 feet of nylon screening exposed. We added a few rows of commercial tiles on top and bottom to fill in the additional space. This worked to our advantage, though; the “filler” tiles were a chocolate brown and made a nice accent for the lighter handmade tiles. We worked out a system whereby Eloy applied the thinset to the column, I “buttered” the tile, and Fausto pressed the tile in place. With the thinset mixed to the right consistency, the tiles stuck to the column almost immediately. The setters kept any heavier tiles from slipping down as we worked our way up the column. We cleaned the thinset off the tiles as we went along; waiting until later would have required a hammer and chisel instead of a sponge. A thin, chalky film remained on the surface, however, until the final cleaning. After all the tiles had been placed, grouting was begun. First, we coated the columns with grout release. I was con cerned that staining would occur on the unglazed tiles, but the grout release worked wonders, and there was only a slight film from the grout, which also was cleaned off in the end. We used a brown grout, the same color as the commercial tiles. Fausto squeezed the grout from an applicator, Eloy pressed it in, and I sponged it smooth. For the smaller commercial tiles, we just took the excess grout that had been cleaned off the handmade tiles and spread it on by hand, then sponged the excess off. Luck was with us weatherwise—the sides were unusually cloudy, which made working outdoors bearable. After we finished grouting, we used tile and grout cleaner with scrub brushes and a hose to wash down the columns. Finally, we applied a couple coats of tile sealer, which brought out the color in the unglazed tiles and gave them a slightly waxy finish. Antonio Tobias Mendez Sculpture by Antonio Tobias Mendez was exhibited at the Hodson Gallery at Hood College in Frederick, Maryland. Like most of his work, “The River” (shown here) was begun by carving a solid form, then hollowed it out using a wire loop tool. When bone-dry, it was placed in an electric kiln with the lid open and the bottom element set on low for one “Guardian of Technology,” 12½ feet in height, handmade tiles fired to Cone 8 in reduction. on top of that. A tracing was made of the drawing onto the screening. The screening was then put up against the column, and, using Sharpie pens, we traced through the netting onto the column. The rough cement quickly used up the pens and $80 of our budget. We used thinset with latex to attach the tiles to the concrete. It normally doesn’t get really cold down here, so freezing water was of no concern. The latex in the thinset would be sufficient for any contraction or expansion that might occur. The grout also contained latex. According to the blueprint, the columns were 12 feet high, but we quickly found that they were actually 12½ feet high; at some points around the bottom, even more concrete was 22 Antonio Tobias Mendez’s “The River,” 14 inches in height, terra cotta, carved solid then hollowed out, fired to Cone 04, finished with a dry pigment and paste wax; at Hodson Gallery, Hood College, Frederick, Maryland. CERAMICS MONTHLY Up Front day. The lid was then closed and the temperature raised slowly at hourly increments (over 8 hours) to Cone 04. At that point, the kiln was turned off and allowed to cool overnight. Finally, the piece was surfaced with a dry pigment and paste wax. According to Mendez, his work is intended to engage the viewer. “This is true for all my works regardless of the scale,” he observed. “Even the most monumental of my figures are sculpted to reflect the heart of the person and compassion toward people.” Kathryn Story’s “A Chunk of the Pond” installation, with tile floor 14 feet in length, earthenware; at New Mexico State University, Las Cruces. John Berry “Mostly Teapots,” an exhibition of ceramics by London artist John Berry, was presented at Arlesford Gallery near Winchester, England. Initially an architecture major at the Polytechnic Kathryn Story. Entitled “A Chunk of the Pond,” it was com posed of three sections: first, a 12x14-foot press-molded and carved tile floor representing a pool; three free-standing sculp tures, representing water splashes, were integrated into the floor. The second element consisted of three 19x19-inch tile murals in low relief and one 42x29-inch mural in high relief, all depicting scenes composed of plant forms. The final component was a group of seven ceramic wall sculptures portraying largerthan-life berries. Berries are a recurrent theme in this installation. They appear first as a small detail in one of the murals. In the next, they become the central focus. Finally, in the wall sculptures, they are isolated and presented as generic berries, viewed through a giant magnifying glass. The tile floor ties the elements of the installation together. In order to view the murals up close, one has to walk on the floor. Its surface is heavily grooved and the splashes present clear obstacles, forcing the viewer to look downward. These splashes refer to a favorite childhood pastime—skipping stones across the water. The images were built up with clay; the pieces were then carved on the upper side and hollowed from the back. All were covered with low-fire matt and glossy glazes of varied colors, textures and intensity. Storys work is inspired mainly by an appreciation of nature and memories of the region where she grew up. She now lives in John Berry’s “Head over Heels,” approximately the desert Southwest, but still recalls the trees, dampness, smells, 19 inches in height; at the Arlesford Gallery, moss and undergrowth of her native Indiana woodlands. She near Winchester, England. uses landscapes in a broad sense to express her concepts of beauty, happiness, balance, unity and variety. Regent Street (now the University of Westminster), Berry went The pieces in this installation combine elements of reality on to study painting at St. Martins, then ceramics at and imagination. Including many references to time and space, Wimbledon School of Art. they engage the viewer with references to the mysterious and His first job was as a hand painter and designer at a commer strange, as well as the familiar and nonthreatening. cial pottery; during the 1960s, he helped found “Group One Four,” a group of artists who exhibited in galleries around the Susan Goldstein and Larry Watson world. Currently, Berry divides his time between studios in An exhibition of works by 13 members of the Kentucky Guild London and Poitou, France. of Artists and Craftsmen was on view recently at the Guild Gallery in Berea, Kentucky. Representing both traditional and Kathryn Story contemporary styles, the featured worlds included ceramic by Lisa Mandelkem sculpture by Susan Goldstein and vessels by Larry Watson. On view recently at New Mexico State University in Las Cruces Goldstein uses textured slabs to create pieces that appear to was a room-size installation by master’s of fine art candidate be fabric, while Watson, whose teapot is shown on page 26, 24 CERAMICS MONTHLY Up Front Gail Kendall fruit bowl, 12 inches in diameter, coil-built earthenware with glazes and luster, multifired in an electric kiln, $275; at Gallery 1021: Lill Street, Chicago. Larry Watson teapot, 10 inches in height, porcelain, reduction fired to Cone 9; at the Guild Gallery, Berea, Kentucky. patterns, Oestreichs stoneware forms are thrown and altered, glazed, then fired in wood and salt kilns. Kendall s coil-built vessels are decorated with underglazes, glazes and overglazes, then multifired in an electric kiln. Her work, she says, refers to “manufactured ceramics in form and elaboration, while employing techniques used in the earliest examples of pottery making many thousands of years ago. “It is to the private life of the individual that I address most studio efforts,” she adds, “with the hope that these tureens, bowls, teapots and other serving pieces will enhance the routines and rituals that frame the intimacy of our lives at home.” Simon Ho “01,” an exhibition of ceramic sculpture by Halifax, Nova produces functional works with sculptural tendencies. Through Scotia, artist Simon Ho, was featured recently at Anna his forms and surfaces, he hopes to make a connection between Leonowens Gallery in Halifax. Working with stoneware, Ho function and nature. Gail Kendall and Jeff Oestreich Functional vessels by Gail Kendall, Lincoln, Nebraska, and Jeff Oestreich, Taylors Falls, Minnesota, were exhibited through October 31, 1998, at Gallery 1021: Lill Street in Chicago. Influenced by his apprenticeship at the Leach Pottery in En gland, his travels, and art deco architectural elements and Simon Ho’s “Care,” approximately 31 inches in length, stoneware with dry matt glaze, fired to Cone 6; at Anna Leonowens Gallery, Halifax, Nova Scotia, Canada. surfaces his pieces with a dry matt glaze fired to Cone 6; some are then sandblasted to achieve a “lighter color and impart a quiet feeling.” Ho uses ceramic form, surface and color to express the phi losophy of Taoism: “According to Taoism,” he says, “the whole universe started from Tao. Tao created One. One created Two. Two created Three, and Three created everything in the Uni verse.” In his works, “form and space are used to explore the harmony of the world and our life.” Jeff Oestreich vase, 8¾ inches in height, thrown and altered stoneware, glazed, wood and salt fired, $115. 26 The Suomi International College of Art + Design Established in 1996, the Suomi International College of Art + Design (SICAD) is a division of Suomi College, which was founded a century ago by Finnish immigrants in Hancock, Michigan. SICAD is the first design school in the United States to combine contemporary Finnish design and education meth ods with a program based on fine arts and business. The college offers bachelor of arts degrees in either fine arts (with an emphasis in ceramics, fiber, painting and drawing) or CERAMICS MONTHLY January 1999 27 groupings, then, come to represent precise interaction, raucous conversation or an amalgamation of both.” Focusing on the development of line in many of her groupings, Strasser renders it in two and three dimensions, design (in four areas of concentration: ceramic design, fiber design, visual communication and product design). Students are “both by carving the surfaces with a metal drawing tool and incorporating fine wire,” she explains. “The use of wire lends also required to take courses in business and marketing, and both a sculptural quality to the line and physically binds the line and the form. The work is intended to convey a conflicting message: that the line is both scarlike and aggres sive, but also lyrical and inquisitive.” Most recently, Strasser has been interested in the closed box form. “Because of its private, inaccessible interior space, my tendency is to question that space and abrade it to find what could emerge,” she says. “The openings made by wire or needle tool provide an entrance both physical and psychologi cal. Like the vessels, the boxes are made in series, which convey community. Their difference lies in the tension be tween the rigid and the organic in the individual boxes.” Up Front Instructor John Brookhouse and students during a ceramics course at Suomi International College of Art + Design in Hancock, Michigan. Ceramic Sculpture by Women Artists Intending to show the variety of approaches to ceramic sculpture, and “how clay can transcend the craft aspect of ceramics and become a very expressive medium,” curator Liz Biddle invited six artists—all women—to exhibit their work serve internships in business/industry environments so they will have the skills necessary to begin their own business. Both degree programs are meant to be completed in three years. Dharma Strasser Wall installations by Oregon ceramist Dharma Strasser were on view recently at Nancy Margolis Gallery in New York City. The installations consisted of abstract geometric shapes or vessel forms (sometimes over 50) that were arranged on the wall to create linear, circular or rectangular patterns. “By their close Dharma Strasser’s “Cobalt Box Drawings,” 41 inches in length, earthenware with glaze and wire; at Nancy Margolis Gallery, New York City. proximity and occasionally protruding elements, the pieces create relationships with one another that can be at once an tagonistic, playful, harmonious and quizzical,” Strasser noted. “The groupings stem from a long-held interest in the cer emonial and ritual properties of ancient ceramic vessels. In understanding my own sense of ceremony, I found my pre dominant rituals (or rites of passage) to be the English tea ceremony (passed down from my father) and large, ethnic feasts (passed down from my mother). WTiat binds these two very different ceremonies is their element of human intimacy. The 28 Ann Christenson’s “Snowfall at Boiling River,” 21 inches in height; at the Clay Art Center, Port Chester, New York. in “On Fire.” On view through November 28, 1998, at the Clay Art Center in Port Chester, New York, the show featured sculpture by Ann Christenson, Pullman, Washington; Eva Melas, Sana Musasama, Sylvia Netzer, New York City; Cheryl Tall, Stuart, Florida; and Martha Winston, Newton, Massachusetts. Shown from the exhibition is an example of Ann Christenson’s abstract work; “Snowfall at Boiling River” utilizes incising and layered slips and glazes to achieve a dialogue between form and surface. CERAMICS MONTHLY January 1999 29 New Books Post Office Box 257, Howe Hill Road, North Pomfret, Vermont 05053. Practical Solutions for Potters by Gill Bliss Rare Spirit “The best way to learn about making The Life of William De Morgan 1839—1911 pottery is, of course, by experimenting for by Mark Hamilton yourself....Working through difficulties and Obituaries on William De Morgan “re finding solutions to problems is part and parcel of finding your own individual way of membered him first and foremost as a novel ist, mentioning the ceramics as a venture using clay,” observes the author of this wellwhich ended in fail illustrated question-and-answer guide. ure, financially.” But, “Sometimes, however, a helpful hint or timely as the author of this explanation...can save hours of struggle and biography notes, “the frustration, and it is with this in mind that wheel has turned full this book has been written.” The text is divided into six sections— circle” and De Mor gan is now known for equipment and materials; form, function and design; handbuilding; throwing; deco his ceramic work. Born in 1839, De rating; and glazing and firing. Often, there is Morgan entered the more than one answer to a question. For Royal Academy at age example, there were three responses to “Some of my oxides fire to an unpleasant metallic 20 to study painting. He soon discovered that he was not a good painter, though, and black. How do I prevent this?” started concentrating on design. His career as The first answer notes that “many oxides an artist-potter dates from the year 1869. need to combine with a glaze to develop their In 1872, De Morgan set up his first true color potential. Copper and cobalt, for pottery business, although he “was not a example, remain a dull metallic black if no glaze is present. Check that your pots do not potter in the sense that he ‘threw’ pots,” says have any raw patches where the glaze is Hamilton. “He employed throwers, but...was missing underneath never known to have thrown one himself. He the metallic patches.” always, however, designed the decoration The second answer which went on to his vases, plates, dishes and recommends applying tiles.” From 1872 to 1882, De Morgan pro less oxide: “Dense, me duced over 300 different designs for tiles. tallic color can form The imagery was influenced by Eastern in a glaze where an ware, the Iznik in Turkey being the most overload of oxide important, and Italian Renaissance art. His causes a burning ef experiments in glazes for tiles led to his “redis fect.... It can be diffi covery” of lusterware. “Luster was nothing new; it had been made in the Near East, cult to estimate how thickly a solution of Turkey, Egypt, Spain and Italy....There wasoxide is lying in brushwork decoration, but [however] a certain amount of mystery at assessment becomes easier with experience.” tached to its production, which was and still The third answer is to work with the is very difficult, with a high rate of failure.”metallic effect. “Glazes that have an overload After retiring from ceramic design work,of coloring oxides can be used to good effect De Morgan began writing novels, some of on decorative and sculptural pieces [but not which became best sellers. When he died inon] domestic ware, because the extreme quan 1917, the obituary in the Times gave more tity of oxides can seep into food during use.” 192 pages, including glossary and index. 611 importance to his career as a novelist than as a ceramic designer. “It is more than a little color photographs; 28 sketches. $29.95. SterlingPublishingCo., Inc.,387Park Avenue, South, ironic,” comments Hamilton, “that while De Morgan’s ceramic work is eagerly sought New York, New York 10016-8810. after by collectors,...his novels have been The Art of Firing forgotten except in reference books, and not by Nils Lou one of them is in print.” 250 pages, including appendixes on a game invented by De Mor “The art of firing relies heavily on the gan, his paper on lusterware, the marks on science De of firing, but it ultimately means Morgan’s ceramics; list of locations where De using common sense mixed with intuition Morgan pottery can be seen; sources and and experience,” observes the author of this references; bibliography; and index. 35 color updated and expanded guide to ldlns and and 10 black-and-white photographs; 8 firing. “Adding knowledge, most problems sketches. $45. Trafalgar Square Publishing, can be dealt with, symptoms understood and 30 CERAMICS MONTHLY January 1999 31 New Books proving fuel efficiency, burner sizes and con The use of refractory coatings is also ex structing a basic natural gas burner. plained, as is measuring the firing process The following three chapters focus on using such tools as pyrometric cones, pyrom the panic element removed. Most firing prob firing with wood and salt. Lou also provides eters and instruments lems will yield to a common-sense approach a fuel-saving firing schedule to Cone 10, anthat determine com if there is a fundamental understanding of the explanation of firing up and cooling down,bustion as efficiency. dynamic processes involved.” well as controlling heat losses, burning wood The final two The book begins with a look at the mateand sawdust firing. “Wood firing obviouslychapters provide de rials used in the construction of kilns; typesrequires of significantly more attention to the signs for specialty kilns kilns; and flue, bag wall and sealing solutions; firing process than gas-fired kilns,” he re (such as a variation of then covers heat and reduction/oxidation marks. “But, it is a reasonable way to go if his you Minnesota Flat atmospheres in kilns. The next chapter on live in an area where the smoke will not cause Top design for salt burners includes such topics as design and a problem, and where there is good access firing, to an electric kiln operation, installation, types of burners, imclean, dry wood.” with gas reduction and a temporary wooden kiln) and troubleshooting tips. “Ifyou rely on an objective analysis and use common sense coupled with knowledge,” says Lou, “you can solve most of the firing problems likely to come up. On the other hand, it is easy to be encumbered with habit and subjective re sponses to various situations. Each of us can diagnose and solve the problems. We just need to know the principles and how to apply them.” 96 pages, including list of resources, appendix and index. 23 color and 35 blackand-white photographs; 22 sketches. $24.95, softcover. Gentle Breeze Publishing, 490Kane Court, Post Office Box621484, Oviedo, Florida 32762. Or, A &C Black Limited, 35 Bedford Row, London WC1R 4JH, England. Deruta A Tradition of Italian Ceramics by Elizabeth Helman Minchilli “There are more than 300 ceramic firms in Deruta today, making it one of the biggest ceramic producers in Italy,” states the author of this nicely illustrated survey. “But if quan tity may ring of impersonalized industrializa tion of a craft, the briefest of trips to Deruta dispels this view. This little town is a place where the human touch is always in evidence. The handcrafted element conveys itself in the shapes, textures and colors of the finished works... .Although certain steps have changed over the centuries (with the introduction of electricity), the basic process remains very much as it was 500 years ago.” The book is di vided into three sec tions, with the first covering the history of Deruta ceramics, from the 1300s to the 20th century. Artists in Deruta had been produc ing ceramics for some time when tin glazing, later known as majolica, became a popular decorating technique. “Although many towns made their own ceramics, this craft began to take on a central role in Deruta’s economy, and in 1336, three auditors and attorneys 32 CERAMICS MONTHLY January 1999 33 New Books telli’s. After working 17 years at another make you think.’” 170 pages, including list of factory, Margaritelli opened his own worksources, museums and churches, bibliogra shop. Specializing in decorative and orna phy, and index. 166 color and 33 black-andwere elected to oversee the guild’s affairs,” mental pieces, he and one assistant “produce white photographs; 2 sketches. $35. notes Minchilli. “By the mid 14th century, only a few hundred pieces per year, each one Chronicle Books, 85 Second Street, Sixth Deruta had assumed its role as the regionalcompletely unique. Because of his extremely Floor, San Francisco, California 94105; see producer of ceramics....Production far sur low and unpredictable production, he rarelywebsite at www.chronbooks.com passed what could be sold locally. Deruta had exports his pieces. His dedicated clients will progressed beyond the typical small-town ingly make the pilgrimage to his shop. Ceramic Form kiln to become a major exporter.” “T like to think of my creations as books, Design and Decoration The second section looks briefly at the to be picked up, looked at, enjoyed,’ by Peter Lane Deruta ceramics tradition, while the third Margaritelli says. ‘There is always something First published in 1988, this revised edi examines the Deruta of today, profiling sixnew to be learned from one of my pieces. tion includes new illustrations of examples of studios, including that of Antonio Margari-These are objects of attention that should bowl and bottle forms by contemporary pot ters. “These two basic forms, one ‘open’ and the other ‘closed,’ represent the two extremes of vessel shapes,” explains the author. “Most other vessel forms are extensions or variations falling somewhere between the two. It is those differing proportional relationships within these two ‘family groups’ that provide opportunities for endless study and enjoy ment, while the ele ments of pattern, color, tone and tex ture add further in finite possibilities for exploration.” Lane first discusses design considerations, shaping techniques, variations, etc. Vari ous sources of inspiration for artists, such as ancient ceramics, nature and architectural elements, are covered next, followed by a chapter on decoration (designs that fit the form, carved and incised, inlaid and lami nated clays, textural variations, etc.). “An interesting exercise is to take a simple, basic form...and to work out as many different ways as possible for treating the surface in order to complement and accentuate the form and, thereby, overcome its anonymity,” Lane comments. “Although there can be no guarantee of success, the thought processes involved are certain to extend one’s under standing and appreciation of that special relationship between form and surface.” Finally, Lane talks about tradition and innovation in ceramics, including the “enor mous potential” of using computers as de sign tools. Working with “a graphical, three-dimensional software program...can serve to illustrate what might be difficult otherwise to imagine or to arrive at by con ventional means.” 256 pages, including bib liography and index. 243 color and 202 black-and-white photographs; 164 sketches. £30 (US$45, Can$62). A dr C Black, 35 Bedford Row, London WC1R 4JH, England. Published in the United States by Rizzoli International Publications, 300Park Avenue, South, New York, New York 10010; (800) 522-6657. 34 CERAMICS MONTHLY January 1999 35 Video it fits in the corners of the mouth.” Finally, Marshall throws a large bowl off a bat placed on the wheel head. “Making pottery is an evolutionary pro Robert Sperry cess,” he comments. “You learn by making lots and lots of pots. Being a studio potter A Northwest Master Through interviews with the artist, sev means you must repeat your designs. You eral of his former students, an art historianmust have the facility to be able to dupli and a critic, this video examines the work cate your good designs, and that takes an and life of ceramist/teacher/printmaker/ acquired amount of skill.” Approximately painter/filmmaker Robert Sperry. Describ30 minutes. Available as VHS videocasing himself as an experimentalist, Sperry sette. $22.95; or for all three on one videocommented that he focused on combining cassette, $59. Free shipping. To order, “the ideas of art and the ideas of science contact Derek Marshall: telephone (800) 497into something that makes kind of visual 3891, fax (603) 284-6237, e-mail [email protected] or see website sense to me.” Most of his daywork was done in black-www. derekmarshall. com and-white. “With color,” he said, “you’re ...trim! purporting to tell the truth. “Trimming...leaves a strong mechani “It’s not easy being an artist,” he ob served. “There’s a certain arrogance that cal statement that should be muted in goes along with it, or can be nurtured by it.relation to the pot,” comments Derek I think that’s one of the main disadvan Marshall in this final video of the threetages to it. You think that the world thinks part series. Demonstrating the Japanese methods of trimming, he uses sharp steel that art’s important. And it’s not true!” blades, rather than the western-style loop Sperry joined the arts faculty at the tools. Using these blades is not easy, he University of Washington in 1955, later says, but they trim much faster when “you becoming chair of the ceramics program. After retiring in 1982, he continued to get the hang of it.” They are quick and easy to make; teach part time as professor emeritus. He died in 1998 from cancer. Approximately Marshall forms one from strapping steel. 