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Ceramics Monthly December 2003
Ceramics Monthly December 2003
Ceramics Monthly December 2003
DECEMBER 2003 / Volume 51 Number 10
featu res
36 Aim to Inspire:
Neil Patterson on the Art and Craft of Teaching by Marilyn Anthony
41 Teapots on My Mind by Hwang Jeng-daw
Tea ceremony provides springboard to making pots
44 Married to Clay (And Each Other) by Deb Fieck-stabiey
Balancing collaboration and individuality
49 21st Century Ceramics In the United States and Canada
500 ceramic works at Columbus College of Art and Design
55 Quiet Voice, Loud Statement
The Work of Tomoo Kitamura by Caren 5. Rodriguez
57 18th-Century Buen Retiro Porcelain by Maria carmen Santos
Spanish porcelain from a royal factory in Madrid
60 Ishmael Soto by Bobby Filzer Pearl
An appreciation of torn and ragged forms
64 A Maya Ceramics Tradition Survives in the Yucatan
by Carol Ventura
Pre-Columbian heritage inspires narrative reproductions
66 David DahICjuist by Kristin Senty-Brown
Public installations concentrate on historical references
70 Carrying the Empty Cup
Three Generations Within the Japanese MasterlApprentice Tradition
by Dick Lehman
10 letters
16 upfront
30 new books
78 call for entries
84 suggestions
86 calendar
104 questions
108 classified advertising
110 ceramics monthly annual index
112 comment:
Getting a Handle on It by Tony Clennell
112 index to advertisers
cover: "Niche Jar," 14 inches (36 centimeters) in
height, thrown and altered earthenware, with
terra sigillata, by Neil Patterson, Philadelphia,
Pennsylvania; page 36. Photo: John Carlano.
Ceramics Monthly December 2003
Jerry Rothman
Retrospective exhibition at the Laguna Art Museum in Laguna Beach,
and California State University Fullerton Grand Central Art Center
Beth Cavener Stichter Receives Grant
Emerging ceramics artist recognized by the American Crafts Council
Multimedia Exhibition at Arrowmont
Works by 13 ceramists at Arrowmont School of Arts and Crafts
in Gatlinburg, Tennessee
Ivar Mackay
Porcelain vessels at Oriental Museum in Durham, England
Invitational Exhibition in Pennsylvania
Earthenware tilework included in exhibition at Edinboro University’s
Bruce Gallery in Edinboro
Exhibition of Figurative Sculpture in Texas
Three-person exhibition at Goldesberry Gallery in Houston
Frank Ozereko
Wall-mounted sculpture at Nada-Mason Gallery
in Northfield, Massachusetts
Dina Wilde-Ramsing
Vessels at New Elements Gallery in Wilmington, North Carolina
Alison Reintjes
Installation at the Archie Bray Foundation in Helena, Montana
Ann Mallory
Sculpture and vessels at the Minor Memorial Library Gallery
in Roxbury, Connecticut
Kelly Barrett
Figurative work at Ewing Gallery of Art and Architecture
at the University of Tennessee in Knoxville
Ellen Rundle and Linda Smith
Sculpture at Orlando Gallery in Tarzana, California
Paul Scott
Pottery at Tullie House Museum and Art Gallery in Carlisle, England
Juried Exhibition in North Carolina
23rd Annual July National at Franklin Square Gallery in Southport
Alice Robrish
Sculpture at Hodson Gallery at Hood College in Frederick, Maryland
Ceramics Monthly December 2003
Ceramics Monthly December 2003
Well-Deserved Recognition
Congratulations to the authors and staff of
CM on the May 2003 issue, which featured
“The Pottery at Greenfield Village” and
“J. T. Abernathy.”
As a retired teacher, I can recall the
inspiration of Abernathy’s pottery wisdom.
I also spent five years working with Bryan
Von Benschotten at the Greenfield Pottery
Village, and I still stand in awe of his
throwing skills. Both Benschotten and
Abernathy are gems in the Michigan pottery
community. It’s about time they received
the recognition they deserve!