20 minutes. Available as VHS videocas- These tools, he explains, “peel” the clay sette. $25. Northwest Designer Craftsmen, instead of scraping it away. Marshall uses chucks to trim his pots; Post Office Box 31611, Seattle, Washington after tapping the chuck to center, he holds 98103-1611. it in place with several wads of clay. A coil ...throw! of clay is then placed around the rim of the In this second video of a three-video chuck and allowed to dry for about 5 series (the first, ...center!, was reviewed in minutes, before he places a bowl on top and the June/July/August 1997 CM), New taps it to center. Noting that “trimming Hampshire potter Derek Marshall demon should be less time-consuming than throw strates the Japanese techniques used for ing,” he goes on to trim several bowls of throwing, for the most part, off the hump. various shapes, as well as a mug. For large There are several benefits to throwing in pieces, he centers the work on a bat covered this manner, says Marshall; for example, it with foam board. saves time and it is easier to get your hands “The trimmed base of the pot must around the work. relate to, or harmonize with, the thrown After wedging some clay and talking body of the piece,” Marshall explains; how about the tools used for throwing, Marshallever, “in general, the trimmed surface throws four bowls off the hump, using should not try to emulate the quality of the three pulls for each, with an added pull for thrown surface. Thrown surfaces are plas shaping. “The bowl is finished when it’s tic, undulating and smooth. The wellthe shape you want it to be and the wall trimmed surface is clean, crisp and decisive.” thickness is equal,” he notes. Approximately 30 minutes. Available as To throw cups off the hump, he first VHS videocassette. $22.95; or for all three throws the clay into a fairly thick, flat plate on one videocassette, $59. Free shipping. form, then, with his right thumb on the To order, contact Derek Marshall: telephone inside and his hands on the outside, he (800) 497-3891, fax (603) 284-6237, folds the sides up. “The rim of a cup shoulde-mail [email protected] or see flare slightly at the top,” he says, “because website www. derekmarshall. com 36 CERAMICS MONTHLY January 1999 37 38 CERAMICS MONTHLY ASoj ourn in Japan by Dale Huffman I am a potter. For nearly two decades I have supported myself by produc ing porcelain tableware. My pots have been satisfying but tighter than they would have been in an ideal world. Several years ago, I was asked to teach at two colleges and a community college simultaneously. It was madness: driving all over this county and into the next, teaching ceramics, sculpture and an intro to art history. At adjunct professor rates, I wasn’t earning much; however, the credit column held a much needed break from the studio. Then, in 1996, I was fortunate enough to attend IWCAT (Interna tional Workshop for Ceramics at Tokoname). I had long dreamed of going to Japan, but doubted that the dream would become a reality. Five and a half weeks working alongside ceramists from around the world, while immersed in a culture with a long his tory of ceramic art, was overwhelming. On returning home, I experienced se vere culture shock. I had no idea how fast the days would pass, nor how much I would “Tokoname no Tsubo,” 16½ inches in height, wheel thrown miss Japan today. An express train, the from Kotodai clay, gas fired in Tokoname. Haruka, took my wife Betsy and me from Kansai to Kyoto. Arriving around dusk, we elected to walk the short dis little English, a little Japanese, and soon things like: “Where is the train sta tance to our ryokan (bed and break we understood where we were. We were tion?” and “How much does this apple fast). We were captivated by the sights, about to leave when the man spoke cost?” My Japanese was occasionally sounds and smells in the small back briefly to his wife, then drove us to our helpful, but generally unnecessary. Al streets, so different from home, but ryokan in his microvan, all the while though they say they know little En soon realized that we were not where apologizing for the lack of seats in the glish, some Japanese speak it well. we thought. back. We experienced similar kindness Japanese trains are clean, efficient Outside a tiny appliance store, a from total strangers daily. and punctual. We had gotten rail passes: young man was at work closing up. I had taught myself several hundred mine for one week and Betsy’s two. A “Sumimasen, kore wa doko desu ka?” I nouns and adjectives, basic sentence friend had correctly warned us that a asked, holding out our map. He waved structure and a few verbs—what I called train leaving other than the scheduled us inside where the light was better. A “survival” Japanese. I concentrated on time is the wrong train. January 1999 39 PHOTOS: DALE HUFFMAN, MICHAEL RAY Japan left me with vivid memories of the ancient and the modern. On our first full day there, we visited a temple complex in Kyoto. It was an island of tranquility in the teeming city. With the recurring sound of a large bell toll ing and slowly dying away, the smell of the incense, the curls of smoke rising past the background of the ancient temple, this was a place seemingly im mune to the flow of time. Also forever with me is the rush of rainy countryside past the window of the shinkansen (bullet train). A mass of bicycles at a crossing, then rice fields raced past, blurred into impressionism by the rain-streaked window. Sometimes the modern and the an cient coincided: as with the couple at a festival in Ueno who were dressed in magnificent traditional kimonos, he talking on a cellular phone. Japan is a potters dream: Fish-scale tile roofs in colors ranging from iron “Ocholko,” 21/2 inches in diameter, stoneware with Oribe liner glaze, wood fired in an anagama to Cone 14. “Tokoname no Chawan,” 6 inches in diameter, wheel thrown from Shigaraki clay, fired to Cone 9. 40 CERAMICS MONTHLY “Sara,” 7 inches square, porcelain, fired to Cone 9. red to a beautiful cobalt blue. Stores with ceramics galleries and generous departments of handmade pottery. Ex tensive ceramics collections in the art museums. Myriad museums dedicated solely to ceramics—sizable ones, like the Aichi Prefecture museum, and little gems, such as those in the Seto-Mino area. Countless ceramics galleries. Fi nally, there are the potters “pilgrim age” destinations, including the Raku family museum, Kanjiro Kawai’s house and studio, and Shoji Hamadas house and studio. Tokoname, a town of53,000 people, is one of Japans six ancient kiln sites. It has a ceramics history museum, a number of excellent ceramics galler ies, and many, many smaller galleries and shops specializing in ceramics. I was told that roughly one person in a thousand is a potter. There is a “Pottery Path,” a pictur esque self-guided tour of studios and ceramics sites—complete with a tre January 1999 mendous noborigama (climbing kiln)—in the twisty, narrow streets of old Tokoname. Additionally, there are large factories that produce terra-cotta sewer pipe, sanitary ware and tile, as well as small factories producing such things as decorative figures. Along the pottery path are walls and foundations made of ceramic discards: bottles, crocks, sewer pipes, used kiln shelves, saggars and shelf supports. These com prise an amazing visual feast for any one, but especially so for a ceramist. Every summer, IWCAT brings to gether clay artists from around the world. In 1996, 14 from 9 countries participated. We lived with host fami lies and worked together at Higashi Sho Gakko (East Elementary School). Workshop staff and volunteers made sure that we were well supplied with tools and materials, and local potters came to demonstrate. We also toured studios and traveled together to Seto, Mino and Shigaraki. Tokoname wel comed us with open arms and sent us home with a lifetime of memories. Too soon it was time to return to America. Boarding the train that last day at Kabaike Station, I felt as if I were leaving home, not returning. My host mother accompanied me to the sta tion. There were tearful good-byes when the train arrived. During my seven weeks in Japan, I had been privileged to study, first hand, Japanese ceramics and design. I had learned the differences and the simi larities among peoples half a world apart. I had been shown tremendous hospitality and kindness. I had gained new friends, as well as a new family. In an effort to explain the impact of the trip to Japan to my host father, I wrote, “This was my most important experience since I finished college 25 years ago.” My time in Japan served to push my work further along the path charted years earlier. As I have told friends, “I 41 went to Japan standing at the edge of a cliff. While I was there, I jumped.” I had gone with an admiration and an intellectual understanding of a Japa nese aesthetic based upon simplicity, asymmetry and tactile complexity. Moreover, I had been making pots for years that were heading in that direc tion. By working and visiting with Japa nese potters, seeing great pots in abundance, and becoming familiar with a population genuinely appreciative of pottery, I developed the beginning of an intuitive understanding of this aes thetic. I started to understand it with my hands and my heart, as well as with my head. Periodically, I suffer from culture shock. Here in America, as one who has chosen to survive as a potter, I frequently feel out of place. With clar ity, I remember realizing that I felt very much at home in Kyoto, despite being unable to read signs or understand all but the most basic phrases. This feeling has persisted. I remain strongly influenced by the Zen sensi bility that underlies much of what I experienced in Japan. I have vivid rec ollections of my eyes tracing the swoop of roof lines and curls of in cense at the temples we visited. I still vibrate with the plaintive sound of the bell. Now I grapple daily with how to integrate all this into my life as an American potter. A “Tsubo,” 10½ inches in height, stoneware with coarse silica, side fired on seashells in an anagama to Cone 14, by Dale Huffman, Pittsburgh, Pennsylvania. Along the “Pottery Path,” a picturesque self-guided tour of the ceramics sites in Tokoname, walls are made of ceramic bottles and sewer pipe. 42 CERAMICS MONTHLY Legitimately LOWER taxes by Mark E. Battersby 0 ur income tax rules are quite clear: if a ceramics-related ac tivity earns any income, that income must be reported and taxes paid. If there are legitimate expenses associated with earning that income, they may be used to offset or reduce the income amount before figuring the tax bill. That’s right, even an avocational potter or ceramics artist must add all of the extra income produced by the ceramics activity to his or her per sonal taxable income and pay the taxes due. At the same time, the expenses of that ceramics activity may be used to offset all or part of the activity’s income. For some potters and ceram ics artists, there will be no activity income, but a lot of leftover expenses. In order for these losses to count toward reducing tax liability, they must qualify for so-called “business losses.” Is your ceramics-related activ ity a “tax” business? Do the legitimate expenses of that activity exceed the income it produces? It’s surprisingly easy to qualify as a “tax” business; no profits are necessary. Every professional potter and ce ramics artist should be familiar with the rule that an activity must show a profit in at least three out of five con secutive years in order for the Internal Revenue Service to accept it as a busi ness. In reality, that profitable-years test means only that the tax law requires the IRS to accept the activity as a business. Another section of the same law allows small businesses, such as those run by potters and ceramics artists, to make an end run around the profitable-years test by utilizing a nine-point test to prove that a legitimate tax busi ness exists. With the nine-point test, the potter or ceramics artist can dem onstrate to the IRS auditor that there is an “intent to show a profit” from the ceramic art and/or craft activity. An intent to show a profit indicates the existence of a business. In other words, if a ceramics activ ity qualifies as a “business,” a potter or ceramics artist can employ some of the expenses that are left over after the activity’s income has been offset as “losses.” Those business losses from the ceramics activity can be used to reduce taxable income from other sources, such as another job or sav ings. All that is required is an “intent to show a profit” from the activity— not profitable years. Naturally, anyone involved in an activity strictly for pleasure with no hope—or intent—of ever turning a profit, should not attempt to fool the IRS. The tax rules not only add inter est and penalties to any intentionally underpaid taxes, but there is also an additional penalty for willful misrepre sentation of facts or outright fraud. Whether the activity produces a profit or there is only an “intent” to make a profit, using the routine ex penses associated with ceramics pro duction as tax-deductible business expenses makes a great deal of sense. Those business expenses, after all, off set income from the activity. Plus, the losses created from too many expenses and too little activity income can be used to offset income from other sources. However, before rushing to convert a pleasurable activity into a pleasurable tax business, it should be noted that business start-up costs are not immediately tax deductible. Business start-up costs are the ex penses that are incurred before busi ness operations actually begin. They often include accounting fees, adver tising expenses, travel, surveys, legal fees and training. These start-up costs are capital expenses and capital ex penses are only deductible over a num ber of years. When it comes to the assets or property used in the ceramics activity, most potters and ceramics artists usu ally recover costs for a particular asset (such as machinery, office equipment or even the studio) through deprecia tion. Other start-up costs can be re covered through amortization. Depreciation is a tax deduction that represents a reasonable allowance for the exhaustion of property used in a Whether the activity produces a profit or there is only an “intent” to make a profit, using the routine expenses associated with ceramics production as tax-deductible business expenses makes a great deal of sense. January 1999 43 trade or business, or property held for the production of income. To depre ciate is to systematically deduct or “write off” the cost of this business asset over a period of time, as specified by our tax laws. With depreciation, larger deductions are often available in the early years of an asset’s life to help offset the costs of acquiring that property. Amortization, on the other hand, means that the potter or ceramics art ist deducts a portion of the start-up costs in equal amounts over a period of 60 months or more. If you don’t choose to amortize those start-up costs, you generally cannot recover them until you sell or otherwise go out of business. As mentioned, the costs of getting started in business, before business op erations actually begin, are capital ex penses. However, if the attempt to go into business, even a “tax” business, is not successful, the expenses incurred trying to establish that business fall into two categories: 1) The costs incurred before mak ing a decision to acquire or begin a specific business. These costs are per sonal and nondeductible. They in clude any costs incurred during a general search for, or preliminary in vestigation of, a business investment possibility. for these costs. The cost, basis or book the activity may appreciate in value. 5) The success of the taxpayer in value of those assets will be recovered carrying on other activities. when they are disposed of. 6) The taxpayer’s history of income Proving a Business of losses for the activity. How many Surprisingly, our tax law doesn’t dif years have losses been shown? Are the losses increasing or decreasing? ferentiate between hobbies and busi 7) The amount of occasional nesses. Rather, the tax rules refer only to activities “not engaged in for profit.” profits, if any, earned by the activity. Just because something is enjoyable doesn’t make it a “hobby” even to a skeptical IRS. Has this activity ever produced a profit? How does the amount of profit compare to the amount of losses? Or, compare to the amount invested? 8) The financial status of the tax payer. Do you have other sources of income? Is the activity being used to shelter other income? 9) The elements of personal plea sure or recreation. Just because some thing is enjoyable doesn’t make it a “hobby” even to a skeptical IRS. How ever, the personal pleasure or recre ational aspects of any activity must be weighed when attempting to qualify it as a “tax” business. Naturally, no one of these factors will be enough to convince a skeptical IRS auditor that a “for-profit” or a “not-for-profit” exists or doesn’t exist. However, taken as a whole, both pot ters or ceramics artists and the IRS Surprisingly, our tax law doesn’t differentiate between can form a pretty conclusive idea of whether an activity is a “tax” business hobbies and businesses. Rather, the tax rules refer only or not. With a “tax business,” every potter to activities “not engaged in for profit.” and ceramics artist can create his or her own “tax shelter” to reduce their 2) The costs incurred in an attempt What are your reasons for engaging tax bills—legitimately. With a genu in a ceramics activity? Do you have ine “intent to show a profit,” reduced to acquire or begin a specific busi ness. These costs are capital expenses any prior experience in this area? What tax bills may even make it appear as if and may be deducted as a capital loss preparation did you do prior to enter Uncle Sam is picking up part of the tab for your daywork. ing this field? if you do not go into business. 3) The time and effort expended The costs of any assets (again, even the studio or shop), acquired during carrying on the activity. How much The author A tax and financial ad the unsuccessful attempt to go into time do you spend engaged in viser, Mark Battersby writes regularly business are part of the basis or book daywork? How much assistance do about small-business taxes for several you get from others? publications, and syndicates a weekly value of those assets. A potter or ce 4) Expectation that assets used in column carried by over 60 newspapers. ramics artist cannot take a deduction 44 When it comes to determining whether a given activity is engaged in for profit, the tax law clearly states that all facts and circumstances must be taken into account. Thus, our ninepoint test. The income tax regulations con tain nine specific areas that Congress determined the IRS should consider when making the decision as to whether any ceramics activity is actu ally engaged in for profit. These nine points are: 1) The manner in which the activ ity is carried on. What types of books and records are kept? What changes were made to eliminate losses? What type of promotion is being used to increase income? 2) The expertise of the taxpayer. CERAMICS MONTHLY Stan Welsh by Tobin Keller tan Welsh’s exhibition at the Cabrillo College Gallery in Aptos, sL/ California, represented work com pleted during the last ten years—a pe riod of many changes. Some resulted from travels to Europe, specifically to Savona, Italy, in 1990. More occurred following a move to Santa Cruz from Oakland in 1993. Welshs interest in clay began at age 16, as a student at Claremont High School. He studied with Jerry Turner, who had been a student of Paul Soldner at Scripps College. Welsh quickly ex hausted the high school’s resources, so Turner introduced him to Soldner, who informally adopted Welsh into his ce ramics program. “Being around the Scripps pot shop and hanging out with the grad students as a 16-year-old kid was a great experience,” he recalls. “I was also included in the graduate semi nars that met at Soldner s house—just observing and watching students show slides and discuss their work. I remem ber one time the graduate seminar took a trip into Los Angeles to visit with Fred Marer, to see his contemporary Ameri “A Question of Balance,” 46 inches in height, clay with glaze and can ceramics collection, so I just jumped stain, fired to Cone 04, 1988. into the back of the car. That was a great afternoon!” It was during this time at Scripps that he met Jun Kaneko, then a gradu ate student. Welsh was fascinated by the large, handbuilt structures that Kaneko developed—a direct influence on his own work. “Jun allowed me to quietly visit his studio while he worked. I was as invisible as possible, just ob serving. There was never any interac tion. Just watching him was fascinating.” In 1972, Welsh left Southern Cali fornia to attend the Kansas City Art Institute, where he studied ceramics with Ken Ferguson and sculpture with Jim Leedy. “When I got to KCAI, I remem ber one of the first things I wanted to do was coil construct big shapes. It didn’t matter much what the shapes were; I just wanted to feel the same energy that Jun Kaneko was feeling. I’d also discov ered the work of Henry Moore, so I “Vigil,” 25 inches in diameter, wheel-thrown and borrowed a lot from him.” handbuilt terra cotta, with stains and glazes, 1990. January 1999 “Green Kochina,” 50 inches in height, handbuilt terra-cotta bottle with mixed media (wood, cloth and porcelain teapot), 1994. 46 After graduating in 1974, Welsh moved back to California, taking a job at Berkeley Art Foundry to earn enough to afford a studio, equipment and sup plies. Over the next few years, he as sembled a body of work, consisting mostly of clay sculpture, which was pre sented in his first one-person exhibition at the Richmond Art Center in 1978. Also in that year, Welsh finally met Pe ter Voulkos, who became a generous supporter and friend. “Pete rented my wife and me our first studio space in Berkeley. It was down on the tracks in an industrial building owned by Pacific Steel. The space was located right next to his space, so it was an opportunity to get to know Pete and his wife Ann as friends and neighbors. He was very gen erous in introducing us to the Bay Area “Red Figure,” 66 inches high, low-fired arts community.” clay with fabricated steel base, 1998. The year culminated in a move to New York to pursue graduate studies at Alfred University with Tony Hepburn. for me was getting these complicated Welsh’s graduate work continued his surfaces to work with the sculpture.” investigation of ceramic sculpture, em In the late 1980s, Welsh became in phasizing extruded form and exploring terested in mixed-media sculpture. This raku firing. “All of the work in my M.F.A.work often combined clay with found thesis show was made with extruded objects and black-and-white photo bars of clay assembled together to make graphs. “I stopped using much color free-standing sculpture, ranging between and started using mostly black. I wanted 3 and 4 feet. The work emphasized to focus more on the forms and less on landscapes and was made from sculp the surface decoration, so I got into a ture clay mixed with 50% grog.” monochromatic treatment, using mostly After graduation from Alfred, Welsh black,” he explains. again returned to California, eventually This marked the beginning of social settling at the Dome, the studio com and political content in Welsh’s sculp plex and home owned by Voulkos in ture, an exploration that has carried Oakland. Working at the Dome in through the ’90s: “My work was start cluded use of Voulkos’ large kiln, en ing to be informed by social influences abling Welsh to increase the scale of his and attitudes concerning things like en coil constructions. vironment and economy. I’m not inter In 1980, when he joined the faculty ested in making political art that is at San Jose State University, Welsh be dogmatic or preaches. This new work gan attaching traditional clay forms, moved away from the purely subcon such as plates, bowls and pitchers, to scious and intuitive approach I had in the large coil-built forms. Pitchers be the ’80s.” came noses, cups became mouths and Welsh took his first trip to Europe in handles became arms. Expansive areas the summer of 1990. He had been asked were left unadorned so that he could to organize a study tour in Italy for a work the surfaces. “I was carving and group of San Jose State ceramics stu drawing onto the surfaces and glazing dents. Invited by Italian ceramics artist them with lots of colors. The challenge Sandro Lorinzini, Welsh traveled with CERAMICS MONTHLY January 1999 47 seven graduate students to work for nearly two months in the studios of the Ceramic School of Albisola Superiore, the Guiseppe Mazzotti Factory and the Lorenzini studio. At the Mazzotti Factory, the artists could experiment with the centuriesold traditions. “They had hundreds of molds spanning three generations. I used to make three-dimensional as semblages on plates. The plates were about 26 inches in diameter. I used majolica glazes over the entire surface The 1993 move from Oakland to with details highlighted in cobalt and Santa Cruz was a major transition from gold luster,” Welsh recalls. the urban studio complex of Peter At the Lorenzini studio, they were Voulkos to a relatively secluded moun tain home/studio located on 3 acres and challenged with more conceptual re sponses to the ceramics process, while surrounded by redwoods: “Having the Ceramic School of Albisola Supe moved from an industrial warehouse riore provided them the opportunity to space of 2000 square feet, I had to scale work collaboratively on handbuilt and down. This was difficult, because I find wheel-thrown forms. The raku firing of it much easier to work on a larger scale; this collaborative work became an open- however, I’ve enjoyed the challenge and think the work has gotten stronger be air public performance. cause of it.” His imagery was also influenced by the move: “Being on the ocean inspired me to work with water as an important image. Other images of landscape, such as birds, branches and rock formations, have become central to the work.” Recent work features a complexity of forms built onto each other and unified with a single color satin-matt glaze. “I’m really enjoying the satinmatt glazes, because the surface has a dull waxy quality that seems unlike glaze. I don’t like glossy surfaces, be cause they seem to have a kitsch quality that distracts from the strength of the form,” Welsh says. He now uses form to communicate emotion and content. It is this process of distillation and refinement that al lows Welsh to focus on the simplest and most direct ingredients of the work. Many elements are familiar: head shapes, musical instruments, human limbs, birds. “First, I make one large shape, then I make a wide range of smaller shapes. I keep all these shapes leather hard, then assemble the smaller shapes onto the large shape. The fun part for me is putting all these shapes together to create one unified sculp tural form.” The relationship of these shapes to one another is an exploration into the subconscious. The objects are still and observed. It is the purity of form, along with the complexity of composition, that transcends the mundane object. But it is also the objectification that lends strength to the work and makes it “Evidence,” 40 inches in height, handbuilt terra cotta, with black glaze quite tangible. ▲ over dark blue commercial stain, 1992, by Stan Welsh, Santa Cruz, California. 