Joseph Opalinski, Holly, MI
The Fire that Consumed Elkton
In December 1996, CM published “The
Kiln that Consumed Elkton,” that told the
story of how the citizens of the tiny rural
town in Oregon rallied around their favor­
ite potter, Hiroshi Ogawa, and helped him
build his dream kiln, the Hikarigama.
On October 10, 2003, a fire broke out
in Ogawa’s on-site gallery and, within
minutes, both the gallery and studio were
burned to the ground.
The kiln survived, but Ogawa lost every­
thing else related to his life’s work of 30
years. Once again, the good people of
Elkton rose to the occasion and, in less than
24 hours, the devasting rubble had been
cleared away, a benefit concert had been
arranged to raise funds, and an account
established at a local bank to receive taxdeductible contributions for reconstruction.
In the meantime, both potters and
Elktonites will continue to be on hand to
assist their friend and favorite citizen in
resurrecting his dream.
Howard Kiefer and Deborah Lipmany
Elkton, OR
Fire and Hope
On Friday, October 10, we had finished
loading most of the pottery into the
Hikarigama, with plans of closing and
lighting the kiln the next day. As we were
relaxing and anticipating the firing, we
heard odd noises coming from the gallery.
Before we knew what was happening, the
entire building (several feet from us) was
engulfed in flames. Although the cause of
the fire is unknown, it is important to note
that it was not started by the kiln, which
had not yet been lit. The fire department
was able to contain the fire, but not before
it consumed the entire studio and gallery.
Fortunately, nobody was physically injured.
We cannot begin to understand the loss
that Hiroshi has suffered. Anticipating his
annual studio sale, he had filled his gallery
with pottery, all of which was destroyed. All
of his studio equipment—including wheels,
kilns, books, extruder and pug mill—is
gone. Virtually nothing was salvageable.
I am happy to report, however, that the
rebuilding process has already begun.
Hiroshi has been overwhelmed by the
amount of love and support that has poured
in. With help from the Elkton community,
the debris has been cleared and materials are
being gathered for the construction of the
new Ogawa pottery and gallery, and we
plan on firing the kiln early in December.
Sam Hoffman, Corvallis, OR
Ogawa Contributions
Most potters in the Pacific Northwest are
familiar with Hiroshi Ogawa, as he has been
a contributing member of our community
for many, many years. More recently, he
has risen in national stature for his recent
work in the more traditional methods of
Japanese wood-fired ceramics. Countless
Ceramics Monthly December 2003
Ceramics Monthly December 2003
potters have traveled the road to Elkton,
Oregon, to share wood firing at Hiroshi
Ogawa’s anagama. His spirit and generosity
have touched many.
Those of you who have known Hiroshi
may want to help with the rebuilding. A
bank account has been opened for contribu­
tions. Make checks payable to Hiroshi
Ogawa and mail them to US Bank, PO
Box 5> Drain, OR 97435.
Don Clarke, Eugene, OR
Ceramics Monthly will be making a
donation in the form of cash as well as
back issues of the magazine. We encour­
age those of our readers who are able to
join us in supporting the Ogawas and the
ceramics community in and around
Elkton, Oregon.—Ed.
Always More to Learn
I’ve subscribed to Ceramics Monthly since
college graduation (Montana State Univer­
sity, Bozeman) in 1956, and enjoyed the
changes in the magazine and the craft.
Potters haven’t changed all that much; we
still have the issues of “What is art?”
“What is best?” “What is functional?” with
strong feelings on both sides! There’s
always more to learn, no matter how long
one has been potting.
Constance Moss, Great Falls, MT
Enjoys Recipes
I really appreciate the glaze recipes and
materials updates. I use CM to keep in
touch with what’s current. Thanks!
Suzanne Hill’ Carlisle, MA
Nicaragua Visit
In October 2002, you published the article
“Three Generations: Potters of San Juan de
Oriente, Nicaragua.” In May 2003,1 trav­
eled to Nicaragua on a mission trip to
various orphanages. Since I am a potter, I
researched this tiny village and took six
orphans on a field trip to visit these potters.
First, we visited the brother of Helio
Gutierrez, who owns a production pottery.
He sells a considerable volume to Pier 1
Imports. He was very gracious with our
dropping by unexpectedly and even allowed
the children to try wheel throwing.