48 CERAMICS MONTHLY Smoked and Pit-Fired Porcelain by Rebecca Urlacher W; orking with porce Once the majority of lain has tested my the piece has been built, imagination, taxed my cre the challenge is to make ativity and tried my pa sense of the form. How is tience. While it is among the opening going to re the most difficult clays to late? Does it need a lid? build with, I work with Will carved lines add to porcelain because of its the liveliness? At times, I physical attributes. am overwhelmed by all As my understanding of the possibilities; however, the medium grew, I found I like the fact that this that the potter s wheel was approach allows me the not allowing the creative flexibility to work with expression I was after. Sure, out a game plan or blue numerous mugs and print. By far, the most bowls, all of the same ba enjoyable aspect of hand sic size and shape, could building with porcelain is be the result of throwing this process of discover merely a couple hours, but ing new forms. Even that was not what I wanted when the piece is not suc to do with porcelain. cessful in the end, I am Working at this expedi always able to learn some tious pace was not condu thing each time I sit down cive to creating individual to build. form. Instead, building by The next few days are hand satisfies my artistic laborious, as I scrape, sand Slab-built vase, approximately 21 inches in height, sensibility. and sometimes carve the porcelain, smoked with newspaper. Each piece requires a surface. I scrape with a week or two of attention. metal rib when the piece To begin, I construct a strong base. If I clay. At the same time, I try not to place is leather hard. Carving is done at the want a rounded bottom, I pinch a bowl; restrictions upon myself when I’m de stiff-leather-hard stage. When the form otherwise, I cut the base from a rolled ciding how the piece should be shaped. is bone dry, I sand with silicon carbide slab. The wall is then built to about a My main objective is to build a form paper. After the bisque firing, some of foot in height by piecing small slabs with pleasing lines and curves. these forms are smoked, while others together. I stop building at this point so When I think I have pushed the are pit fired. the clay has time to dry just enough to porcelain as far as it will go, I take a step Smoke firing in a metal can is ex be able to support additional pieces. backward to see just what is happening. tremely simple and quick. I start by These forms can exceed 24 inches Because I choose not to use molds or crumpling some newspapers, then pack and require patience and complete fo props, it is extremely important for me them on the bottom and around the cus. During the building process, it is to look the piece over carefully at this sides of the can. Next, I nest the piece important for me to know the charac point. Are the sides warping? Is the bot in the paper and pack more crumpled teristics and physical limitations of the tom sagging? newspaper around it. Finally, I light the January 1999 49 Porcelain vase, approximately 20 inches in height, constructed from small slabs, smoked in a metal can filled with newspapers. 50 CERAMICS MONTHLY Vessel, approximately 15 inches in height, pit-fired porcelain. Pit-fired vases, to approximately 16 inches in height, handbuilt porcelain, by Rebecca Urlacher, Eugene, Oregon. Handbuilt porcelain vase, approximately 15 inches in height, fired in a pit filled with charcoal, driftwood, manure, seaweed, copper carbonate and rock salt. January 1999 paper and let it burn for approximately able to me at the time), manure, sea two minutes, before pulling the piece weed, copper carbonate and rock salt. from the can (while wearing heat-resisThe work is then carefully nested in tant gloves). this layer, followed by more copper, salt The longer the piece is left in the and combustibles. I usually heap the pit burning paper, the darker the color. This with sticks, leaves, grass—basically what smoking technique is somewhat con ever is safe to burn. trollable and produces subtle shades of Once it starts to smoke steadily, I brown that contrast nicely with the cover the pit with sheet metal. The fire white of the porcelain. usually burns overnight, maybe ten If I am after a more dramatic effect hours or so, and the pit can be un with a wide range of colors, the piece is loaded in the morning. During the pit firing, I try to let go pit fired. The size of the pit depends on how many pots are to be fired, but in of any preconceptions as I anxiously general the dimensions are 4 feet wide await results. Colors can range from by 6 feet long by 3 feet deep. browns and black to shades of orange, After about 20 pounds of charcoal red and purple. No two forms ever come are poured into the pit and lit, I orga out of the fire the same. In a manner of nize all the items that will be going into speaking, the fire becomes a collabora the pit. Once the charcoal is nearly red tor. Occasionally, a bad firing will oc hot, it is spread evenly over the bottom cur; however, these are outweighed by of the pit. I then toss in a layer of the unimaginable and stunning results driftwood (or whatever wood is avail that pit firing can produce. A 51 Contemporary Puerto Rican Ceramics by L. Robin Rice “Animalia de un solo verano (Animals of a lone summer),” to 23½ inches in height, stoneware with oxides, by Susana Espinosa, San Juan. With the help of the San Juan ceramics collective Casa Candina, Philadelphia’s Clay Studio and Taller Puertorriqueno teamed up to mount a major exhibition of contemporary work: “Ceramica Puertorriquena Hoy/Today.” Following its debut in Philadelphia, this celebra tion of a resilient and distinctive culture traveled to Baltimore for exhibition at the Alcazar Gallery of the Baltimore School for the Arts. Curators Jimmy Clark of the Clay Studio and Doris Nogueira-Rogers of the Taller Puertorriqueno selected work by 22 ceramists. By including four state side residents of Puerto Rican ancestry and five other artists born outside the island, they also acknowledged the com 52 plexity of Puerto Rican art and its some times problematic relationship to the United States. While the show opened in the cen tenary year of the United States’ annex ation of the island, it is not a celebration of this event, which the curators de scribe in the catalog as “questionable.” A plebiscite to determine the island’s future political relationship to the United States is a serious topic of de bate in Puerto Rico; however, by acci dent or design, most of the work in “Ceramica Puertorriquena” is apoliti cal. The show simply offers an opportu nity to examine the contemporary manifestations of a tradition that has risen from near extinction. Some Influences The cultural history of the island is simultaneously rich and tragically ob scure. Looking at the variety and tech nical virtuosity in this show, it’s hard to believe that an important ceramic heri tage had been virtually destroyed. On going underwater archaeological exca vations in Cuba are telling us more about the Tamos, pre-Columbian in habitants of Puerto Rico and other Caribbean islands. The Tainos came to Boriquen, as they called Puerto Rico, from South America in the 15th cen tury, joining earlier groups who made sophisticated red and white pottery. The Tainos welcomed Columbus to the is lands, only to be utterly destroyed in CERAMICS MONTHLY “Bandera Boriqua (Puerto Rico Flag),” 22 inches in height, recycled ceramic tile and fused glass, by Carlos A. Alves, Miami Beach, Florida. “Disco IV,” 72 inches in diameter, stoneware washed with vinegar, accented with oxides, by Jaime Suarez, San Juan. January 1999 53 “Venecia (Venice),” 27 inches in height, raku vessel, by Mario Quilles, Santa Fe, New Mexico. “Vasijas Movil I (Mobile Vessels),” to 22 inches in height, sculpture clay and porcelain, pit fired, by Rafael del Olmo, San Juan. “Cono con Esfera I, II, III (Cone with Sphere I, II, III),” to 11 inches in height, glazed stoneware with wood, by Aileen Castaneda, San Juan. 54 “Sculpture I,” 72 inches in height, stoneware with oxides, engobes and acrylics, by Lorraine de Castro, Carolina, Puerto Rico. CERAMICS MONTHLY “Ruina I, II, III,” to 12 inches in height, stoneware with porcelain slip and oxides, by Toni Hambleton, Caguas, Puerto Rico. “Bebes Divinos (Divine Babies),” to 25 inches in height, wood-fired stoneware, by Ada Pilar Cruz, Lake Peekskill, New York. January 1999 less than two generations. Not until the middle of this century was an attempt made to revive the production of tradi tional crafts, including ceramics. The eclectic mix of works in the exhibition fuses the contributions of three distinct groups. Pre-Columbian production included that of archaic peoples who made crude functional pot tery, the subsequent Saladoide or Igneri inhabitants who apparently introduced agriculture and highly developed pot tery around the first century of the Com mon Era, and the Tainos. A second important element is the colonial Spanish, who introduced Chris tianity and the potters wheel. Religion is an important theme in Puerto Rican art, but the potters wheel plays a rela tively minor role in this exhibition. There are notable exceptions. Self-taught artist Bernardo Hogan combines and reassembles simple thrown geometries in “Vasija Cono I, II and III (Cone and Base I, II and III)” in ways that can be viewed as both abstract and vaguely an thropomorphic. Manuel A. Pagan, a vocal proponent of functional pottery, makes fancifully deconstructed teapots, notable for their exaggerated handles with fat vinelike curls, extended trunk shaped spouts and lids shrunk to the dimensions of tiny stoppers. Beginning in 1513, African peoples came to the island as slaves, adding a third important ingredient to Puerto Rican art. Though unable to bring ob jects, the Africans retained the memory of design traditions, which continue to enrich local practice. An intriguing ex ample is African mask-making, which led to the production of indigenous masks like the horned El Vijigante, a Moorish devil popular in festivals of Spanish origin. A fourth obvious influence is per haps the most important today: ceram ics as a world art form. This is not “folk” art. Although the traditions and conventions of Puerto Rican craft are often adapted, the aesthetic and techni cal vocabulary of these works is interna tional. For example, though the El Vijigante mask and other festival masks are typically made from coconut shells, gourds, wood or papier-mache, the char acteristic spiky, many-horned structure seems to be echoed in some of the works in this exhibition. Rafael del Olmos 55 “Vasija Cono I, II and III (Cone and Base I, II and III),” to 18 inches in height, glazed stoneware, multifired, by Bernardo Hogan, San Juan. “Vasijas Movil (Mobile Vessels)” are sup ported on attenuated intertwining horn like cones. And Miami-based Carlos A. Alves’ “Toro con Rosas (Bull with Roses)” is a wall-mounted plaque that resembles a mask, especially with its human—not bovine—eyes. It’s as sembled from recycled ceramic toilet parts and other appropriated elements. containing who-knows-what elements of personality. Lorraine de Castro makes life-size but disturbingly incomplete human fig ures. The tortured and sinister “Sculp ture I” stands on one leg. He has one hand, no arms and wears nothing but a beaklike cone mask over his face. A cluster of threatening hornlike cones at the base of the figure fill the space where its missing foot should rest. Vessel Forms Clearly, all the work in the show Social and Cultural Themes proposes more than functionality. Aileen “Toro con Rosas (Bull with Roses),” Castaneda’s serene “Cono con Esfera The most obviously Puerto Rican 19 inches square, recycled toilet parts, (Cone with Sphere)” series refines a ves work in the show is Carlos Alves’ vitreous china and aluminum, sel form. Each eggshell-thin cone rests “Bandera Boriqua (Puerto Rican Flag),” by Carlos A. Alves. on a cushion-shaped wooden base in a wall-mounted Puerto Rican flag cised with graceful wavelike bands. Adriana Mangual’s “Cabeza (Head),” and flaunting images of consumer goods Another artist residing in the United Ada Pilar Cruz’s pair of “Bebes Divinos from fruit and turtles to shoes and States, Mario Quilles produces raku- (Divine Babies).” The gentle freestand trucks. Shiny, eye-catching red, white fired vessels constructed from folded anding figures were displayed against a dark and blue glazes suggest tourist plea lapped sheets of clay, emphasizing its red backdrop with a white dress silhou sures, not the more ancient heritage of graceful ductile qualities. Some bowls ette painted on it. Their rounded wood- the land. with cracked bottoms are “mended” fired bodies seem to have just emerged This is evoked by the powerful work with wire stitches. from the ovens of creation, though they of architect Jaime Suarez. His huge wallare pierced, fetishlike, with nails. mounted “Disco IV” in rough red earth The Human Figure Cubism and surrealism converge in enware with a vertical rectangular Among the figural works were Susana Adriana Mangual’s handbuilt head, in opening in the center is composed of Espinosa’s strange oxide-colored stone which the features—eyes, mouth, cheeks many tiles, and scored with arcing lines. ware animals with tragic human faces, and chin—are so many tiny drawers The raw surface, typical of much Puerto 56 CERAMICS MONTHLY “Mira como beben los peces en el rio (See how the fish drink in the river),” 46 inches in height, porcelain and metal sink, stoneware with oxides, by Franklin Rodriguez Graulau, Ponce, Puerto Rico. Rican daywork, is marked, maplike with occasional raised squares and rectangles. This evocation of a mysterious heroic past is flanked in formal symmetry by two dense atavistic vessels on pedestals. The vicissitudes of industrialized so ciety are portrayed in Franklin Rodriguez Graulau’s mixed-media fountain “Mira como beben los peces en el rio (See how the fish drink in the river).” In this commentary on water pollution, a real red-painted faucet continuously pours “Cabeza (Head),” 15½ inches in height, stoneware with oxides, water into a sink painted with fish-scale by Adriana Mangual, Santurce, Puerto Rico. patterns. Bug-eyed ceramic fish, also painted in lurid, almost toxic, colors, are mounted above and around the “Renacer Antillano structure, while the base is decorated (Antillean Rebirth),” with broken industrial tiles stamped 12 inches in height, glazed earthenware, “Authoridad des Aqueductos Puerto assembled from Rico Agua.” wheel-thrown The porcelain-slipped and oxide- elements, by Manuel stained surfaces of Toni Hambleton’s A. Pagan, Rio “Ruina I, II & III (Ruin I, II & III)” Piedras, Puerto Rico. add to a ghostly presence, suggesting the remnants of a long-dead past. But, luckily for us, the past lives on in today’s Puerto Rican ceramic art, the variety and sophistication of which is well represented in “Ceramica Puertorriquena Hoy/Today.” ▲ January 1999 57 Suze Lindsay by Samantha Moore McCall “Bud Vases,” 7 inches in height, thrown and altered stoneware, salt fired. i: f the Penland School of Crafts ever needs an advo cate to boost its reputation, Suze Lindsay may be just the woman for the job. Why Lindsay? Well, perhaps its because its nearly impossible to discuss ceramics with Lindsay without her referring to the craft school every few sentences. That’s not always the case, of course, but sometimes it appears that way. Indeed, the bonds between the two are as strong and striking as the sinuous lines and bold markings of her salt-fired stoneware. Lindsay has been a studio potter since 1992, and she credits much of her success to this 69-year-old crafts school located in the foothills of western North Carolina. “Penland is such a magical place because of the creative energy that’s there and the exciting people who come through it,” she says. “Penland opened up a whole new world for me. I don’t want to sound hokey, but it really changed my life. There’s no question I wouldn’t be where I am today without it. I’ve really always kept my roots there, even while I was at graduate school.” As outgoing and cheery in person as her func tional stoneware pots are bright and fun, Lindsay is known for her once-fired, highly decorated vases, teapots, mugs, plates, pitchers, candelabra, platters and bowls. “I’ve seen and held so many pots over the years that I think I can fairly say that among the potters today who once-fire and alter their work like Suze does, she’s the best,” says Joe Bova, who is currently serving the first year of his two-year term “Bouquet Vase,” 15 inches in height, wheel-thrown and altered stoneware, brushed with slips, salt fired. January 1999 59 “Candelabrum,” 28 inches in height, thrown and handbuilt stoneware, with slips, salt fired. 60 CERAMICS MONTHLY “Gravy Boats,” to 8 inches in height, thrown and altered stoneware, with dipped and brushed slips, salt fired. as Penland s chairman of the board of irreversibly setting the wheels of destiny trustees. Bova, a ceramics sculptor and into motion. art professor, recently stepped down Indeed, that one fateful workshop from his post as director of the School eventually led Lindsay into becoming a of Art at Ohio University (Athens) but core student at Penland for a year and a continues to teach ceramics there. “Suzeshalf. This status allowed her, among work is really eye-dazzling and her up other things, to take seven workshops beat personality shines through in her in one summer, in exchange for work pots,” he adds. ing part time at the school. About the Lindsays singular work did not evolve same time, Lindsay started to sell her overnight. In fact, it has matured over a work at craft fairs, and she even began decade of unyielding hard work, dedi thinking she was on her way to becom cation and commitment to clay from a ing a production potter. woman who majored in speech pathol “Then, one of my first teachers at ogy as an undergrad at Pennsylvania Penland told me during a workshop State University in 1980. not to quit my day job, and she was Indeed, Lindsay originally started right,” Lindsay admits good-naturedly. “playing” (a verb she frequently uses “I went into Penland thinking I could when talking about how she works) with be a production potter, but it was a very clay as a hobby while teaching hearing- humbling experience for me to be impaired children in New Orleans in around such great potters all the time. the early 1980s. She recalls that “it took That was quite a reality check for me.” me two years to learn how to center.” Undeterred, she decided to go to But her teacher at the local community graduate school to further her studies center encouraged her to do a summer in clay, and was pleasantly surprised workshop at Penland, a suggestion she to learn that the university just down readily accepted, unaware that she was the road from where she was living January 1999 had one of the finest ceramics pro grams in the country. In 1989, under the direction of Linda Arbuckle and Joe Bova, then later Bobby Silverman and Kate Blacklock, she embarked on a three-year M.FA. degree at Louisi ana State University. While at grad school, Lindsay began to identify the vast array of historical references, natural objects and textiles that continue to influence and shape her work today. Among those influences are Mimbres pottery from the Ameri can Southwest, ancient Greek figures from the Cyclades, Japanese 16th-cen tury Oribe ware, textiles and designs from indigenous cultures around the world, and the trees in her own back yard. Not to be forgotten are her “pot tery heroes,” those who have influenced her work as well, including Linda Arbuckle, Clary Illian, Jeff Oestreich and Michael Simon. It was also at grad school that she began to really experiment with form, once firing, and altering and stacking pots. Simultaneously, she began playing 61 Suze Lindsay unloading a salt kiln at her studio in Bakersville, North Carolina. with the use of bold lines and repetitive designs—marks Bova now refers to as her “calligraphic strokes.” Following grad school, Lindsay once again returned to Penland, where she had been accepted as an artist-in-residence for three years. The residency pro gram provided her with a safe base from which to further develop her individual style and to launch her business career as a studio potter. “It was here and through this pro gram that I learned that it is possible for artists to support themselves and actu ally make a living by selling their work,” she says, repeating a message she fre quently shares with budding ceramists and students. “I was surrounded by all sorts of other artists, from glassblowers and paper makers to weavers and jewel ers, and was able to learn a great deal from them about how to financially support myself in the art world.” “Cappuccino Cups,” 4 inches in height, thrown and altered stoneware, with sgraffito decoration, salt fired. 62 CERAMICS MONTHLY Nowadays, she spends about 75% of her time putting in long hours, seven days a week in the studio she and her husband recently built on their prop erty in Bakersville, North Carolina, which—not by coincidence—is about 20 minutes from Penland. “Im spoiled rotten living in the com munity I do, completely surrounded by other talented artists,” says Lindsay. “I cannot imagine living anywhere else. Penland’s presence over the years has attracted a rich community of crafts people who have come here to live.” She spends much of the remaining 25% of her time on the road giving lectures, workshops and teaching at uni versities and craft schools. “This is al ways a really rejuvenating time for me. Its a time for me to question things, and I end up learning as much from my students as I hope they do from me,” she says. It is during these workshops and classes that she generously shares her techniques with students eager to learn more about how she alters and stacks thrown forms, as well as how she deco rates them in an earthy palette of stains, slips and glazes for salt firing. Most of her work is thrown on a treadle wheel, but she also enjoys handbuilding and often combines the two methods, frequently adding handbuilt elements to thrown pieces. For example, her 2- to 3-foot-high candelabra have a thrown base that’s been altered, but the three branches extending upward are handbuilt. For her bud vases, which are about 7 to 10 inches high, she often makes the base in slump molds, then adds a narrow cylinder to the top and attaches handbuilt feet or small handles. Except for the occasional mug or plate, rarely does one of her pieces es cape some form of alteration. In fact, many are ovaled, some thrown with bottoms and others without. Some forms are so animated they appear to have a stance and an attitude all their own, with some resembling sassy women with their hands on their hips. “I always rib the outside, too, to make a smooth surface while throwing so that my pieces will be easier to decorate later,” she explains. “And I really like to play January 1999 “Floor Candlestick,” 40 inches in height, thrown, altered and stacked stoneware, with dipped, brushed and incised slips, salt fired. 63 “Bud Vase,” 7 inches in height, wheel-thrown and handbuilt stoneware, salt fired. with proportion, and my method of ever, is a piece immersed completely stacking various volumes produces varia into a vat of glaze, let alone absent of any decoration. And no glazing session tion for surface decoration. “I make the same forms over and is complete without highlighting—es over again but they are never exactly the pecially the feet, lips and joints—with same twice, and that’s what keeps things black stain. “I make pottery to fulfill function interesting for me in the studio,” she says. “Also, I like the conversations pots and provoke visual as well as tactile de have when they are grouped together light,” she explains. “I like to think of and, as a result, I frequently make work pots as works of art that are integrated into our daily living through use and in a series.” All her pots are adorned with some participation. My hopes are that these pots please the person who uses them sort of repeated design or pattern, in cluding brushed swirls, circles, lines, dots and they suit that person’s needs. “I hope to give my pots a personality and leaves. The time she saves by buying ready that will invite use, whether it be for made clay, minimal trimming and once your first cup of coffee in the morning, firing is used in the decoration process. or a fancy dinner party,” notes Lindsay The bright yellows, greens, purples and in her artist’s statement. Her goal is “to make good, happy cobalt blues often found in the interior of her pieces provide a rich contrast to pots....I love it when people come up to the outside decoration. Splashes and dotsme after seeing my work and say, ‘You of color are also occasionally highlighted must be a happy person. It looks like on the outside of her work but rarely, if you have a great time in your studio.’” 64 Another of Lindsay’s goals is to do more collaborative work with her hus band, Kent McLaughlin, who worked as a studio potter for 18 years. Occa sionally, he throws pieces that Lindsay later embellishes with her earthy palette of glazes and slips. It’s an arrangement that works well for both and it’s one they’d both like to pursue in the future. And despite her vast array of sym metrical markings, part of Lindsay’s con tinued creative quest is for her to find her own marks. Symbols that she can call her own. “It’s exciting and fun to pick and choose among our historical influences, wherever they might come from. I con tinue to keep finding motifs from na ture, then rearrange them in different ways, but I’m still searching for my own personal mark. And part of that search is trying to figure out what a 20thcentury American mark is in ceramics. I haven’t found the answer yet.” ▲ CERAMICS MONTHLY “Canister Set,” to 11 inches in height, salt-fired stoneware, by Suze Lindsay, Bakersville, North Carolina. Recipes Suze Lindsays preferred clay body is Mustard Slip Phoenix, a blend developed and mixed Custer Feldspar............................. 30 % at Highwater Clays in Asheville. It is a 6 Tile Clay...................................... 30 smooth, light stoneware body with good Avery Kaolin.................................. 10 green strength for raw glazing and ex Grolleg Kaolin.............................. 30 cellent thermal shock properties. Slip is 100% applied at the leather-hard stage, with Add: Titanium Dioxide................ 15% thicknesses adjusted for brushing Glazes were adjusted for greenware by (thicker) or for dipping (thinner). adding or increasing bentonite; thus, Black Slip the following recipes may not fit Alberta Slip............................... 78.26% bisqueware: Ball Clay.................................... 19.57 Oribe Glaze Bentonite.................................. 2.17 (Cone 9-10) 100.00% Bone Ash................................. 1.05% Add: Chrome Oxide............... 7.61 % Custer Feldspar....................... 30.91 Cobalt Carbonate......... 1.63% Talc............................................ 7.81 Red Iron Oxide............ 1.63 % Whiting..................................... 22.36 Edgar Plastic Kaolin.............. 12.55 Willie s 6 Tile Slip Flint........................................... 25.32 Nepheline Syenite................... 9.80% 100.00% 6 Tile Clay................................ 68.63 Add: Copper Carbonate...... 5.49% Bentonite.................................. 1.96 Bentonite....................... 2.64% Grolleg Kaolin........................ 14.71 Flint........................................... 4.90 100.00% January 1999 Rob s Green Glaze (Cone 9-10) Colemanite............................... 4.7 4 % Strontium Carbonate............. 7.11 Whiting..................................... 17.06 Cornwall Stone........................ 71.09 100.00% Add: Copper Carbonate........ 9.48% Bentonite....................... 1.90% Pete Pinnell Strontium Matt Glaze (Cone 6-10) Lithium Carbonate...................................1% Strontium Carbonate....................... 20 Nepheline Syenite............................. 60 Ball Clay.............................................. 10 Flint.............................................................9 100% Add: Bentonite.......................................... 2% For turquoise, add 5% copper carbon ate. Use Epsom salts to prevent settling. 65 The Yixing Effect by Marvin Sweet s there a mystique about tea and tea Iutensils pots? Tea drinking and its attendant certainly have a history of ritual. Tea drinking seems to make you medi tative. You feel sapient by association. And what could suggest a more gra cious or genteel gathering than English high tea? When the sun never set on the Brit ish Empire, “time for tea” was heard in London and Hong Kong, Bombay and deepest, darkest Africa. I know that I once assumed the teapot must have been an English invention. As I grew and learned, I came to realize that when the English drank tea along the Bund in Shanghai or at the Peninsula Hotel in Hong Kong, tea and the teapot had come full circle to their place of origin. It is believed that tea drinking began in China with Buddhist monks. They appreciated tea drinking for its medici- “Nuclear Nuts Teapot,” 5 inches in height, 1991, by Richard Notkin, Helena, Montana. Pomegranate with nuts and fruit teapot, 5 inches in height, late 19th century, Yixing. 66 nal value. One tea could relieve head ache, another stomachache, and yet an other acted as a stimulant for long hours of meditation. With the spread of Bud dhism throughout the Orient, there fol lowed an increase in tea drinking. But how was the tea prepared and served? Initially, the tea leaves were ground into a powder, placed in a bowl, covered with boiling water, then stirred to a thick frothy consistency. As early as the Han dynasty (206 B.C.-A.D. 220), tea was placed in a clay bottle, suffused in boiling water, allowed to steep, then poured into a bowl. It was not until the Ming dynasty (1368-1644) that we see the advent of the teapot. The notion of tea and social refine ment initially began during the Tang dynasty (617-906). This was Chinas Golden Age. There was a luxurious, cosmopolitan capitol at Chang-an (present-day Xian). From there, the wonders of the East headed west along the Silk Road to Persia, Egypt and Eu rope. Drinking tea in social settings re flected the cultural blossoming and prosperity of the newly established mer chant class. From the Golden Age of CERAMICS MONTHLY Yixing teapot, 5½ inches in height, with Robin’s egg glaze, late 19th century. the Tang dynasty to the Classical Age of too long. By the time it was poured the Song dynasty (960-1270), tea drink from the bottom of the pot, the ing and its importance continued to tea had become acrid. So smaller grow. Socially, connoisseurs gathered to sizes for more delicate infusions sample exotic teas, appraise the quality were designed. of the water selected and show off7 the The imperial court had fa finery of their tea utensils. vored teapots made of gold The Ming dynasty, an era of peace or silver, porcelains and prosperity, sought to restore past glazed with celadon glories. Considered Chinas baroque or decorated with period, it was a time when imperial cobalt blue under tastes dominated. The prominence glaze or multi given to tea had reached an apex. Tea colored overglazes. was received by the emperor as tribute. However, the schol A cake of the finest tea was considered ars and mandarins beyond price. thought these vessels A new class of intellectuals became were ostentatious, the tea connoisseurs. They considered even vulgar. They tea drinldng an indispensable part of wanted teapots that their literary meetings. The first vessel were understated and that can be called a teapot began with subtle, simple but elegant, them. They wanted a pouring utensil refined yet earthy. that would reflect the sophistication of The collaboration that began betheir gatherings as well as their aesthetic tween the potters of Yixing and the sensibilities. scholar class of tea connoisseurs Typical of the earliest teapots was a pushed the functional and artistic quali large globular pouring vessel that had a ties of the teapot to new standards of short spout and fitted lid. The large artistry and workmanship—beauty at size, though, allowed the tea to steep for work in harmony with function. Over January 1999 time, three basic styles evolved in the ceramics center of Yixing. The natural istic, which resembles tree trunks, plants and flowers; the ribbed/segmented, which are stylized fruits, flowers and plants; and the geometric, which in clude spheres, cubes, cylinders, rect angles and the like. Near the end of the 17th century, Yixing teapots began to exert their in fluence in Europe as well. Tea drinking and chinoiserie were all the rage. Euro pean red pottery with unmistakable ref erences to Yixing prototypes was soon produced. Examples were first found in Holland, then at the Meissen Pottery in Germany and soon after in Stafford shire, England. Why then did it take so long for Yixing ware to gain a level of promi nence in the U.S.? After all, Yixing tea pots have been exported to the States Handbuilt teapot, 6 inches in height, 1998, by Peter Pinnell, Lincoln, Nebraska, 67 Tree-trunk-shaped teapot, 3 inches in height, late 20th century, Yixing. Folded-slab teapot, 9 inches in height, 1997, by Virginia Cartwright, Pasadena, California. 68 for well over 200 years. Clipper ships of the early 19th century returned with literally tons of ceramics. At that time, however, American buyers fancied the blue-and-white porcelains. What we must consider a mitigating factor for the current rise in stature of Yixing teapots is the advent of the uni versity-trained ceramist. During the Ming dynasty, teapots were designed and constructed as a collaboration be tween scholar and potter. Now ceram ists are empowered by personal scholar ship—the teapot maker coming of age. Like any vital artform, Yixing tea pots reflect their time and place. Their study reveals a precise but lyrical use of geometry, a reverence for nature and a gift for the narrative. One American artist who has thoroughly embraced the Yixing aesthetic is Richard Notkin. He has borrowed their formal qualities, along with the symbolic spirit of intent; but while his are capable of pouring, they are not for tea. CERAMICS MONTHLY Yixing-style teapot, 10 inches in height, 1997, by Nick Sevigney, Newport, Rhode Island. Notkins teapots are filled with ideas. His sense of scale and proportion, at tention to detail and use of the format as a vehicle for storytelling are in total harmony with their Eastern anteced ents. He borrows, but with honesty, reverence and a sense of homage. Yet his work reveals a totally separate cultural identity, expressing current situations. Along with Notkin, a number of other artists have come to understand and use Yixing ware as a wellspring. They include Peter Pinnell, Nick Sevigney and Virginia Cartwright. Their work continues to build upon the lan guage of art and tradition, transform ing teapots into utensils of sophistication and intellect; therein preserving the mys tique of the Yixing effect. The author Artist/educator Marvin Sweet teaches at Bradford College in Massachusetts; his collection of over 100 Yixing teapots spans the late 18th cen tury to the present. January 1999 Melon-shaped teapot, 3½ inches in height, 20th century, Yixing. 69 Onglaze painting, approximately 24 inches square, with brushed pigments on white glaze ground. The Slab Paintings of Linhong Li by Yuqian Chen translated by Yufang Wang T! hie life, soul and value of ceramics ie in innovation and personality, which are also important standards in distinguishing between art and craft. In the long history of China, the ceramic art of Jingdezhen has walked away from creation to inheritance. While past pe 70 riods produced different styles, such as the white porcelain of the Tang dynasty, the shadowy blue ware of the Song dy nasty and the famille rose of the Qing dynasty, the artistic achievements of the majority of modern Jingdezhen ceram ists rarely depart from tradition. One exception is the work of Linhong Li, professor of fine arts at Jingdezhen Ce ramic Institute. Professor Li places emphasis on the personality and creation of art, rather than common customs. To give him his due, it has been 30 years since he stepped CERAMICS MONTHLY into art circles. Early on, he studied oil painting and wood cuts. Later, he re ceived recognition for his traditional wash painting. Yet he remained unsatisfied with his achievements, until he began working with glaze-painted slabs. There is an idiomatic saying in China: “Deep roots give rise to flour ishing leaves.” It was his foundation in ceramics combined with his knowledge of oil painting, wash painting and gouache that led to this innovative work. The slab is formed by dry pressing. After a 1200°C (2192°F) firing, a white glaze is applied and the slab is fired again to 1000°-1100°C (1832°2012°F). On the fired glaze, Li brushes fluxed pigments in two stages. The first is for negative or cool colors, which are then fired to 800°C (1472°F). The sec ond is for warm colors, subsequently fired to 760 -780 C (1400 -1436 F).3|ab painting, approximately 24 inches square, with white glaze Professor Lis ceramic painting style and f|uxed pigments, multifired, is regarded as “breaking through the constraint of traditional ceramics.” While he places emphasis on materials, he uses modern painting techniques to aesthetic advantage, creating a mysteri ous, graceful realm of color. ▲ Pigments are applied in two stages: the first for negative or cool colors; the second for warm colors. January 1999 Multifired dry-pressed slab painting, approximately 24 inches square, by Linhong Li, Jingdezhen, China. Katy McFadden by Jan Behrs prevent water from freezing Seen from above, the fur in or around them. They also rowed ridges of the Pacific accommodate a pipe through Northwest stripe across the the center for stability. horizon like a series of dense, The clay, “one of the most receding shadows, a collage forgiving clay bodies I’ve ever of gray and gray-green hill worked with,” was formu sides sliding toward the sea. lated by George Wright (see It is a landscape of enormous the March 1998 CM). Hair firs and weather-worn moun of the Dog, which incorpo tains and, except during July rates nylon fibers and is 50% and August, it is drenched in grog, was designed for largelush, wet greenery. A few scale work. “It has its own snow-dappled peaks thrust personality,” McFadden ex their way above the masses, plains. “Rough, strong, and but in large part, the treeit fires the most beautiful covered slopes of this land warm toast color.” speak of gentle verdancy and McFadden glazes her work embracing solitude. at the greenware stage, often Gardens grow rapaciously with the following recipe, and in the Northwest; its nearly “Susan,” 48 inches in height, handbuilt stoneware, single fired to Cone 7, $1800. single fires over a period of impossible to live here and 24 hours to Cone 7: not be seduced by the desire to plant and nurture. And it is this ¾-inch-thick slabs edge on edge, rein Bronze Green Glaze palette of heavy clay soil, geologic up forcing the inside as she goes along. (Cone 7) risings and storm-washed coastline that Many of her 200-pound figures are built Whiting.......................................... 23% informs the ceramic sculpture of Port in sections for mobility. When fired, Kona F-4 Feldspar...................... 55 each section weighs about 25 pounds. land artist Katy McFadden. Outdoors is where McFadden feels “Gardeners are physical,” says McFad Edgar Plastic Kaolin................... 22 100% most at ease, and the garden surround den. “They’re not afraid of picking up Add: Cobalt Carbonate .............. 1% ing her studio and home, created by 25 pounds.” Copper Carbonate............ 3% She builds her imposing figures with garden designer John Benecki, inspires Lithium Carbonate........... 3% the large-scale figures she builds from the thickest slabs on the bottom to coun thick clay slabs, striated like rocky terbalance their height and weight. She Color is varied by adding oxides to the outcroppings rising from the earth as strives for the simplest, most basic ex base recipe. human forms. “The figures reflect the pression of the human form possible, Outdoor display energizes McFadlandscape, the rolling hills, the valleys and in the past few years, has begun to of the Pacific Northwest,” she says. consider the huge pieces as canvases, a den’s figurative forms—the play of light “They’re reminiscent of the way the unity of form and surface, onto which and shadow, and the growth of the veg she applies glaze drawings. Because of etation surrounding them, ensure they earth is formed.” Using a construction technique she their projected placement outdoors, all will be perceived differently as time of learned from Rudy Autio, she stacks sections are built with drainage holes to day, time of year and the garden change. 72 CERAMICS MONTHLY “The Mystery Between Us,” 60 inches in height, glazed stoneware, $2200. “Sculpture in a garden isn’t static,” she and color of plants punctuate the spaces munity and be supported by the com observes. “These pieces can be moved that surround them. “It’s also impor munity. Staying in the studio and the according to the seasons or depending tant to have two forms, to have dy making of work is a solitary process. on whether they’ll be seen from inside namic energy between them and to Exhibiting sculpture in a studio or gar or outdoors. They are really simple formscreate a Zen view between and beyond den setting, as well as in galleries, com that can evoke larger interpretations.” the forms themselves,” she says. “Three pletes the cycle by bringing it into the In the context of a landscape, other figures in a composite piece can be community.” senses become involved in the percep grouped closer together as a family, or McFadden, who coordinates and tion of sculpture: the sound of rain or separately, giving a feeling of isolation.” teaches in the ceramics department at wind; the movement of birds, animals Another reason McFadden makes Clackamas Community College out and spiraling leaves; the scent of flowers, work for the garden is the connection side Portland, says she got a vital piece herbs and fruit combine to produce a this offers to the community. She holds of advice on being a self-supporting art unique encounter at each viewing. public displays at her home each De ist early on from a friend who builds The natural hues McFadden uses in cember and June, sometimes with the furniture. Diversify, he told her. Besides her glazes complement her pieces’ earth- added elements of rain or ice. “An artist’sthe large, figurative work that you enjoy bound setting, where the texture, form role in society is to be part of the com doing, think of a way to make contact January 1999 73 Raku Fish,” 6 to 12 inches in length, stoneware with iron oxide glaze, $32 to $50, with your audience with smaller, practi across a surface changes how you see public now, and I have to leave room cal items that you can use to help sup the form. And you need to think of the for the dialogue between the piece and shadow, too. It takes a while to figure the person who purchases it. The entire port the other work. picture isn’t painted by me; how the Those smaller items have helped es out the best vantage point.” The place where McFadden’s work community or the buyers form rela tablish her reputation among local gar dening circles. Sold at plant nurseries, becomes part of her purchaser’s experi tionships with the pieces is their own her life-size raku fish mounted on metal ence is where she lets it go. “The pieces creative expression. I’m just opening up poles can be seen “swimming” over plotsaren’t mine anymore,” she says. “They’re an avenue for that dialogue.” A of zucchini or nasturtiums throughout the community. She also has begun making huge Alice-in- Wonderland teacups that lend a fairy-tale air to the garden and can serve as small fishponds. (Both the fish and the teacups were designed at gar dener Beneckis suggestion.) Benecki, who says he creates garden vignettes with the idea that they may attract sculpture as focal points, describes the interplay as an ecological balance between his desire to create beauty and sustenance, and McFadden’s search for settings to complement her work. In deciding how to place a piece of sculpture in the garden, McFadden ad vises: “Look at the features that are there already and work with what’s there. “Alice’s Teacups,” 30 inches in height, glazed stoneware, $400, Move around. The way the light moves by Katy McFadden, Portland, Oregon. 74 CERAMICS MONTHLY Artist’s Statement/Viewers’ Comments by Frank Ozereko T he viewing publics comments at and dramatic juxtapositions. These new work very sexual. I was prepared for 1 exhibition opening can reveal an pieces are almost theatrical in nature. “sensual” references because of the color how well the artist is communicating. Depending on your reference point, they combinations and tactile contrasts, but At a recent exhibition, I had the plea could be either very precious objects on I was not ready to think about each sure of listening to comments about my elaborate shelves or colorfully costumed piece as a sexual statement. work made by friends, colleagues, stu performers on some ancient stage. In a conversation with a minister, I dents and strangers. Afterward, I real “On a personal level, I am excited by was surprised to hear that my formal ized that the majority of the opinions these wall pieces because they combine framing devices were suggestive of were not only perceptive and encourag and unify a number of different types wombs—fertile, full and protective of ing, but they also were more daring and of work I have made in the past. They the objects within them. I realize that outrageous than my own artists state utilize my interests in decoration, color, this was a corollary to the sexual refer ment, which was more general. I have a design and the potential for surface rich ences, but the minister’s observations great fear of overstating, overinterpretingness and variety within many ceramic made me look again at my frames and or becoming too esoteric in my state forming and finishing traditions.” the contents. I enjoyed the reference ments. The opening-night viewing pub The intent of this statement was to and felt very good knowing that my lic was prepared to see all types of allude to issues without becoming too frame could suggest the miracle of birth imagery in my work and was quite will specific or particular. I wanted the work to a viewer. to speak for itself and didn’t want to ing to share opinions. After our conversation, I identified This is the statement I wrote regard direct the viewers into a didactic inter one of the pieces as looking very pretation of the pieces; however, many womblike. Glazed a subtle pink, tan ing the work on display: “This new body of wall-oriented ce came up with interpretations that I and white, “Datura” was named after a ramic work features still life’ imagery wouldn’t dream of putting down in an new flower in my garden; however, the within elaborate framelike formats. The artist’s statement. flowers in the piece were not true repro For instance, a student of mine pro ductions of this beautiful, bountiful pieces are elaborately carved and glazed. They are exuberant in color, texture, claimed that I had made some overt plant, which was labeled as “highly poi surface contrasts and tactile appeal. They sexual references. When I asked her sonous” by the greenhouse. Whenever I freely use and combine different ceramic which ones, she said they all were. She see this flower in my garden, I consider and cultural references within single told me that the way I used symmetry the irony of this beauty being lethal. pieces, making surprising, humorous and the sets of shapes I chose made the The thought of a swelling womb/frame “L’Orangerie,” 15 inches in height, with commercial slips and glazes, multiple firings in electric kilns. January 1999 75 holding a poisonous flower made me terms of technical accomplishment. My that they do not have much experience look at this piece in a very different way, students were amazed to discover that in the tactile arts. The student noted and I wondered if I had set up some everything I had made used the same that viewers at the exhibition were also deep, ironic statement that my viewers basic handbuilding skills that I teach in denied tactile experiences because these pieces begged to be handled, but touch my Ceramics I class. could interpret but I couldn’t. Sometimes viewers’ comments vali ing was forbidden. To her, some of the A good friend observed that my artist’s statement had excluded an im date decisions made by the artist. For surfaces of these pieces looked sugared, portant part of my life—gardening. She this series, I used a wide variety of tex good enough to eat. She found it frus commented that my love of flowers, tures and special fruit and vegetation is strongly present glaze effects. I be gan to worry that in my work. Perhaps I, like many gar deners, imagine that most people share I had gone over board and that the same love. Should I have made a reference to these very differ colored the importance of gardening to my ently work? If so, how long should this list of pieces would clash influences become? Is it enough that a with each other person could sense my love of flowers and make a very uneven exhibit. without reading this in my statement? Many viewers were pleased to find The comments references to art history in the exhibited from viewers indi work. It was as if they were on a scaven cated the opposite, ger hunt, searching for references in a though. Words title or in a formal element. Some were like “happy, hu surprised to discover that ceramics could morous, joyful” “Pre-Columbian Chinoiserie,” 26 inches in length, with multifired commercial slips and glazes. were voiced re refer to historical art sources and ob peatedly. jects that weren’t ceramic. Another student who admired the trating to be able to see, but not be Actually, every exhibition I have had has elicited questions about the nature tactile qualities of this work reminded allowed to touch. With this comment, I realized that of ceramics. Technical questions also me of a lecture I had given about a year abounded on opening night. I did not ago. I had remarked then that most most of the potters I know pride them include technical information in the beginning art students have had good selves on being good cooks. As I looked statement primarily because all too of high-school training in two-dimensional at some of the surfaces on some of my ten ceramic works are looked at only in art, sometimes even computer art, but forms, I admitted that a lot of my han dling of the invented objects in these frames were constructed the way some one (myself?) would prepare food. In some ways, my opening-night opinions are similar to those of viewers who make observations about their im pressions of works on view. In a sense, because my pieces are made one at a time, not constructed in the position they are to be displayed, and put away when they are finished, I was seeing them for the first time as well. After graduate school, most artists do not receive substantive reviews of their work. In some ways, encourage ment comes from the marketplace— certain colors, sizes, shapes sell and others do not. Insightful observations regard ing aesthetic decisions and imagery de velopment are relatively rare, making viewers’ comments a valuable tool for suggesting directions to travel in the future or recognizing a dominant theme “Datura,” 19 inches in height, with commercial glazes and slips, in an entire exhibit. A by Frank Ozereko, Pelham, Massachusetts. 76 CERAMICS MONTHLY January 1999 77 Call for Entries Application Deadlines for Exhibitions, Fairs, Festivals and Sales International Exhibitions January 15 entry deadline Rochester, New York “Porcelain ’99” (March 26-April 30), open to functional porcelain forms by artists residing in the United States, Canada or Mexico. Juror: Richard Zakin, professor of ceramics, State University College, Oswego, New York. Juried from up to 2 slides per entry (with SASE); up to 5 entries. Fee: $20 for up to 5 entries. For prospectus, contact Esmay Fine Art, 1855 Monroe Ave., Rochester 14618. February 1 entry deadline Los Angeles, California “International Erotic Teapot Show” (February 13-28), open to teapots in any medium. Juried from slides or photos (with SASE). Commission: 50%. Contact Parham Gal lery, 2847 Armacost Ave., Los Angeles 90064; or telephone (310) 473-5603. June 1 entry deadline Carouge, Switzerland “Prix de la Ville de Carouge 1999” (October 2-November 28), com petition theme is the functional teapot; works must be no more than 35 centimeters (approxi mately 14 inches) in height. Juried from 2 slides plus a short resume (30 lines maximum). Awards: 7500 SFr (approximately US$5000), 1000 SFr (approximately US$665) and 500 SFr (approxi mately US$330). For further information, con tact the Musee de Carouge, Mairie de Carouge, Case postale, CH-1227 Carouge. United States Exhibitions January 8 entry deadline Riverside, California “National Collegiate Ce ramics Competition” (February 22-March 19), open to ceramic-art students who have been en rolled during the 1998-99 academic year in a 2- or 4-year college program, or a graduate-level pro gram. Juried from slides. Juror: Sang Roberson. Fee: $20 for up to 2 entries. Awards: $2000. Contact NCCC ’99, c/o Judy Bronson, Riverside Community College, 4800 Magnolia Ave., River side 92506-1299; or telephone (909) 222-8275. January 14 entry deadline Sarasota, Florida Commission for artwork for Selby Library (permanent); open to artists who have received grants, awards or fellowships within the past 5 years; whose works are included in collections; who have had at least one exhibition at a museum or nonprofit exhibition space within the past 5 years; and who have completed other outdoor public commissions on a similar scale. Proposals juried from a maximum of 20 slides, resume, and 1 page about yourself (include SASE). Contact Sarasota County Arts in Public Places For a free listing, please submit informa tion on juried exhibitions, fairs, festivals and sales at least four months before the event’s entry deadline (add one month for listings in July and two months for those in August). Regional exhibitions must be open to more than one state. Mail to Call for Entries, Ceramics Monthly, PO Box 6102, Westerville, OH 43086-6102, e-mail to [email protected] or fax to (614) 891-8960. 78 Program, General Services Dept., 1660 Ringling Blvd., Sarasota 34236; or fax (941) 364-4709. January 15 entry deadline Wichita, Kansas “Art Show at the Dog Show” (March 1-April 7 and April 9-11), open to works in all media that include a dog as part of the subject matter. Juried from slides. Awards: $9500 in cash prizes; one $1250 purchase award. Con tact Mrs. Pat Deshler, 4300 N. Edgemoor, Wichita 67220; e-mail [email protected] or telephone (316) 744-0057/fax (316) 744-0293. January 16 entry deadline Chicago, Illinois, and Oconomowoc, Wisconsin “10th Anniversary Teapot Show” (February 28March 29 in Oconomowoc; April 4-May 10 Chicago). Juried from slides. Entry fee: $20. For prospectus, send business-size SASE to A. Houberbocken, Inc., PO Box 196, Cudahy, WI 53110. Galesburg, Illinois “GALEX 33” (March 13April 10), open to all media. Juried from slides. Entry fee: $20 for 4 slides. Awards: $2000. For prospectus, contact Galesburg Civic Art Center, 114 E. Main St., Galesburg 61401; or telephone (309) 342-7415. January 22 entry deadline Boston, Massachusetts “National Prize Show” (April 2—May 29), open to all media. Juried from slides. Juror: Peter Rathbone, vice president, Sotheby’s, New York. Awards: best of show, $2000; plus 10 other awards. Location: Federal Reserve Gallery, Boston. For prospectus, send SASE to Cambridge Art Association, National Prize Show, 25 Lowell St., Cambridge, MA 02138. January 24 entry deadline Chico, California “Chico Art Center’s 1999 ‘All Media’ Juried National Exhibition” (May 7June 13). Juried from slides. Fee: $25 for up to 2 slides. Awards: $500 best of show; four $250 awards. For prospectus, send #10 SASE to Chico Art Center, 1999 All Media Juried National Exhi bition, 450 Orange St., Ste. 6, Chico 95928. January 29 entry deadline Lancaster, Pennsylvania “National Crafts” (April 23-June 13), open to ceramics, fiber, metal, paper, glass and wood. Juried from slides. Entry fee: $25 for up to 3 entries. Juror: Joanne Rapp, owner, Joanne Rapp Gallery/The Hand and the Spirit, Scottsdale, Arizona. Awards: $2000. For prospectus, send SASE to National Crafts, Lancaster Museum ofArt, 135 N. Lime St., Lancaster 17602; or telephone (717) 394-3497. January 30 entry deadline Portland, Oregon “Eating Right; Surpassing Function and Changing Rituals” (March 23-May 2), open to works in all media. Juried from slides. Juror: Kate Bonansinga, art critic, historian. Cash awards. For prospectus, send SASE to Contempo rary Crafts Gallery, 3934 S.W. Corbett Ave., Portland 97201; or telephone (503) 223-2654. Ephrata, Pennsylvania “Seventh Annual Strictly Functional Pottery National” (May 8-30). Juried from slides. Juror: Warren MacKenzie. Fee: $20 for up to 3 entries. Awards: more than $3500 in cash and merchandise. For prospectus, send busi ness-size SASE to Jean B. Lehman, Director SFPN, Market House Craft Center, PO Box 204, East Petersburg, PA 17520. February 12 entry deadline Carbondale, Illinois “Clay Cup VII” (April 23—May 13). Juried from slides. Juror: Sandy Simon. Contact the School of Art and Design, SIUC, Carbondale 62901-4301, Attention: Clay Cup; e-mail [email protected] or telephone Kate Nelson, (618) 453-4315. February 15 entry deadline Northampton, Massachusetts “China Painting Today” (July 31-August 29), open to artists using CERAMICS MONTHLY January 1999 79 Call for Entries china-painting techniques. Juried from 5 slides, resume and artist’s statement (with SASE). No entry fee. For further information, send SASE to Ferrin Gallery, 179 Main St., Northampton 01060. February 16 entry deadline Boulder, Colorado “Celestial Seasonings: A Loose Interpretation IV” (June 24-September 11), open to teapots inspired by Celestial Season ings’ (herbal tea manufacturer) imagery, prod ucts, packaging or history. Juried from written or drawn proposals for original works plus slides of current work. Purchase awards: $10,000. For prospectus, send SASE to Leslie Ferrin, 163 Teatown Rd., Croton on Hudson, NY 10520. February 26 entry deadline Portland, Oregon “Below 2000” (May4-June 13), open to clayworks fired below 2000°F. Juried from slides. Juror: Mark Burns, ceramist/professor of art, University of Nevada, Las Vegas. Cash awards. For prospectus, send SASE to Contempo rary Crafts Gallery, 3934 S.W. Corbett Ave., Portland 97201; or telephone (503) 223-2654. February 27 entry deadline Lincoln, California “Feats of Clay XII” (May 1-22), open to sculpture, functional and non functional works. Juried from slides. Juror: Michael Lucero. Over $9000 in place, purchase and merit awards. For prospectus, send legal-size SASE to Lincoln Arts, PO Box 1166, Lincoln 95648. March 24 entry deadline Youngwood, Pennsylvania “Westmoreland Art Nationals—25th” (May 30-June 13 in Young- wood; traveling to Greensburg, Pennsylvania, from July 2-5). Juried from slides. Awards. Send legalsize SASE to Westmoreland Art Nationals—25th, RD 2 Box 355 A, Latrobe, Pennsylvania 15650; e-mail [email protected] or telephone (724) 834-7474. April 2 entry deadline Ingram, Texas “Origins in Clay” (July 18August 14). Juried from 2 slides per entry; up to 3 entries. Fee: $25. Cash and merit awards. Juror: Eddie Dominguez, assistant professor, University of Nebraska at Lincoln. For entry form, send SASE to Marc Brackley, San Antonio Potters’ Guild, PO Box 264, Bulverde, TX 78163. April 15 entry deadline Portland, Oregon “Growing Up with Roy: Exploring American Culture” (June 22-August 21), open to works based on 1950s television and Saturday-morning heroes. Juried from slides. Ju ror: Joe Bova, professor, Ohio University School of Art. Cash awards. For prospectus, send SASE to Contemporary Crafts Gallery, 3934 S.W. Corbett Ave., Portland 97201; telephone (503) 223-2654. Regional Exhibitions January 31 entry deadline Baltimore, Maryland“D.C. Clay” (May), open to artists residing in Washington, D.C., as well as the following Maryland/Virginia counties: Ar lington, Fairfax, Montgomery and Prince Georges. Juried from 5 slides. For entry form, send SASE to Leigh Taylor Mickelson, Baltimore Clayworks, 5706 Smith Ave., Baltimore 21209; or telephone (410) 578-1919. February 10 entry deadline Las Cruces/Santa Fe, New Mexico “From the Ground Up XXIII” (April 10-June 15), open to ceramics artists residing in Arizona, New Mexico, Texas and Northern Mexico. Juried from slides. Juror: Gina Bobrowski, professor of ceramics, University of New Mexico. For entry form, send SASE to Kathy Story, 9880 Sallee Rd., Las Cruces, NM 88011; or telephone (505) 382-7617. March 1 entry deadline Indianapolis, Indiana “Clayfest XI” (April 19May 14), open to current and former residents of Indiana. Juried from slides. Entry fee: $10. For prospectus, send SASE to Clayfest XI, University of Indianapolis, Dept, of Art, 1400 E. Hanna Ave., Indianapolis 46227. March 3 entry deadline Houston, Texas “Materials + Form 6” (March 5-26), open to works in all media by artists residing in Arkansas, Louisiana, New Mexico, Oklahoma and Texas. Juried from slides. Jurors: Nick de Vries and Sandy Zilker. Entry fee. Cash awards. For prospectus, send legal-size SASE to Art League of Houston, 1953 Montrose Blvd., Hous ton 77006-1243; for further information, e-mail [email protected] or telephone (713) 5239530 or fax (713) 523-4053. May 7 entry deadline La Crosse, Wisconsin*FISH Tales” (August 130), open to artists residing in Illinois, Iowa, Michigan, Minnesota and Wisconsin. J uried from 2 slides per entry; up to 3 entries. Juror: Fred Stonehouse, artist. Fee: $20. Awards: first place, $1000; plus two $500 prizes. For prospectus, contact the Pump House Regional Arts Center, 119 King St., La Crosse 54601. June 1 entry deadline Lexington, Massachusetts “The State of Clay 1999” (October 5-30), open to former and cur rent residents of Massachusetts. Juried from slides. Jurors: Polly Ann and Frank Martin from the 92nd Street Y Art Center, New York City. Fee: 80 CERAMICS MONTHLY January 1999 81 Call for Entries $20 for up to 3 entries. For prospectus, send SASE to the State of Clay, Ceramics Guild, Lexington Arts and Crafts Society, 130 Waltham St., Lexing ton 02421. Fairs, Festivals and Sales January 8 entry deadline Atlanta, Georgia “Sugarloaf Crafts Festival” (November 26-28). Juried from 5 slides, includ ing 1 of booth. Booth fee: $425. No commission. For application, send 3 loose first-class stamps for postage to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., #215, Gaithersburg, MD 20878; or telephone (800) 210-9900. Gaithersburg, Maryland* Sugarloaf Crafts Fes tival” (November 18-21 or December 10-12). Juried from 5 slides, including 1 of booth. Booth fee: $450-$550. No commission. For applica tion, send 3 loose first-class stamps for postage to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., #215, Gaithersburg 20878; or tele phone (800) 210-9900. Timonium, Maryland11 Sugarloaf Crafts Festi val” (October 8—10). Juried from 5 slides, includ ing 1 of booth. Booth fee: $495. No commission. For application, send 3 loose first-class stamps for postage to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., #215, Gaithersburg, MD 20878; or telephone (800) 210-9900. Novi, Michigan “Sugarloaf Art Fair” (October 22-24). Juried from 5 slides, including 1 of booth. Booth fee: $425. No commission. For applica tion, send 3 loose first-class stamps for postage to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., #215, Gaithersburg, MD 20878; or telephone (800) 210-9900. Somerset, New Jersey “Sugarloaf Crafts Festi val” (October 1-3). Juried from 5 slides, includ ing 1 of booth. Booth fee: $425. No commission. For application, send 3 loose first-class stamps for postage to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., #215, Gaithersburg, MD 20878; or telephone (800) 210-9900. Ft. Washington, Pennsylvania “Sugarloaf Crafts Festival” (October 29-31). Juried from 5 slides, including 1 of booth. Booth fee: $450. No com mission. For application, send 3 loose first-class stamps for postage to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., #215, Gaithersburg, MD 20878; telephone (800) 210-9900. Manassas, Virginia “Sugarloaf Crafts Festival” (September 17-19). Juried from 5 slides, includ ing 1 of booth. Booth fee: $395-$475. No com mission. For application, send 3 loose first-class stamps for postage to Sugarloaf Mountain Works, Inc., 200 Orchard Ridge Dr., #215, Gaithersburg, MD 20878; telephone (800) 210-9900. January 10 entry deadline Dauphin Island, Alabama “Tricentennial Art and Craft Show” (March 6-7). Juried from slides. Booth fee: $50. Contact Dauphin Island Art Guild, PO Box 1422, Dauphin Island 36528; telephone or fax (334) 861-5760. January 16 entry deadline Indianapolis, Indiana “29th Annual Broad Ripple Art Fair” (May 8-9). Juried from 3 slides of work plus 1 of display (with business-sizeSASE). Entry fee: $20. Booth fee: $140 for a 12x12-foot space. For entry form, contact the Indianapolis Art Center, 820 E. 67th St., Indianapolis 46220; see website at www.indplsartcenter.org or tele phone (317) 255-2464. 82 January 22 entry deadline Stevens Point, Wisconsin “Festival of the Arts” (March 28). Juried from 3 slides of work plus 1 of display (with SASE), and resume. Entry fee: $10. Booth fee: $60. Cash awards. For further informa tion, contact Festival of the Arts, PO Box 872, Stevens Point 54481-0872; or telephone Lora Hagen (715) 366-4377. January 31 entry deadline Frederick, Maryland*Frederick Festival of the Arts” (June 5-6). Juried from slides. Cash awards. For application, send SASE to the Frederick Festi val of the Arts, PO Box 3080, Frederick 21701; or telephone (301) 694-9632. February 1 entry deadline Baltimore, Maryland* Harbor Lights Fes tival of the Arts” (December 10-12). Juried from 5 slides of work and 1 of display, plus resume for new exhibitors. Entry fee: $10. Booth fee: $450$675. No commission. Contact National Crafts Ltd. ,4845 Rumler Rd., Chambersburg, PA 17201; e-mail [email protected] or telephone (717) 3694810/fax (717) 369-5001. Frederick, Maryland “25th Annual Frederick Art and Craft Festival” (May 7-9). Juried from 5 slides of work and 1 of display, plus resume for new exhibitors. Entry fee: $10. Booth fee: $300$400. No commission. Contact National Crafts Ltd., 4845 Rumler Rd., Chambersburg, PA 17201; e-mail [email protected] or telephone (717) 3694810/fax (717) 369-5001. Gaithersburg, Maryland “24th Annual Na tional Art and Craft Festival” (October 15-17). Juried from 5 slides of work and 1 of display, plus resume for new exhibitors. Entry fee: $10. Booth fee: $340-$425. No commission. For further information, contact National Crafts Ltd., 4845 Rumler Rd., Chambersburg, PA 17201; e-mail [email protected] or telephone (717) 3694810 or fax (717) 369-5001. Cambridge, Wisconsin “8th Annual Cam bridge Pottery Festival” (June 12-13). Juried from 4 slides. For application, see website at www.potteryfestival.com or telephone Laurie, (608) 423-3892. February 5 entry deadline Ann Arbor, Michigan “The Ann Arbor Street Art Fair” (July 21-24). Juried from 5 slides of work. Entry fee: $25. Ten awards of excellence, $300 each. For application, send SASE to Shary Brown, The Ann Arbor Street Art Fair, PO Box 1352, Ann Arbor 48106; telephone (734) 9945260 or fax (734) 994-0504. February 12 entry deadline Beaver Creek, Colorado “Beaver Creek Arts Festival 11” (August 14-15). Juried from 3 slides of work plus 1 of booth. Entry fee: $25. Booth fee: $245 for a 10x10-foot space. For application, send SASE to Cristina Campa, Vail Valley Arts Council, PO Box 1153, Vail, CO 81658. Vail, Colorado “Vail Arts Festival 16” (July 10-11). Juried from 3 slides of work plus 1 of booth. Entry fee: $25. Booth fee: $245 for a 10x10-foot space. For application, send SASE to Cristina Campa, Vail Valley Arts Council, PO Box 1153, Vail 81658. February 19 entry deadline Salem, Oregon “Salem Art Fair and Festival” (July 16-19). Juried from 5 slides of work. For application, send name and address to Salem Art Fair and Festival, 600 Mission St., SE, Salem 97302. February 28 entry deadline Clinton, Iowa “Art in the Park” (June 19). Juried from 5 slides, including 1 of display. Entry fee: $5. Booth fee: $65 for a 12x12-foot space. No commission. Cash awards. For application, send CERAMICS MONTHLY January 1999 83 Call for Entries to Art in the Park, PO Box 2164, Clinton 52733; or telephone Carol Glahn, (319) 259-8308. March 1 entry deadline Salina, Kansas “Smoky Hill River Festival: Fine Art/Fine Craft Show” (June 12-13). Juried from 6 slides. Entry fee: $15. Booth fee: $175 for a 10x10-foot space. No commission. Awards: $5800 in merit and purchase; $55,000 art patron program. Contact Smoky Hill River Festival, Salina Arts and Humanities Commission, PO Box 2181, Salina 67402-2181; telephone (785) 826-7410 or fax (785) 826-7444. Salina, Kansas “Smoky Hill River Festival: Four Rivers Craft Market” (June 11-13). Juried from 6 slides. Entry fee: $15. Booth fee: $100 for a 1 Ox 10-foot space or 10% of earnings, whichever is greater. Awards: $1300 in merit awards. Con tact Smoky Hill River Festival, Salina Arts and Humanities Commission, PO Box 2181, Salina 67402-2181; telephone (785) 826-7410 or fax (785) 826-7444. March 5 entry deadline Winnetka, Illinois “American Craft Exposi tion” (August 26—29). Juried from 5 slides. For further information, contact American Craft Expo sition, PO Box 25, Winnetka 60093-0025; or tele phone (847) 570-5096. April 1 entry deadline Spokane, Washington “Inland Craft Warnings” (October 8-10). Juried from 5 slides and 1-page resume (include SASE). No entry fee. For applica tion, send business-sized SASE to G. Freuen, In land Craft Warnings, 15205 Shady Slope Rd., Spokane 99208. April 5 entry deadline Chautauqua, New York “Crafts Festivals ’99” (July 9-11 and August 13-15). Juried from 3 slides of work plus 1 of booth. Jury fee: $10 per show. Entry fee: $175 per show. For prospectus, send business-size SASE to Devon Taylor, Festivals Director, Chautauqua Crafts Alliance, PO Box 89, Mayville, NY 14757-0089. April 15 entry deadline Evergreen, Colorado “33rd Annual Evergreen Arts Festival” (August 21-22). Juried from slides. For further information, contact Danna Cuin, PO Box 3931, Evergreen 80437; or telephone (303) 674-5521. April 19 entry deadline Boston, Massachusetts “Crafts at the Castle” (December 1-5). Juried from 5 slides. Entry fee: $25. Booth fee: $550-$ 1000 for varying space sizes. For application, send name and address to Gretchen Keyworth, Crafts at the Castle, Family Service of Greater Boston, 99 Chauncy St., 9th FI., Boston 02111; or fax (617) 423-2783. May 7 entry deadline Mexico, Missouri “Clay Days USA ’99” (June 26-27). Juried from slides or photos. Booth fee: $65 for a 10x 10-foot space. Contact Sandy Prosser, Special Programs Coordinator, City of Mexico, 300 N. Coal, Mexico 65265; e-mail [email protected] or telephone (573) 5812100, ext. 49, or fax (573) 581-2305. June 1 entry deadline Portland, Oregon “Handmade Oregon” (Au gust 10-September 19), open to works in all media by past and present Oregon residents. Juried from slides. Juror: Janet Koplos, critic/associate editor, Art in America. Cash awards. For prospec tus, send SASE to Contemporary Crafts Gallery, 3934 S.W. Corbett Ave., Portland 97201; or telephone (503) 223-2654. SASE 84 CERAMICS MONTHLY January 1999 85 Suggestions From Readers Happy Trails My father, who teaches ceramics, came up with this great idea for a slip-trailing tool. First, you need a bulb syringe that you can get at any drugstore, and a bicycle tire pump needle, called an inflating needle, available at sporting-goods stores and hardware stores. With a wire cutter, cut off the tip of the inflating needle just below the side hole, then reopen the flattened tip by squeezing the sides, using needle-nose pliers. With scissors, cut the tip off the syringe, down to where the bigger end of the inflating needle will just fit into it. It should be a tight fit. Be careful not to cut off too much of the syringe tip, or the hole will be too big. Fill up the syringe bulb by placing the opening in your slip container, squeezing and releasing, then insert the inflating needle and as my mom would say, “happy trails!”—Amy Bobeda, Correlitos, Calif. Maintenance Tool My favorite tool for electric kiln mainte nance is a pair of 8-inch-long bolt cutters. They’re perfect for snipping the tough, double-wound “pigtails” off the end of newly installed elements. They’re easier to use for this task than ordinary wire cutters, and you can operate them with one hand. Plus, the element piece does not go flying off when snipped.—Van Moore, College Park, Md. Wedging Stone I have been using a 3-inch slab of Tennessee stone (any stone will do) to wedge and dry out clay. It picks up moisture quickly and is a cinch to clean up. Stone can be purchased at any quarry, and they will cut it to size.— Phyllis Shepard, Scotch Plains, N.J. Share your ideas with others. Ceramics Monthly will pay $10 for each one published. Suggestions are welcome individually or in quantity. Include a drawing or photograph to illustrate your idea and we will add $10 to the payment. Mail to Ceramics Monthly, PO Box 6102, Westerville, Ohio 43086-6102, e-mail to [email protected] or fax to (614) 891-8960. 86 CERAMICS MONTHLY Calendar Events to Attend—Conferences, Exhibitions, Workshops, Fairs Conferences Alabama, Florence February 17-20 “14th Ala bama Clay Conference,” featuring David Gamble, Patrick Horsley and Pete Pinnell, will include dem onstrations, slide presentations, some hands-on op portunities, plus exhibitions. Contact M. C. Jerkins, 1809 N. Wood Ave., Florence 35630; e-mail [email protected] or telephone (256) 766-4455 (Tues.-Sat., 10 AM5 PM CST). Arizona, Yuma February 25—27*YUMA Sympo sium XX” with slide presentations, lectures and demonstrations by well-known as well as emerg ing artists, including slide lecture with ceramist Stan Welsh. Contact Neely Tomkins, 90 W. Second St., Yuma 85364; or telephone (520) 782-1934. Florida, Tallahassee January22—24* 46th Florida Craftsmen Statewide Conference” will include slide lectures, clay workshops with Ron Meyers and Deborah Groover, and exhibitions. Contact Florida Craftsmen, 501 Central Ave., St. Peters burg, FL 33701; telephone (813) 821-7391. Iowa, Iowa City September 29—October 2*Y)iffzvent Stokes,” international wood-fire conference. Contact Chuck Hindes, School of Art, University of Iowa, Iowa City 52242; e-mail [email protected] or fax (319) 335-1774. 88 Kentucky, Lexington March 19—20 “Mastering the Market: Successful Craft Strategies” will in clude presentations on marketing and price struc tures, photography, copyright protection issues, business financing, publishing your work, etc. Contact Kentucky Craft Marketing Program, 39 Fountain PL, Frankfort, KY 40601-1942; tele phone (888) 446-0102 or (888) 592-7238. Ohio, Columbus March 17—20“Passion and Pro cess,” National Council on Education for the Ceramic Arts (NCECA) conference, will include demonstrations, slide presentations, panel discus sions, exhibitions. Contact Regina Brown, Execu tive Secretary, NCECA, PO Box 1677, Bandon, OR 97411; telephone (800) 99-NCECA. Texas, San Angelo April 16 “The 14th Annual Ceramic Symposium.” Free. Contact Esteban Apodaca, Assistant Professor of Art, Angelo State University, PO Box 10906, San Angelo 76909; telephone (915) 942-2085 or fax (915) 942-2152. Canada, Ontario, Kingston May 28-30 “Reflec tions,” FUSION ’99 conference, with guest artists Val Cushing and Diane Sullivan. For further information, contact FUSION: The Clay and Glass Association, Gardener’s Cottage, 225 Confedera tion Dr., Scarborough, Ontario M1G 1B2; e-mail [email protected] or telephone (416) 4388946/fax (416) 438-0192. China, Tongchuan (Xian) May 25-June 17*First Yao Ware Ceramic Art Conference” will include lectures/workshops on topics relating to the his tory of Yao Ware and its current production; tours of cultural sites. Contact China Ceramic Cultural Exchange: International Office, Zhou Ying, 14 Courtwright Rd., Etobicoke, Toronto, Ontario, Canada M5L 4B4; e-mail [email protected] or telephone (416) 695-3607. CERAMICS MONTHLY Netherlands, Amsterdam July 13—17 “Ceramic Millennium,” the 8th international ceramics sym posium of the Ceramic Arts Foundation, will include over 50 papers presented by educators, artists, critics, writers, historians; ceramics re sources fair, film festival, exhibitions. Fee: US$395/ Dfl 720. Contact Ceramic Arts Foundation, 666 Fifth Ave., Ste. 309, New York, NY 10103; e-mail [email protected] or fax (212) 489-5168. Solo Exhibitions California, Davis through January 3 Linda Fitz Gibbon; at John Natsoulas Gallery, 140 F St. California, San Francisco through January 2Robert Brady; at Braunstein/Quay Gallery, 250 Sutter St. through January 30 Annette Corcoran; at Dorothy Weiss Gallery, 256 Sutter St. D.C., Washington through January 3 “The Stonewares of Charles Fergus Binns: Father of American Studio Ceramics”; at the Renwick Gal lery, National Museum of American Art, Smith sonian Institution. Florida, Tallahassee through February 5 Barbara Sorensen, sculpture; at the Florida State Capitol. Florida, Winter Park through January 22 Jack King, “A Point of Opposition and Concordance,” mixed-media sculpture; at the Crealde School of Art, 600 St. Andrews Blvd. Georgia, Macon January 24-March 14 “The Stonewares of Charles Fergus Binns: Father of American Studio Ceramics”; at the Museum of Arts and Sciences, 4182 Forsyth Rd. Illinois, Chicago February 12-March 13 Edward Eberle; at Perimeter Gallery, 210 W. Superior St. Michigan, Ferndale through January l6]&e Won Calendar Ritual and Metaphorical Works”; at Earthen Art Works, 7960 Melrose Ave. January 5-29 “From the Earth/Dalla Terra,” ex change exhibition of works by artists from Italy— Paolo Biagioli, Mario Boldrini, Andrea De Lee, “Absent One”; at Revolution, 23257 Wood Carvalho, Donatella Fogante, Luca Leandri and ward Ave. Virginia Ryan—and Los Angeles—Tetsuji Aono, Minnesota, St. Paul January 7-March 3 Ceramics Keiko Fukazawa, Phyllis Green, Karen Koblitz and works on paper by Betty Woodman; at the and Gifford Myers; at the Brewery Project, 650 Olson Gallery, Bethel College. South Ave. 21, #200 E. Missouri, Kansas City through January 7 Judy Connecticut, Brookfield January 24-March 4 Onofrio; at Sherry Leedy Contemporary Art, 2012 “Low Fire: Limitless Possibilities,” with works by Baltimore. over 20 clay artists; at the Brookfield Craft Center, New York, Larchmont through January 3 Grace 286 Whisconier Rd. Powers Fraioli, “Evolutions,” sculpture and waDelaware, Winterthur through July 1 “Ceramics tercolors; at Oresman Gallery, 121 Larchmont Ave. in Bloom,” porcelain, earthenware and stoneware New York, New York through January 2 Steven from the late 17th century to the early 20th century; Montgomery; at OK Harris Gallery, 383 W. at the Society of Winterthur Fellows Gallery. Broadway. D.C., Washington through January 18 “Bernini’s through January 9 Steve. Dixon; at Nancy Margolis Rome: Italian Baroque Terra Cottas from the Gallery, 560 Broadway, Ste. 302. State Hermitage Museum, St. Petersburg”; at the through January 9 Anthony Caro. January 12-30 National Gallery of Art, Sixth St. and Constitu Carme Collell. Karen Karnes. February 2—27Ralph tion Ave., NW. Bacerra; at Garth Clark Gallery, 24 W. 57th St. Georgia, Atlanta through January 5 “Women through February 13 Arnold Zimmerman, sculpture. February 20-April3 Pamela Earnshaw Kelly, sculpture; Working in Clay,” with works by Barb Doll, Debra Fritts and Jeri Hollister; at Trinity Gallery, at John Elder Gallery, 529 W. 20th St. 315 E. Paces Ferry Rd. through May 30 Steven Montgomery; at the Metro Massachusetts, Ipswich February 6-28 “Tiles, politan Museum of Art, Fifth Ave. and 82nd St. Tables and Tableaux”; at Ocmulgee Pottery and New York, Port Chester February 5-28 Jeff Gallery, 317 High St.-Rte. 1A. Oestreich, “Pots for the Table”; at the Clay Art Massachusetts, Northampton through January 3 Center, 40 Beech St. “All Decked Out,” holiday decorations and orna North Carolina, Charlotte through May 2 “Will iam Littler: An 18th-Century English Earth Potter”; ments; at Ferrin Gallery, 179 Main. Michigan, Allendale January 11—February 12 at the Mint Museum of Art, 2730 Randolph Rd. “Michigan Ceramics ’98”; at Calder Gallery, Grand January 10-July 4 “Harvey K. Littleton Reflec Valley State University. tions, 1946-1994”; at the Mint Museum of Craft Minnesota, Minneapolis January 9—31 Works by + Design, 220 N. Tryon St. Marc Digeros, Jill Franke and Tim Marcotte. Ohio, Columbus January 16—March 21 Edward January 15-February 20 “Jerome Artists Exhibi Eberle, “Drawings on Paper and Porcelain”; at the tion,” works by Kelly Connole, Sarah Heimann Columbus Museum of Art, 480 E. Broad St. and Maren Kloppmann. February 6—28 Works by Ohio, Lancaster through January 13 Jean Barile; Bill Gossman, Ruth Martin and Jeff Noska; at at the Gallery at Studio B, 140 W. Main St. Northern Clay Center, 2424 Franklin Ave., E. Oregon, Portland January 2-31 Joe Wedding. New Hampshire, Durham January 26—April 11 Marty Kendall; at Contemporary Crafts Gallery, “Worldviews: Maya Ceramics from the Palmer 3934 S.W. Corbett Ave. Pennsylvania, Doylestown through January 17 Collection”; at the Art Gallery, Paul Creative Arts Center, University of New Hampshire, 30 Col ‘“Machinery Can’t Make Art’: The Pottery and lege Rd. Tiles of Henry Chapman Mercer”; at James A. New York, Albany through September 13, 2000 Michener Art Museum, 138 S. Pine St. “From the Collections: The Weitsman Stoneware Pennsylvania, Philadelphia January 1-30 Chris Collection”; at the New York State Museum, tina Bothwell, “Screen Memories”; at the Clay Empire State Plaza. Studio, 130 N. Second St. New York, Alfred through February 4 “Premedi Texas, Houston January 3-February 13V. Chin, tated Function: The Corsaw Collection of Ameri pottery; at Archway Gallery, 2013 W. Gray. can Ceramics”; at the International Museum of Washington, Seattle through January 3 Carol Ceramic Art at Alfred, Ceramic Corridor Innova Gouthro. January 7-31 Jim Kraft; at Foster/White tion Center, Rte. 244. Gallery, Pioneer Sq., 311½ Occidental Ave., S. New York, New York through January 10 “Na tional Ceramics Invitational,” works by Vincent Group Ceramics Exhibitions Burke, Syd Carpenter, Patrick Shia Crabb, Pete Gourfain, Ron Kovatch, Carol Martin and Brad Alabama, Florence February 8-April2“KennedySchwieger; at Denise Bibro Fine Art, 529 W. 20th Douglass Center for the Arts 1999 National Ce St., 4th FI. ramic Competition”; at the Kennedy-Douglass through May 30 “Clay into Art: Selections from Center for the Arts, 217 E. Tuscaloosa St. the Contemporary Ceramics Collection in the California, Claremont January 16-March 21 Metropolitan Museum of Art”; at the Metropoli “55th Ceramic Annual,” works by Wouter Dam, tan Museum of Art, Fifth Ave. and 82nd St. John deFazio, Kim Dickey, Doug Jeck, Charles January 7-February ^“Artists on Their Own”; at Krafft, Beverly Mayeri, Richard Millet, Joseph Jane Hartsook Gallery, Greenwich House Pot Siegenthaler and Janis Mars Wunderlich; at Ruth Chandler Williamson Gallery, Scripps College, tery, 16 Jones St. January 12-30“Yixing Ceramics”; at Garth Clark 11th and Columbia sts. Gallery, 24 W. 57th St., #305. California, Davis January 5-31 Ceramic sculp North Carolina, Charlotte through January 9“Six ture by Stephen Fleming and Rene Martucci; at Approaches: Clay with Content,” with works by John Natsoulas Gallery, 140 F St. Dan Anderson, Linda Arbuckle, Bob Archambeau, California, Del Mar through January 31^/orks by Peter Beasecker, Ron Meyers and Mark Pharis; at members of Ceramic Artists of San Diego; at gallery W. D. O., Ste. 610 at Atherton Mill, 2000 Signature Gallery, 1110 Camino. South Blvd. California, Los Angeles through January 14 “A Quintessential Vessel Competition of Function, through February 14 “Earth, Fire and Spirit: Afri- 90 CERAMICS MONTHLY can Pottery and Sculpture”; at the Mint Museum of Art, 2730 Randolph Rd. Ohio, Columbus February 7-April 11 “Lighten Up: Ceramic Candleholders”; at the Ohio Craft Museum, 1665 W. Fifth Ave. February 22-March 20 “NCECA Regional Juried Student Exhibition”; at Ft. Hayes Shot Tower Gallery. Ohio, Westerville February 1—June 75“Clay from Two Rivers: Pottery from New Guinea and Af rica”; at Fisher Gallery, Roush Hall, Otterbein College, 1 Otterbein. Pennsylvania, Pittsburgh through January 8 Ce ramics by Booker Stephen Carpenter II and Malcolm Mobutu Smith; at Manchester Crafts men’s Guild, 1815 Metropolitan St. through January 13 A benefit exhibition for Karen Karnes and Ann Stannard; at the Clay Place, 5416 Walnut St. Vermont, Waterbury Center February 1—28 “Emerging Artists of the U.S.”; at the Vermont Clay Studio, 2802 Waterbury-Stowe Rd. (Rte. 100). Virginia, Alexandria through January 3 “The Holiday Show,” works by Ceramic Guild mem bers; at Scope Gallery, Torpedo Factory, 105 N. Union St. Virginia, Richmond through January 31 “A Fire for Ceramics: Contemporary Art from the Daniel Jacobs and Derek Mason Collection”; at the Hand Workshop Art Center, 1812 W. Main St. Ceramics in Multimedia Exhibitions Alabama, Huntsville through February 7“A Taste for Splendor: Russian Imperial and European Treasures from the Hillwood Museum”; at the Huntsville Museum of Art, 700 Monroe St., SW. Arizona, Surprise through January 17 Two-person exhibition with pottery and sculpture by Susan Hearn; at West Valley Art Museum, 17425 N. Avenue of the Arts. Arizona, Tucson January 2—31 Three-person ex hibition with ceramic and metal sculpture by Sandra Luehrsen; at Obsidian Gallery, 4340 N. Campbell Ave., St. Philips Plaza, Ste. 90. California, Pomona January 7—February 19 “Ink and Clay”; at W. Keith and Janet Kellogg Univer sity Art Gallery of California State Polytechnic University. California, Rancho Palos Verdes January 15— February 21 Three-person exhibition, including ceramic sculpture by Barbara Hashimoto; at the Palos Verdes Art Center, 5504 W. Crestridge Rd. California, San Diego January 29-April 11 “Sha mans, Gods and Mythic Beasts: Colombian Gold and Ceramics in Antiquity”; at Mingei Interna tional Museum ofWorld Folk Art, 1439 El Prado, Balboa Park. California, San Francisco January 7—30 “Impor tant Works in Clay and Glass,” including ceram ics by Laura Andreson, Robert Brady, Philip Cornelius, Richard DeVore, Ruth Duckworth, Michael Lucero and Otto Natzler; at Dorothy Weiss Gallery, 256 Sutter St. Colorado, Denver through January 24 “Inventing the Southwest: The Fred Harvey Company and Native American Art”; at the Denver Art Museum, 100 W. 14th Ave. Pkwy. through October 3 “White on White: Chinese Jades and Ceramics from the Tang through Qing Dynasties.” D. C., Washington through February 15 “Edo: Art in Japan 1615-1868”; at the National Gallery of Art, Fourth St. at Constitution Ave., NW. through April 11 “Beyond the Legacy: Anniversary Acquisitions for the Freer Gallery of Art”; at Freer Gallery of Art, Smithsonian Institution, Jefferson Dr. at 12th St., SW. Florida, Tampa February 13—March26“\0th. January 1999 91 Calendar Annual Black and White”; at Artists Unlimited, 223 N. 12th St. Florida, Venice through January 25 “Spotlight ’98,” American Craft Council Southeast Juried Exhibition; at the Venice Art Center. Georgia, Athens through January 3 “Elements of Style: The Legacy of Arnocroft,” decorative arts. January 16—March 7^“With These Hands,” early African-American decorative objects; at Martha and Eugene Odum Gallery of Decorative Arts, Georgia Museum of Art, University of Georgia, 90 Carlton St. Georgia, Atlanta through January 10 “Shamans, Gods and Mythic Beasts: Colombian Gold and Ceramics in Antiquity”; at Michael C. Carlos Museum, Emory University, 571 S. Kilgo St. Kansas, Topeka through January 3“Topeka Com petition 22”; at the Mulvane Art Museum, Washburn University, 1700 Jewell. Kentucky, Louisville January 6—February 20“Tiles and Basins”; at the Kentucky Art and Craft Foun dation, 609 W. Main St. January 31-February 17 “Dinnerworks ’99”; at the Water Tower. Maryland, Arnold January 24-February 24Twoperson exhibition with ceramics by Rick Malmgren; at Cade Art Building, Anne Arundel Community College, 101 College Pkwy. Massachusetts, Boston through January 3 “Toys and Gadgets”; at the Society of Arts and Crafts, 175 Newbury St. Missouri, Warrensburg January 25—February 21 “Greater Midwest International XIV”; at Central Missouri State University, Art Center Gallery. Nevada, Reno through January 10 “A Common Thread,” craftworks by over 30 artists from Ne vada and the Great Basin; at the Nevada Museum of Art, 160 W. Liberty St. New Jersey, Layton through January 10 “Wild Things”; at Sally D. Francisco Gallery, Peters Valley Craft Center, 19 Kuhn Rd. New York, Albany through September 13, 2000 “From the Collections: Treasures from the Wunsch Americana Foundation”; at the New York State Museum, Empire State Plaza. New York, New York February 10-27“8th An nual Emerging Artists International Competi tion”; at the Slowinski Gallery, 215 Mulberry St. New York, Rochester through January 77“Living with Art: Rochester Collects.” February 21—April 18 “Self-Taught Artists of the 20th Century: An American Anthology”; at the Memorial Art Gal lery of the University of Rochester, 500 Univer sity Ave. North Carolina, Charlotte January 10-May 30 “The White House Collection of American Crafts”; at the Mint Museum of Craft + Design, 220 N. Tryon St. Ohio, Cleveland January 8-February 19 “This Side Up,” exhibition of ceramics, sculpture and installation; at SPACES, 2220 Superior Viaduct. Ohio, Columbus through January 1 “1998 Annual Fall Juried Exhibition”; at Fort Hayes Metropolitan Education Center, 546 Jack Gibbs Blvd. through January 24 “Head, Heart and Hands: Native American Craft Traditions in a Contem porary World”; at the Ohio Craft Museum, 1665 W. Fifth Ave. January 30-April 18 “On the Table: A Succession of Collections III,” a selection of tables and ce ramic place settings; at the Wexner Center for the Arts, 1871 N. High St. Pennsylvania, Philadelphia through January 15 “Green Mountain Visions: Vermont Crafts,” in cluding ceramics by Natalie Blake, Ken Pik, Eliza beth Roman, Gretchen Verplanck and Malcolm Wright; at the Works Gallery, 303 Cherry St. Pennsylvania, Pittsburgh through February 13 “Stop Asking/We Exist: 25 Contemporary Afri can-American Craft Artists”; at the Society for Contemporary Crafts, 2100 Smallman St. Pennsylvania, Wayne through January 22 “Craft Forms ’98,” juried national; at the Wayne Art Center, 413 Maplewood Ave. Tennessee, Chattanooga through May “1998—99 Sculpture Garden Exhibit”; at River Gallery, 400 E. Second St. Tennessee, Gatlinburg February 26—May 15 “Arrowmont National 1999 Juried Exhibition”; at the Main Gallery, Arrowmont School of Arts and Crafts. Texas, Houston through January 10 “A Grand Design: The Art of the Victoria and Albert Mu seum”; at the Museum of Fine Arts, Houston, 1001 Bissonnet. Washington, Seattle through January 10 “Gift of the Nile: Ancient Egyptian Art and Architecture from the University of Pennsylvania Museum”; at Seattle Art Museum, 100 University St. Fairs, Festivals and Sales California, San Francisco February 5—7 “The Tribal, Folk and Textile Arts Show. ” February 11— 14“Arts of Pacific Asia”; at the Festival Pavilion, Fort Mason Center. Florida, Gainesville February 12-14 “13th An nual Hoggetowne Medieval Faire”; at the Alachua County Fairgrounds. Florida, Mt. Dora February 6-7 “24th Annual Mount Dora Arts Festival”; downtown. 92 CERAMICS MONTHLY Massachusetts, Ipswich January 16—31 “Annual Seconds Sale”; at Ocmulgee Pottery and Gallery, 317 High St., Rte. 1A. Montana, Helena through January 3 “Winter Showcase Exhibition and Sale”; at Holter Museum of Art, Sherman Gallery, 12 E. Lawrence St. New York, East Setauket through January 31 “Holi day Pottery Sale”; at the Gallery at Hands on Clay, 128 Old Town Rd. New York, Manhattan through January 4 “Exhibi tion and Sale of Mosaic Tile and Holiday Gift Items by City Youths”; at the School of Visual Arts West Gallery, 141 W. 21st St. Ohio, Columbus January 30-31 “Art Studio Clear ance Sale”; at the Columbus Veterans Memorial Exposition Hall, downtown. Virginia, Chantilly January 29—31 “Sugarloaf s Winter Chantilly Crafts Festival”; at the Capital Expo Center. Limited to four participants. Contact George Griffin Pottery, (850) 962-9311. Florida, West Palm Beach February 20—21 “Hand built Form and Surface in Harmony” with Yoshiro Ikeda. March 1—^“Functional Stoneware—Single Firing” with Steven Hill. March 8-12 “The Lan guage of the Stones” with Brad Miller. March 27— 28 “Shape and Surface—The Extraordinary and Beyond” with Lana Wilson. Contact the Robert and Mary Montgomery Armory Art Center, 1703 S. Lake Ave., West Palm Beach 33401; see website at armoryart.org or telephone (888) 276-6791 or (561) 832-1776. Georgia, Atlanta January 9-10 “Functional Pot tery (Single Fire),” lecture/demonstration with Steven Hill. March 13-14*Handbuilding Tech niques,” lecture/demonstration with Kathy Triplett. Fee/session: $50/oneday; $85/both days. Contact Glenn Dair, Callanwolde Fine Arts Cen ter, 980 Briarcliff Rd., Atlanta 30306; e-mail [email protected] or telephone (404) 874-9351. Hawaii, Makawao, Maui January 22-24 “New Directions in Wheel Throwing,” slide lecture and workshop with Stephen Freedman. Contact Hui No’eau Visual Arts Center, 2841 Baldwin Ave., Makawao, Maui 96768; e-mail [email protected] or telephone (808) 572-6570/fax (808) 572-2750. Kentucky, Louisville January 9 “Basic Handbuilding” with Wayne Ferguson. Fee: $20; senior citizens/arts card holders, $18. February 6“The Miniature Teapot” with Fong Choo. Contact the Kentucky Art and Craft Foundation, (502) 5890102, ext. 212. Maryland, Frederick January 7—10 “Masters Throwing Workshop” with Joyce Michaud. Fee: $185. January 8 “Toward a Common Language: Workshops Arizona, Mesa February 22-27 “Wood-fired Pottery” with Randy Johnston. Fee: $300; due by January 16. Contact Mesa Arts Center by e-mail [email protected] or by tele phone (602) 644-2056 or fax (602) 644-2901. California, Rancho Cucamonga January 23—24 Slide presentation/workshop with Paul Soldner. Workshop fee: $60; members, $50; students, $40. Lecture: free. Location: Chaffey College. For reg istration, send business-size SASE to Patti Hallowes, 1833 N. California St., Burbank, CA 91505. California, Rancho Palos Verdes February 20 A session with Ruthanne Tudball. Fee: $45; mem bers, $40. Preregistration required. Contact Palos Verdes Art Center, (310) 541-2479. California, Riverside March 6A session with Sang Roberson. Fee: $25 before workshop; $35 at door. Contact Riverside Community College Ceramics Dept., (909) 222-8275. Colorado, Carbondale January 29-31 Slide pre sentation and demonstrations with Jeff Oestreich. Fee: $75. Contact the Carbondale Clay Center, 135 Main St., Carbondale 81623; e-mail [email protected] or telephone (970) 963-2529/fax (970) 923-4492. Connecticut, Brookfield January 16-17 “Intro duction to Clay Relief’ with Linda Neely. January 30-31 “Architecture in Pottery Form” with Guy Wolf. February 6 “Majolica” with Mary Lou Alberetti. February 13-14 “Sculptural Forms” with Jeff Shapiro. February 23 and March 7“Clay Relief Etching” with Linda Neely. March 6-7 “Pottery Toward an Eastern Influence” with Steven Rodriguez. March 27 “Altering Glazes” with Jeff Zamek. Contact the Brookfield Craft Center, PO Box 122, Rte. 25, Brookfield 06804; or telephone (203) 775-4526. Connecticut, New Haven February I3-I4Throwing, altering and assembling porcelain with Leah Leitson. Contact Creative Arts Workshop, (203) 562-4927. Florida, Atlantic Beach February 5-6 “Beyond the Basics: Thrown and Assembled Forms” with Don Davis. Fee: $110 to reserve a wheel for the session; or $60 for slides, lectures and demonstra tions only. March 6— 7 “Glazing Techniques for Soda Firing” with McKenzie Smith. Contact At lantic Beach Potters, 28 Seminole Rd., Atlantic Beach 32233; telephone/fax (904) 246-4499. Florida, Orlando February 11-12 A session with Don Davis. Fee: $35. Limited to 30 participants. Contact Mike Lalone, Dr. Phillips High Ceram ics Studio, (407) 352-4040, ext. 380. Florida, Sopchoppy January 10-16 A session with George Griffin, focusing on individualized functional stoneware, single-fire oxidation, fastfire wood, and business as an art form. Fee: $425. January 1999 93 Calendar Words as Catalyst for a Life’s Effort” slide lecture with Joyce Michaud. January 29, February 26, March2,6andApril30“Masters Throwing Series” with Joyce Michaud. Fee: $185./anuary30“Drum Making Workshop” with Robert Strasser. Fee: $45. February 13—14 “Eastern Coil Workshop” with Joyce Michaud. Fee: $95. February 26Slide lecture with Louana Lackey and Rosalie Wynkoop on majolica. February 27-28 “Majolica Work shop: Exploring Tin-glazed Pottery in a Modern World” with Rosalie Wynkoop. Fee: $120. March “Raku—From Zen Tradition to Modern In novation” with Patrick Timothy Caughy. March 27 Raku firing with Patrick Timothy Caughy. Fee: $55. April 16 Slide lecture with Catherine White, integrating form and decoration in pot tery. April 30 Slide lecture with Glenn Grishnoff on brush making. May 14 Slide lecture with Ian Gregory on paperclay sculpture. Fee per lecture: $5; or register for series of 6 for $22. Contact Hood College Ceramics Program, 401 Rosemont Ave., Frederick 21701; telephone Joyce Michaud (301) 696-3456 or (301) 698-0929. Massachusetts, Leverett February 20-21 “Wheelthrown Altered and Assembled Utilitarian Pot tery,” slide lecture/hands-on workshop with Leah Leitson. Fee: $160, includes clay, bisque firing. Contact Leverett Crafts and Arts, (413) 367-0042. Massachusetts, Stockbridge February27-28“In troduction to Plaster Mold Making for Studio Potters” with Daniel Mehlman. March 13 “Work ing with Cone 6 Glazes” with Jeff Zamek. Contact Interlaken School of Art, PO Box 1400, Stockbridge 01262; or telephone (413) 298-5252. Massachusetts, Worcester January 23—24 “Thrown, Altered and Decorated” with Suze Lind say. Contact Worcester Center for Crafts, 25 Sagamore Rd., Worcester 01605; or telephone (508) 753-8183. Michigan, Berrien Springs January 16-17 Slide lecture and demonstrations with Josh DeWeese and Rosalie Wynkoop. Workshop fee: $50, in cludes lunch. Contact Steve Hansen, Andrews University, Berrien Springs 49104; or telephone (616) 471-3281. Minnesota, Minneapolis Regis Master Series lec tures with: January 16Peter Voulkos. February 20 Betty Woodman. March /^Stephen DeStaebler. Free. Location: Minneapolis Institute of Arts. March 6—7“Painting and Form: Terra Sigillata on Clay” with Edward Eberle. Fee: $ 100; NCC mem bers, $90. Contact the Northern Clay Center, 2424 Franklin Ave., E, Minneapolis 55406; or telephone (612) 339-8007. Minnesota, St. Paul February 18 A lecture with Betty Woodman. Free. Contact the Olson Gal lery, Bethel College, (651) 638-6263. New Mexico, Taos January 23-24 “Modern Mosaic” with Aliah Sage. Contact Taos Institute of Arts, 108 Civic Plaza Dr., Taos 87571; e-mail [email protected] or telephone (505) 758-2793 or (800) 822-7183. New York, East Setauket February 4-7 Master throwing workshop with Joyce Michaud. Fee: $200. Contact Hands on Clay, Inc., 128 Old Town Rd., East Setauket 11733; telephone (516) 751-0011 or fax (516) 751-9133. New York, New York January 29 “The Radical Pot in Twentieth-Century Art: Who Is Overturn ing the ‘Sacred Vessel’?” lecture with Garth Clark. Contact the Metropolitan Museum of Art, (212) 879-5500. New York, Port Chester February 6-7 “Pots for the Table,” altering wheel-thrown forms with Jeff Oestreich. Fee: $135. Contact the Clay Art Cen- 94 CERAMICS MONTHLY Calendar ter, 40 Beech St., Port Chester 10573; or tele phone (914) 937-2047. New York, Rosendale January 30—31 A session with Linda Christianson, throwing pots. Fee: $235; members, $220; includes lab fee. Contact Women’s Studio Workshop, PO Box 489, Rosendale 12472; e-mail [email protected], see website at www.wsworkshop.org or telephone Danielle Leventhal, Tuesdays, (914) 658-9133. New York, White Plains February 16—18 “Thrown, Altered and Assembled Utilitarian Pot tery” with Leah Leitson. March 5 “Finding One’s Own Voice in Clay” with Matthew Towers. Con tact Westchester Art Workshop, 196 Central Ave., White Plains 10606; telephone (914) 684-0094. North Carolina, Durham January 8—10 “Innova tive Handbuilding Techniques,” slide lecture and workshop with Lana Wilson. Fee: $110. Contact Pam Wardell, 9810 Gallop Ln., Bahama, NC 27503; or telephone (919) 471-4300. Ohio, Wooster April 15— 77“Functional Ceram ics Workshop” with Vernon and Pam Owens, Gay Smith, and Chris Staley. Contact Phyllis Blair Clark, 102 Oakmont Ct., Wooster 44691. Tennessee, Gatlinburg March 1-5 “Pots”with Cynthia Bringle. March 8—12 “Handbuilding” with David Stabley. March 15—19 “Raku” with Scott Young. March 22—26 “Pots” with Clary Illian. Contact Arrowmont School of Arts and Crafts, PO Box 567, 556 Parkway, Gatlinburg 37738; telephone (423) 436-5860 or fax (423) 430-4101. Texas, Ingram January 6, 13, 20 and 27“Explor ing Techniques in Clay” with Janice Joplin. Fee: $175, includes materials and lab fee. April 12—17 “Mimbres Painted Pottery” with Clint Swink. Fee: $315, includes lab fee. Contact Hill Country Arts Foundation, Duncan-McAshan Visual Arts Center, PO Box 1169, Ingram 78025; telephone (830) 367-5120 or (800) 459-HCAF. Texas, San Antonio February 17 “Make What You Are,” slide lecture with Wesley Anderegg. Free. March 27—28 “Functional Pots,” slide lec ture/workshop with Matthew Metz and Linda Sikora. Workshop fee: $147. Lecture is free. Con tact the Southwest School of Art and Craft, 300 Augusta, San Antonio 78205-1296; or telephone (210) 224-1848. Washington, Seattle January 23-24Slide lecture and workshop with John Harris, creating large works by combining slab and thrown compo nents. February26-27“Thought, Form and Func tion,” slide lecture and workshop with Jamie Walker. Contact Seward Park Art Studio, 5900 Lake Washington Blvd., S, Seattle 98118; or telephone (206) 722-6342. International Events Canada, British Columbia, Victoria March 13-14 A workshop with Harlan House. Fee: Can$100 (approximately US$65), includes lunch. Contact Meira Mathison, 650 Pearson College, Victoria V9C 4H7; telephone (250) 391-2420 or fax (250) 391-2412. Canada, Prince Edward Island, Charlottetown through January 10aS. O.S.: Sources of Support,” ceramics by Alexandra McCurdy; at the Confed eration Centre for the Arts. Canada, Sasketchewan, Saskatoon January 15— February 28 “Three of a Kind,” exhibition of ceramics by Mel Bolen, Charley Farrero and Anita Rocamora; at Saskatchewan Craft Council Gal lery, 813 Broadway Ave. England, Chichester January 8-10 “Throwing and Turning, with Handle Making” with Alison 96 CERAMICS MONTHLY January 1999 97 Calendar Sandeman. January 24—26 “Raku and Lowfired Ceramics” with John Dunn. February 5-7 “Surface Decoration for Functional Pots” with Alison Sandeman. February 14-19 “Handbuilding and Throwing” with Alison Sandeman. Contact the College Office, West Dean College, West Dean, Chichester, West Sussex PO 18 OQZ; or telephone (243) 811301. England, Essex through February 7Bob Washing ton retrospective; at the Chelmsford Museum. England, London through January 9 Ceramics by Sara Radstone; at Barrett Marsden Gallery, 17-18 Great Sutton St., Clerkenwell. through January 17*An Angel at My Table,” table settings in ceramics, glass, metal and fiber; at Crafts Council Gallery Shop, 44a Pentonville Rd., Islington. throughJanuary 29*Seasonal Show,” including works by Claudi Casanovas, Lucie Rie and other gallery artists. January 11-February 5 “Gallery Pots”; at Galerie Besson, 15 Royal Arcade, 28 Old Bond St. through May 31 “Rare Marks on Chinese Porce lain” exhibition; at Percival David Foundation, 53 Gordon Sq. through Spring Reconstruction of William and Mary’s porcelain gallery with displays of Japanese Kakiemon and Chinese ceramics; at State Apart ments, Kensington Palace. England, Middlesbrough through January 4 Bob Washington retrospective; at the Cleveland Museum. England, Stoke-on-Trent through March 31 Bob Washington retrospective. Works made at Winchcome Pottery; at the Potteries Museum. France, Dieulefit through January 5* Ceramiques Architecturales”; at Maison de la Terre, Parc de la Beaume. India January 8-28 “South India Arts and Cul ture” with Judith Chase, James Danisch, Ray Meeker and Deborah Smith. All skill levels. Fee: $3500, includes materials, firing, lodging and meals. Contact Anderson Ranch Arts Center, PO Box 5598, Snowmass Village, CO 81615; e-mail [email protected] or telephone (970) 923-31811 fax (970) 923-3871. India, Nepal February 5-26*Exploring with the Potters of Nepal” with Doug Casebeer, Judith Chase, James Danisch and Santa Kumar Prajapati. All skill levels. Fee: $3500, includes materials, firing, lodging and meals. Contact Anderson Ranch Arts Center, PO Box 5598, Snowmass Village, CO 81615; e-mail [email protected] or telephone (970) 923-3181/fox (970) 923-3871. Jamaica April 23-May 1 “Ceramics in Jamaica: Interpreting Forms from Nature” with David Pinto, Jeff Shapiro and guest artist Doug Casebeer. Fee: $1450 or $1850. Contact Dawn Ogren, Registrar, Anderson Ranch Arts Center, PO Box 5598, Snowmass Village, CO 81615; e-mail [email protected] or telephone (970) 923-31811 fax (970) 923-3871. Mexico, Manzanillo January 8-15 “Indigenous Clay in Mexico 1999.” February 27—March 11 “Clay and Fiber in Mexico 1999.” Fee: $899— $ 1578, includes materials, lodging and most meals. Airfare not included. Contact Judy Zafforoni or Michele Morehouse, (541) 547-4324 or (707) 923-4609. Mexico, Oaxaca January 11-16 “Oaxacan Pot tery Workshop” focusing on the San Marcos, Zapotec handbuilding techniques. Includes visits to Coyotepec and Atzompa. Limited to 6 partici pants. Fee: $540, includes materials, lodging and most meals. January 25—February 1 “Six Villages Study Tour,” overview of indigenous Oaxacan pottery. Limited to 6 participants. Fee: $670, includes materials, lodging and most meals. For further information, contact Eric Mindling, Manos de Oaxaca by e-mail [email protected] or fax (952) 141-86. Mexico, San Miguel de Allende February 27March 13 “Creative Visions in Mexico,” work shops including “Ceramic Tile” with Jim Klueg. Fee: $1175, includes double-occupancy hotel room, some meals, and round-trip transportation between Mexico City and San Miguel. For program/travel information, contact Pauline Nuhring, Program Associate, University College, University of Minnesota Duluth, 410 Darland Administration Bldg., 10 University Dr., Duluth, MN 55812-2496; e-mail [email protected] or telephone (218) 726-6361 /fax (218) 7266336. For registration information, telephone (218) 726-6336. Netherlands, Amsterdam through January 13 Setsuko Nagasawa of Helly Oestreicher; at Galerie de Witte Voet, Annemie Boissevain, Kerkstraat 135. Netherlands, Arnhem through January 31 “Theepotten Steengoed”; at the Historisch Mu seum het Burgerweeshuis, Bovenbeekstraat 21. Netherlands, Deventer January 17-February 13 Exhibition of ceramics by Joke Burks, Tsjerk Holtrop, Gert de Rijk and Tjerk van der Veen. February 28-March 27Exhibition of ceramics by Fran^oise Dufayart, Richard Godfrey and Jac Hansen; at Loes and Reinier, Korte Assenstraat 15. Netherlands, Leeuwarden through January 10 “The Incas: Rulers of the Andes,” exhibition of over 200 ceramic objects plus some gold and silver; at Keramiekmuseum het Princessehof, Grote Kerkstraat 11. 98 CERAMICS MONTHLY January 1999 99 100 CERAMICS MONTHLY Slab sculpture made from a clay body consisting of contaminated stoneware mixed with paper pulp and scrap glaze. Ecokarma by William Vogler w hat do you do with your excess overlooked another trash can full of clay be relatively insoluble, making their dis glazes (leftovers and test glazes of dubious quality, and I still had a lot posal an easy matter. that have accumulated over time until of scrap glaze. In fact, the quantity of Drying and wedging the clay was the scrap bucket is full)? I was asked this scrap glaze was growing due to my ef more work than I had anticipated, so I question several years ago, and didn’t forts to make it usable by adding vari decided to assemble the slabs into sculp have an answer at the time. But I did ous fluxes and metallic oxides. (The tural forms to work out some ideas for have a lot of scrap glazes, as well as only change in the color was from a future projects before throwing them contaminated clay (the result of oil leak muddy green to a muddy brown.) And out. There was very little planning; for ing from the vacuum pump of a newly I had just had a solo exhibition and the most part, I was thinking, “Maybe acquired pug mill). Finally, I got tired wasn’t ready to start the throwing/firing I’ll try this. If I like the results, I’ll make of walking around the trash cans, but it cycle right away. It was a good time to more, using good clay, and fire to a didn’t seem right to throw the clay out, take care of the accumulated waste. higher, more durable temperature.” so I decided to slake it all down, dry it This time, I decided to mix some Well, the bisque-fired results were to working consistency and make square paper pulp and the scrap glaze into the surprisingly good. Because of the high planters from thick slabs—trying to use clay, then dumped in the dregs from percentage of fluxes, the clay approached as much of this clay as possible in the my sump pump for good measure. I vitrification. The color varied, depend process so I could get back to my im poured the mixture into some bisque ing on the thickness of the slabs, rang portant work—then glaze them with bowls to dry to working consistency, ing from the glassy green edges to gray the scrap. I didn’t know if the resulting wedged minimally, and threw it on the to orange in the thicker parts. Most planters would be worth keeping, but I floor to form thick, uneven slabs. The surprising of all was the poured tile. It figured I didn’t have anything to lose, as small amount of slip that was left over had been fired under another piece. I had planned to trash the clay anyway. was poured into a rectangle made of Where it had been covered, there were The results were good, however, and I lath on the floor to form a tile. My subtle variations of pinks changing to decided not to discard them. intention was to bisque fire the slabs oranges, and the uncovered gray edges A few months later, I found I had and tile so the glaze ingredients would created a framing effect. January 1999 101 A poured scrap-clay tile, fired underneath another piece, developed gradations in color. It seemed that there was good karma in not disposing of those glaze materials and oil-polluted clay directly into the ecosystem. Actually, the entire project was a dynamic experience. Not being motivated by the usual practical goals associated with making a living shifted the creative process away from my more habitual approach of production. The use of scrap clay and glazes has opened the door to creative exploration. Because each batch of scrap clay will have different ingredients, it is impos sible to know from the outset how high to fire it. Testing the clays limits is im portant and not too difficult. My rou tine is to first make three small tiles, Slab-built scrap clay vase with glazed interior, then bisque fire them. If the results are by William Vogler, Takamatsu, Japan. satisfactory, they are put at different lev els in a Cone 10 firing—one at a par ticularly cool spot on the floor of my the studio. For example, I rolled out investing the time and effort. You’ll learn downdraft, one in the middle or lower some thick slabs and shaped them over a lot about the limits of your clay body half of the stack and another at the top a drape mold to make shallow contain and you may even see some outstand where temperatures are consistently hot ers to dry slip or ashes. Press molds are ing results. At the very least, you’ll be able to dispose of waste materials in a ter. In each case, the tile is placed on a another possibility. There’s no way around it; processing safe, responsible manner. piece of broken kiln shelf or in a shal low bowl. If it should melt, then a whole scrap clay and using it does take time, but it shouldn’t impose too much of a The author A potter for 32 years, Will new range of possibilities opens up. Planters and sculptures aren’t the only burden. Simply set aside a plastic trash iam Vogler previously worked in Califor things that can be made. Scrap clay can can for your waste clay and glazes. Then nia and Washington, and has maintained also be used to make the bisqued forms someday when the spirit moves you, a studio in Takamatsu, Japan, for the past that have a multitude of uses around process it. I’m sure you won’t regret 10 years. 102 CERAMICS MONTHLY High-Temperature Iridescence by Gary Holt F or more than 25 years as a studio this characteristic to good effect by ap potter in Berkeley, California, I have plying a latex-resist design, then spray made a conscious and consistent effort ing with a clear glaze to give a soft to experiment with unusual glaze mate semimatt silver black on gloss black. It rials and formulations. In each Cone 10 was rich and subtle, and I was quite firing, I routinely test new recipes, varia pleased with the result, particularly af tions of familiar recipes and different ter a piece with this glaze combination ways of applying current glazes. I’ve was purchased by the Oakland Museum learned to be very observant of even for its permanent crafts collection. Most of my good fortune with glazes slight nuances of color and surface, as they can lead to unexpected and some seems to happen this way. Rather than times dramatic effects. having a well-thought-out plan or a Several years ago, when I substituted preconceived notion of where to go, equivalent ingredients for Albany slip if something interests me, I pursue it. in a simple black glaze, I noticed that If I like the result of some experimen the fired result had a somewhat silvery tation, I usually find ways to use it in sheen in reduction; I was able to use my work. My liking for iridescent surfaces prob ably dates all the way back to the fourth or fifth grade when I’d walk to school with my head down for protection on rainy days. I remember being fascinated with the irregular circles of metallic color that the rain brought out as it com bined with oil slick on black asphalt. I had always thought that such effects in ceramics were limited to salt fuming, raku or low-temperature oxidation lus ters, but recently I had an opportunity to see and handle a variety of Shinoglazed pieces in Japan, and was imme diately drawn to both the pebbly textured types, and to the milky, almost snow-white types that show hints of Porcelain plate, 11 inches square, with latex-resisted underglazes and Shino glaze, fired to Cone 10 in reduction. January 1999 103 slightly more opaque and darker goldbrown sheen with more antique gold matt areas where it was just a hair thicker. When applied under the Shino, these glazes seemed to bubble up unevenly, bringing dots of color to the surface, then healing over with a small ring of iridescence surrounding each. Of all the results over and under both glossy and matt Shinos, this interested me the most. I wanted to see if I could get the same effect with other colors, too, so I tried tests with some cobalt blue and chrome green recipes, then some saturated irons and rutile blues. A few looked promis ing, so I made further tests with mul tiple glazes, even trying a clear glaze with additions of high-temperature in clusion pigments. After months of trials and refine ments, I settled on four single glazes and a combination of two others. Be cause the thickness of the glaze under neath made such a difference in the color intensity, size and frequency of spotting, I found that only spraying gave me the control I needed. Spraying al lowed me to vary placement, color over lap and density. The thickness of the covering Shino glaze affected the result, too, but I could control the top coat by simply altering the dipping time. As I learned more about exploiting the iridescence from this particular ef Porcelain cup, 4½ inches in height, with applied thick slip, White Shino Glaze over fect, I also tested other Shino recipes, as Combined Blue and copperlmanganese wash, Cone 10 reduction fired, $24. well as methods of selectively applying soda ash directly after glazing, and soft orange and brick red underneath All these glazes contained soda ash refiring pieces with second and third and breaking on some edges. and showed strong color response to coats of glaze. I had often used brush I had been collecting information oxides, particularly iron and manganese. and latex-resist techniques in the past, on Shinos and exchanging recipes with Results were very interesting when I so I incorporated them into the mix of other potters for several years. One tried several of my iron- and manga- experiments, too. I soon found that there was a much Malcolm Davis recipe, called Red Shino, nese-bearing glazes over or under these produces textures ranging from dry and Shinos. On top of the glossy Shino I larger repertoire of metallic iridescent had been using for a while, thin washes effects available to the potter working at pitted to semimatt and crawling, de pending on the thickness of application of my temmoku produced a delightful Cone 10 reduction than I had read about and the amount of soda ash that has reflective golden sheen; thicker applica or imagined. My tests can be grouped crystallized on the surface prior to glaze tions became more metallic, and a regu into four categories: reglazing and firing; colors range from deep brick red lar coating gave the look of a standard refiring, soda ash effects, glaze ingredi to orange, salmon and white. Glazes temmoku but with gold metallic edges. ents promoting iridescence, and over from other sources showed propensities A gunmetal black glaze containing man glaze washes. for carbon trapping, and some had the ganese was even more responsive, blend Not all stoneware clays will allow stark white color I became so fond of. ing into the surface and creating a multiple Cone 10 firings, because the 104 CERAMICS MONTHLY It was the washes, though, that gave buildup of cristobalite may seriously in ter effects in every glaze when the sur crease the chances of cracking, but my face was brushed with thin washes of what I thought were the most dramatic clay has a moderate amount of iron and ocher or manganese dioxide. With good results when sprayed as a third layer seems to take refiring well. All the Shino-reduction, the sheen from the thinnest over the glossy Shinos and underglaze. I began with an overglaze recipe for Shinos type glazes that I used were very viscous applications was almost rainbowlike. when mixed and would amply coat an already glaze-fired piece without pre heating. When I used the Red Shino glaze for the first firing, then reglazed with Carbon Trap Orange and refired, the results were a general deepening of color and an antique gold sheen where the carbon-trap glaze covered the Shino. I am sure the iridescence was caused by the Carbon Trap Orange picking up iron from the Red Shino beneath it, but this did not occur if both were applied to a bisqued piece and fired together. Thickness and good reduction both af fected color, and brush decoration over the combined glazes using slightly thinned Glick Gunmetal gave an addi tional variegated luster. Multiple firings and glaze applica tions are possible, as is building up lay ers upon layers of interacting colors and lusters, somewhat analogous to paint ing with glazes. In this respect, I found most success if I used only gloss and Shino-type glazes. Barium, magnesium and clay matt glazes did not seem to mix well with the Shinos, often bub bling and cratering unpleasantly. Soda ash can produce somewhat un predictable effects in the first and any subsequent firings. I used a plastic spray bottle (soda ash is corrosive) to apply two or three coats over an unfired glaze. As soda ash dries, it crystallizes on the surface; during firing, it can act as a glaze flux and promote carbon trap ping. Sprayed over the Red Shino, it softened the surface, deepened the color and occasionally produced a lustrous sheen of its own, particularly if it was allowed to dry slowly for several days. Of the three glaze ingredients I tested for their ability to promote iridescence—amblygonite, cryolite and petalite— only the cryolite showed marked effects. An addition of 10 grams cryolite to 100-gram samples of three different Stoneware vase, 8 inches in height, with underglazes, White Shino glossy Shino recipes yielded strong lus Glaze and ocher/manganese wash, reduction fired to Cone 10, $38. January 1999 105 Recipes Glick Gunmetal Glaze (Cone 10, reduction) Albany Slip Clay......................... 70% Nepheline Syenite..................... 30 100% Add: Manganese Dioxide......... 10% Stoneware plate, 11 inches square, with Red Shino Glaze and onglaze brushwork, reduction fired three times to Cone 10, $50. from Jack Troys book Wood-fired Stone ware and Porcelain. I also used several different combinations of ocher, man ganese dioxide and copper carbonate. Thickness of application can be critical with these thin washes. Too little and there is a spot of color, but no sign of iridescence; too much and the sprayed area becomes dull, dark and crusty. Given the myriad variables in tools, materials and firing conditions that we all encounter, only some testing will determine what works for individual potters; however, the results can be well worth the trouble. My own firings have gradually become hotter and longer since I started working with Shino-type glazes. I now fire my 16-cubic-foot downdraft kiln to Cone 10 in about 16 hours, which includes a good hour or so of soaking at the end to heal any bubbling and brighten the colors. With experience, I am now able to achieve spots of deep blue, blue black, gray and rust red breaking through a golden, sometimes silvery, iridescence, often with erratic gray shadows of car bon tracing the curves of rims and shoul ders, and areas of pale blue tingeing the thick applications of white Shino from underneath. The responsiveness of Shino-type glazes to clay, kiln atmo sphere and iridescent washes seem boundless. A 106 Carbon Trap Orange Glaze (Cone 10, reduction) Soda Ash..................................... 12% Spodumene................................. 9 Kona F-4 Feldspar.................... 13 Nepheline Syenite...................... 40 Cedar Heights Redart....................... 3 Edgar Plastic Kaolin......................... 8 Kentucky Ball Clay (OM 4) ... 15 100% Malcolm Davis Red Shino Glaze (Cone 10, reduction) Soda Ash................................ 7.00% Kona F-4 Feldspar............... 10.34 Nepheline Syenite................. 42.94 Cedar Heights Redart.......... 6.34 Edgar Plastic Kaolin............ 18.91 Kentucky Ball Clay (OM 4).. 14.47 100.00% Blue Glaze (Cone 10, reduction) Spodumene............................ 6.76% Whiting................................... 7.92 Custer Feldspar..................... 59.09 Frit 3124 (Ferro)................... 8.16 Flint......................................... 18.07 100.00% Add: Tin Oxide..................... 3.85% Zinc Oxide................. 8.16% Cobalt Oxide.............. 2.80% Rutile........................... 1.75% Troy Overglaze (Cone 10, reduction) Cobalt Carbonate...................... 10% Manganese Dioxide.................. 70 Rutile........................................... 20 100% Thick White Shino Glaze (Cone 10, reduction) Soda Ash................................................. 8% Spodumene.............................. 29 Kona F-4 Feldspar..................... 34 Nepheline Syenite...................... 14 Edgar Plastic Kaolin.............. 10 Kentucky Ball Clay(OM 4) ... 5 100% Sprague Shino Glaze (Cone 10, reduction) Soda Ash................................ 4.04% Spodumene............................ 15.35 Kona F-4 Feldspar............... 18.59 Nepheline Syenite................. 45.45 Kentucky Ball Clay (OM 4).. 16.57 100.00% Stoneware vase, 7 inches in height, with White Shino glaze over thin spray of Blue Glaze, sprayed copper/ manganese wash, stained crackle, fired to Cone 10 in reduction, NFS, by Gary Holt, Berkeley, California. CERAMICS MONTHLY January 1999 107 Questions Answered by the CM Technical Staff Ever since seeing a beautiful small, unglazed, translucent porcelain cup made by a contemporary Japanese ceramist, I have been looking for a snowwhite porcelain body for Cone 6-10 oxidation firing. I have come to the conclusion that such pure whiteporcelain is not available in North America. I hope someone can prove me wrong! I have tried the whitest commerciallypreparedporcelain avail able locally. I have also mixed porcelain bodies from recipes using Grolleg, but compared to the Japanese piece, they are gray. I know there is no petuntse available in North America, but is there any way that I can get porcelain as white and as beautiful as the fresh powdered snow in my gar den?—M. C. Q Most of the porcelains available these days have a ball clay component and therefore do not fire snow white because of the iron that comes with the ball clay. They also need as little titanium as possible to be translucent. It is not impossible to have white translu cent porcelain, but there are certain require ments necessary. High firing, preferably above Cone 10, is one. This is because you need to use only a white-burning kaolin with a low-titanium content. Grolleg is such a kaolin, but it presents certain problems in workability both in forming, trimming and drying. Such bodies are difficult to throw because of the nature of kaolin, which is not very plastic and not very strong. The ware needs to be trimmed to get the thinness necessary for translucency. Some of these problems can be overcome by adding a white burning bentonite; 2% is the recommended amount, but if I were formulat ing such a body, I would be tempted to add a little more. Aging the body will help somewhat as well. When I say “aging,” I’m talking about months and years rather than days and weeks. It is also beneficial to add a flocculant, such as vinegar, but then you have to use the clay right away or put up with the mold and smell. Epsom salts helps these kinds of bodies as well; 0.02% is dissolved in hot water and added when the dry materials are mixed with water— a better solution than the vinegar. If you were to decide to fire at Cone 11, then a good starting point would be 25% potash spar (G200), 25% silica (flint), and 50% Grolleg kaolin, then add 2% white bentonite and some dissolved Epsom salts. As you can see, this is only about 50% plastic material, so workability is not ideal and the ware will be quite fragile during the drying stages. If it is melted properly, it will tend to warp during firing so level surfaces are required while drying and firing. Of course, some potters welcome the variation, and in that case, the job is somewhat easier. 108 If the body does not mature enough at the temperature you want to fire at, then increasing the feldspar at the expense of the clay is the way to go. With the attendant loss in workability, these types of bodies are better as casting slips than as throwing bodies. I have also heard that a bit of cobalt in such bodies adds to the look of whiteness. I have no experience in this and cannot recommend amounts, but it would certainly be the carbon ate not the oxide. The trick here would be to use very little and disperse it well in the water before mixing, perhaps again, with the Epsom salts. The best way to mix such bodies is in slip form to achieve maximum plasticity. The prob lem then is to dry it enough for use but keep the soluble salts in and well dispersed. If I were to undertake such a project, I would certainly check as many clay suppliers as pos sible first to see if a prepared body is available. What you need to find is a Grolleg-based body with no ball clay that matures at the highest cone your kiln will fire to. Ron Roy Ceramics Consultant Scarborough, Ontario I have been firing to Cone 10 for my entire ceramics career, both with gas and electricity. In the past eight years, I have been using only electric kilns. Afier having to replace the elements in my kiln every six to eight months, I am seriously considering lowering my firings to Cone 5. This will save electricity, and wear and tear on my kiln. All of my glazes need to be converted and I wanted to know if there is an easy way to convert a glaze from Cone 10 to Cone 5. I know how to recalculate glazes, but to save time, I was hoping not to have to start from scratch. Could you suggest a simple adjustment for my base clear? Q Clear Glaze (Cone 10) Whiting.................................................. 19.6% Custer Feldspar..................................... 25.9 Edgar Plastic Kaolin............................. 19.6 Flint....................................................... 34.9 100.0% I also use a black slip!glaze with Alberta slip and nepheline syenite that works great for sgraffito. Do I raise the nepheline syenite to lower the temperature?—E. G. High-fire glazes work because of a large number of complex eutectics that occur at Cone 5 and above. (For those who are unfamil iar with that term, a “eutectic” is when two or more things combine to melt at a lower tem perature than either would alone). Because of the complexity of these systems, there is no sure-fire method of lowering the maturing tem perature of a glaze and retaining all of its characteristics. Note the caveat in that last CERAMICS MONTHLY sentence: it’s easy to lower the maturing tem perature of a glaze; the difficulty lies in having it look the same afterward. That said, here are a few suggestions for lowering the maturing temperature of a Cone 10 glaze: 1. Don’t change anything—just fire to a lower temperature. Surprising as it seems, most glazes have a broad range and will work well over several different cone temperatures. The easiest thing to do is nothing: it’s always worth a try. (That’s a bit of my personal philosophy showing through). 2. Substitute nepheline syenite for any pot ash or soda feldspar. This adds a bit more flux to the glaze, lowers the silica content a little, and substitutes soda, which is a bit more active, for potash. This sometimes works and is worth a try, but it also raises the thermal expansion of the glaze; therefore, the glaze may have a greater tendency to craze. 3. Add 1% lithium carbonate for each cone that you want to lower the temperature. Lithium carbonate is a very active and powerful flux; even 1 % will make a visible difference in most glazes. There are two potential downsides to lithium, however: It is considered by many to be a health hazard, and it tends to make a glaze settle out quickly. The latter problem can be easily addressed by adding a bit of Epsom salts to thicken the batch and prevent the settling. The potential health hazard is trickier. If you choose to use any potentially harmful material, it is up to you to learn about the material and use it in an appro priate manner. 4. Add 5% of either Gerstley borate or Ferro frit 3134 for each cone you want to lower. I like to use Gerstley in glazes (when it’s in small amounts), as it helps improve the application properties; however, some people prefer to avoid Gerstley’s variability; in which case, a frit may be a better choice. Over 10% in a matt glaze and it will tend to become glossy, though I’ve witnessed people using higher amounts in a gloss glaze and obtaining good results. Since you display an understanding of glaze calculation, I’m going to get a bit more technical here. The best way I’ve found to lower a glaze’s firing temperature is to look at its unity molecular (Seger) formula and add about 0.05 boron for each cone thatyou want to lower. Keeping in mind that most Cone 10 glazes are mature at Cone 8, that means you would want to add about 0.1 or 0.15 boron to bring the glaze down to mid-range tem peratures. This is the same way Dr. Seger himself lowered melting temperatures when he invented cones back in the 1880s. From Cone 1 down to Cone 010, he simply added 0.05 boron for each successive cone. (If you want to read more about the formulation of January 1999 109 Questions cones, it is covered in A Handbook of Pottery Glazesby David Green. It’s out of print, but you should be able to see it at your local library, or through interlibrary loan. Once you “add” the boron (on paper), then calculate the new batch using a frit or Gerstley borate. I calculated two variations of your origi nal clear glaze recipe, the first adding 0.15 boron, the second adding 0.25: Clear Variation 1 (Cone 6?) Custer Feldspar...................................... 15.0% Whiting................................................... 15.6 Frit 3134 (Ferro)..................................... 10.7 Edgar Plastic Kaolin.............................. 23.9 Flint........................................................ 34.8 100.0% Clear Variation 2 (Cone 6?) Custer Feldspar...................................... 7.5 % Whiting................................................... 13.0 Frit 3134 (Ferro)..................................... 17.7 Edgar Plastic Kaolin.............................. 27.1 Flint........................................................ 34.7 100.0% In the process of inventing cones, Seger did extensive testing, using the four ingredients that are in your glaze in order to find the most fusible combination. The best combination became Cone 4, because it contained 4.0 silica. Your recipe is very close to the formula for making a Cone 4.That might lead you to believe that it would work at Cone 5, but there are usually four or five cones between when a mixture first melts, and when it is mature enough to be called a glaze. Iff adjust the unity formula to the same as a Cone 4 (0.3 KNaO, 0.7 CaO, 0.5 Al2O3, 9.0 SiO2) then your recipe becomes: Clear Variation 3 (Cone 6?) Whiting................................................... 17.5% Custer Feldspar..................................... 48.8 Edgar Plastic Kaolin.............................. 12.1 Flint........................................................ 21.6 100.0% I don’t know if this will work, since we are using different raw materials than Seger used 100 years ago in Germany, but it’s worth a try. Just to remake the point about the complex ity of eutectics, Seger found that if he raised or lowered any part of that mixture, then the maturing temperature went up. In other words, even if he lowered the alumina, the melting temperature went up. Nothing’s ever simple in this world, and that includes eutectics. As for your black glaze, it’s rarely successful to replace a complex raw material like Albany or 110 CERAMICS MONTHLY January 1999 111 Questions Alberta slip with a man-made substitute. Rather than try to recalculate a glaze like yours from unity, it would make more sense to try the additions of lithium carbonate or Gerstley bo rate. Begin by mixing 500 grams of the glaze in a blender, then add the flux a little at a time. Mix well after each addition, dip a tile, then add a bit more. If I were using lithium, I would add it in 1% increments. For Gerstley borate, I would add increments of about 3%. Pete Pinnell Assistant Professor of Art University of Nebraska, Lincoln QI have this client for whom I made a dinnerware set, who is complaining about the bottoms being too rough. Is there any way of polishing or coating the bottoms with anything to smooth them? I throw on Formica!chipboard bats and there is grog in the body. To me, this set seems like typical stoneware. And yes, this is afussy client. What can I do to please him ?—S.R. Any unglazed foot surface will be rough, no matter what the clay body type—even if there is no grog in the clay body or if you have used a fine-grained clay body, such as a white stone ware or porcelain. It is possible to glaze the feet entirely, then stilt the piece for firing, grinding off stilt marks afterward. However, plates and other large-diameter pieces may warp if stilted. Pin setters are used in industry to support the plates at three points under the rim. The result ing glaze blemishes are ground off afterward. There are a few ways to effectively smooth unglazed feet. After the firing, you can try rubbing the feet with a small piece of kiln shelf. Another way is to use a solution of silicon carbide powder and water with a small piece of kiln shelf. Sand paper, specifically emery cloth, is a very effective way to smooth out the surface. In our shop, we have a variety of adhesivebacked sanding disks in a variety of diameters on plastic bats. When we remove ware from the kiln, the feet are immediately ground smooth using an 80-grit disk, or sometimes a 100-grit disk, on a potter’s wheel. Afterward, we remove the sanding dust with a damp sponge, and the work is ready for shipment. Jonathan Kaplan Ceramic Design Group Steamboat Springs, Colo. Have a problem? Subscribers’ questions are welcome, and those of interest to the ceramics community in general will be an swered in this column. Due to volume, letters may not be answered personally. Mail to Ceramics Monthly, PO Box 6102, Westerville, Ohio 43086-6102, e-mail to [email protected] or fax to (614) 891-8960. 112 CERAMICS MONTHLY January 1999 113 114 CERAMICS MONTHLY January 1999 115 116 CERAMICS MONTHLY January 1999 117 Comment Discovering Clay Therapy by Leslie A. Ihde My pots are a record of my life, as articu decision about what to make and to be late as any diary for those who can read the director of that process—at least shapes. I’ve been a psychotherapist since enough to create a pot. 1984 and a potter since 1986. My dis When I established a private practice covery and application of the language of in 1987,1 was able to start doing pottery shape in pottery making to the work of with clients and colleagues. The discov psychotherapy began with myself. I was eries were immediate and obvious. My so gripped by the sense that there was a first “clay therapy” client was a young great deal of meaning to be found in woman who had an eating disorder, along deciphering my different clay efforts with tremendous conflict with her friends that I knew, if I could become clear on and family. Although she willingly sat this, I would have an advantage in my down at the wheel for her first lesson work as a therapist. with me, within minutes she had had After days spent speaking with enough. “This is too difficult,” she de troubled people, I seemed to need to clared, and that was the end of it. unburden myself in the evening by throw That moment told me a great deal ing pots. In my relationship with clay, I about her personality, though. I knew escaped the trial of caring about clients that we would not get anywhere without who, despite the intimacy and depth of addressing her low threshold of tolerance the client-therapist relationship, con for fallibility. If she could not immedi tinued to struggle in ways I was often ately succeed, she felt she had to with helpless to alter. draw. This attitude informed her life, Soon I found myself familiar enough and in many ways was at the root of her with the language of form to make pretty current troubles. much any shape I wanted. But then I One client clearly intended to control encountered my first obstacle: I really and boss the clay. Another, inclined to didn’t know what to make. ward dependency, needed constant en Why not? It seemed clear to me that couragement and reassurance about her this was a significant question. I was ex careful projects. Often, the client’s rela cited by the plastic quality of clay, but I tionship with me seemed to be the lost interest the moment the shape was significant factor: One woman struggled completed. What interested me was the for months, only succeeding when she infinity of possible forms, not the com felt angry with me. Then a quick, effi pleted shape. cient little pot would emerge, unlike the I was beginning to discover the im other globular attempts. plicit relationship between the core issues Are there advantages to discovering of therapy and pottery. It was amazing to and articulating attitudes through pot me that this obstacle in my development tery? I believe the answer is clearly yes: as a potter could point out such a funda the difference between “clay therapy” and mental life interest. My allegiance is to ordinary therapy is twofold: On the one the fluidity of formlessness, not the fini- hand, people are not as likely to have tude of completed shapes. Transcending strong emotional attitudes about pottery difficulties in determining shape required as they will about their marriages or con recognition of my own attitude. flicts or personal struggles. This is impor In all efforts at self-reflection and tant, because a person’s tendency to feel change, the first task is the entrance into at fault, or believe that another person is, exploration. The patient—or oneself— can often prove an obstacle to looking at begins with a complaint: something he his or her own attitudes and actions. If it or she cannot do, face, endure or com is possible to separate the attitude from prehend about his or her life. This is the emotionally charged incident or ac where the exploration begins. Similarly, tivity, the person may be more inclined in pottery, my first obstacle was learning to take a peek at the grounds of his or her to direct the clay. I needed to make a own difficulty. Continued 118 CERAMICS MONTHLY January 1999 119 Comment tion. While speaking with an adolescent what I may have convinced myself was girl, I would visualize a cautious little pot going on at the time. with an opening bending in toward itself. Robin Hopper has a wonderful series Or when meeting with an angry diabetic of illustrations in his book Form and Func Secondly, the simple and uncompli cated act of making clay art (just the man, sharp, phalliclike pots would come tion that show the genealogy of pots based “doing”) may reveal an essential difficulty. to mind. I was thinking pots. on the circle and pots based on the square As any therapist knows, it is sometimes This phenomenon repeated itself in or rectangle. In as much as shape is lan hard to avoid letting the therapy be swal my dreams. A design might appear, com guage, the square and circle must be the lowed up by the details of the clients plete with surface treatment, along with most basic words. The circle or sphere story and the particulars of his or her life. a clear sense of how it might technically represent wholeness and completeness. The pottery activity strips the session of be achieved. The cube or rectangle indicates the rela the accidental aspects of his or her troubles I also found myself going through tionship between horizontal (“earthy”) and brings out the more fundamental phases. There was the platter phase, the and vertical (“spiritual”) dimensions of ones. Reported struggles with learning square-plate phase, the tall “plum blos our own lives. I’ve learned that making the slcill of pottery speak loudly, perhaps som” vase phase, and so on. I couldn’t pottery can be an effort of the soul to more loudly than the clients own de immediately see how these phases re speak to itself. Its imagery is like a waking scription of him- or herself might. flected my life. I made platters when I dream waiting to be addressed. As a therapist, I try to help my clients felt warm and generous—or when I felt In Art Is a Way of Knowing, Pat Allen help themselves by changing and grow guilty for not being warm and generous. describes addressing her paintings, speak ing in ways suggested to them by their Squared bowls and plates seemed like ing to them and trying to hear the mes own inner calling. Pottery lends itself to explorations of the mandala—the ancient sages they have for her. In a similar way, this end, revealing the individuals own effort to square the circle, reconcile the my pots have spoken to me. As a thera personality traits and inclinations. opposites. If I was observant, I could read pist, I hope to teach my clients to listen In my own pottery making, I noticed in my shapes the mood and spirit of to their imagery as well. another phenomenon emerging in the myself at a given time. language of form. Sometimes when speak My own development was echoed in The author A counselor at the Binghamton ing with a person, the image of a pot my shapes as I encountered and over University Counseling Center in New York would appear in my mind. Somehow, came inward challenges. These pots are City, Leslie Ihde also maintains a private that image would always be the correct thus my clearest and most eloquent di practice, where pottery making is frequently representation of my mood or percep ary, far more accurate and honest than a part of therapy. Index to Advertisers A.R.T. Studio.................................35 Aardvark...................................... Ill Aftosa............................................ 23 Alfred University........................ 107 Amaco .......................................... 33 ACerS.....................95, 109, 117, 118 Amherst Potters.......................... 108 Anderson Ranch................. 110, 119 Archie Bray....................................86 Armory Art Center....................... 114 Arrowmont.................................. 113 Axner............................................. 87 Bailey............................. 1,6, 7, 27, 89 Bennett’s......................................... 5 Bluebird...................................... 113 Brent..............................................77 Brickyard.................................... 116 Brown Tool .................................. 86 Ceramic Millennium 99................ 79 Ceramics Monthly...... 100, 110, 112 Clark.............................................. 96 Classified.................................... 115 Clay Art Center (WA).................... 82 Clay Art Center (NY).................. 108 Clay Factory.................................. 86 Clay Times.................................... 98 Clayworks Supplies ...................... 86 Contact........................................ 107 Contemporary Kiln..................... 112 Continental Clay............................ 93 Corey........................................... 116 Cornell............................................86 Creative Industries.........................34 Davens........................................ Ill Del Val........................................... 84 Derek Marshall ............................. 90 Dolan ............................................ 86 Duralite.......................................... 96 Euclid’s.......................................... 84 Falcon............................................ 96 Functional Ceramics..................... 96 Geil.................................................25 Georgies...................................... 112 Giffin.............................................. 37 Gordon Ward................................. 84 Great Lakes................................. 114 Hammill & Gillespie.............. 82, 96 HBD...............................................84 Highwater Clays........................... 10 Hones......................................... 110 Hood........................................... 112 ITC............................................. 109 Jepson........................... 9, 13, 19, 85 Kickwheel........................................ 2 Krueger.......................................... 84 L&L............................................... 15 Pottery Making Illustrated............88 Pure & Simple............................... 96 Laguna Clay...................................31 Laloba Ranch................................ 30 Lark Books.................................... 32 Leslie........................................... 114 Lockerbie.......................................99 Ram............................................. 110 Randall...........................................90 Rosen............................................. 29 Marathon Potters...........................38 Max................................................ 94 MBF Productions.......................... 84 Miami Clay................................. 119 Mid-South......................................97 Mile Hi.......................................... 36 Minnesota Clay USA..................... 99 Modern Postcard........................ 107 MPGCorp.................................... 110 Sapir Studio................................... 97 Scott Creek.................................... 84 Sheffield...................................... 117 Sierra Nevada College...................96 Skutt......................................Cover 4 Southern Pottery............................86 Spectrum .......................................80 Standard ..................................... 119 Studio Potter..................................94 NCECA................................ Cover 3 New Mexico Clay....................... 112 New Orleans Clay..........................94 Nidec-Shimpo...................... Cover 2 92nd St. Y....................................114 North Star Equipment......... 17, 113 Tara............................................... 11 Thomas-Stuart............................ 100 Trinity............................................ 91 Tucker’s.........................................92 Olsen........................................... 100 Olympic......................................... 97 Palissy............................................94 Paragon..........................................91 Peter Pugger.................................. 21 Philadelphia Pottery...................... 94 Potters Guide................................. 81 Potters Shop................................ 112 U. S. Pigment ............................... 99 Venco.............................................83 Vent-A-Kiln.................................... 94 Ward.............................................. 78 West Coast.................................. 110 Westerwald.................................. 118 Whistle Press............................... 110 Wise............................................... 94 Wolfe..............................................94 Worcester.................................... Ill CERAMICS MONTHLY