Next, we visited Helio Gutierrez. My
friend purchased a piece from him that is
exactly like the one shown on page 57 of
the October 2002 issue. I purchased a piece
Ceramics Monthly December 2003
Ceramics Monthly December 2003
that is a replica of a piece honored in 1993
by the country of Nicaragua by placing it
on their national stamp. I could hardly
believe it when Gutierrez allowed us to
choose one piece from his beautiful collec­
tion as a donation to help the orphans.
Remember, we had just dropped in unex­
pectedly and uninvited with six small chil­
dren. How gracious and generous these
gentlemen were!
Two other things that greatly impressed
me were the weightlessness of the pieces and
the very simple tools used to produce these
masterpieces. The X-acto knife was the
most elaborate tool of choice. As a result of
this visit, I now view my heavy toolbox and
heavy porcelain pieces very differently.
Phyllis Canuppy Virginia Beach, VA
Caulk as Adhesive
Please note that in “Animal Tracks” (Octo­
ber 2003 CM), I used clear silicone caulk­
ing (not adhesive) to mount the clay panels
on plywood backing. Any of the interiorl
exterior clear waterproof caulks will do the
job. They are inexpensive and can be found
in any hardware store. The plywood will
break apart before the bond will give.
Anne Macaire, Whitehorse, YT, Canada
European Connection
I have enjoyed the articles on European
potters (I grew up in Sweden), and like to
keep up with what’s going on there.
Christina McCarthy, Brookville, ON, Canada
Keeping the Dream Alive
Though traditionally trained in Central
Europe during World War II, my first
borrowed CM afforded dreams (for an
immigrant to Canada) where potting
heaven was only affordable via a few excel­
lent courses in glaze composition by Gor­
don Barnes and Robin Hopper. Alas, I had
to stay with dream potting, just like your
unnamed contributor in the March 2003
issue. It was hislher confession that
prompted me not to lay my dream to rest,
even if it will only continue through a
renewed CM subscription.
Once we finish our (surely) last old
house renovation, perhaps the newly bought
old wheel might get a workout. Though not
all pictures grab me, the 50-year anniversary
issues are some of the best cross sections of
comments readers have sent over the years.
Despite my advancing years, they make me
feel not quite the fossil I thought.
Jo Benko, Fairlight, NSW, Australia
Instructive Coverage
Please continue with the present format.
Any manipulation of clay—be it silly, artis­
tic or even offensive—can be instructive. I
would never reproduce some of the featured
items, but certainly can use the techniques.
Wanda Wright, Southwest Harbor, ME
In “Ducuale Grande, A Nicaraguan
Women’s Pottery Cooperative” (October
2003 CM), reference was made to an ex­
perimental corn-husk burner. The coopera­
tive is actually experimenting with a
coffee-husk burner.
In keeping with our commitment to providing an
open forum for the exchange of ideas and opinions,
the editors welcome letters from all readers; some
editing for clarity or brevity may take place. All letters
must include the writer’s full name and address, but
they will be withheld on request. Mail to Ceramics
Monthly, 735 Ceramic PI., Westerville, OH 43081;
e-mail to [email protected]; or fax to
(614) 891-8960.
Ceramics Monthly December 2003
Jerry Rothman
“Feat of Clay: Five Decades of Jerry Rothman” is being presented
concurrently at two locations: on view through February 29, 2004, the
exhibition at the Laguna Art Museum in Laguna Beach, California, will
focus on work made by California ceramist Jerry Rothman between
1956 and 1997. The second venue—California State University Fuller­
ton Grand Central Art Center—will cover 1997 through 2003, and will
be on view through January 11, 2004.
This exhibition—Rothman’s first retrospective—explores his ceram­
ics through a chronological journey of the various locations at which he
has worked. In the late 1950s, he studied at the Otis Art Institute with
materials. Michael Monroe, former curator-in-charge of the Renwick
Gallery, and Paul J. Smith, director emeritus of the Museum of Arts and
Design (formerly the American Craft Museum), selected the six from
approximately 200 applicants.
Cavener Stichter used the grant money to purchase equipment and
2000 pounds of clay, which she used to create large-scale figurative
sculpture during her residency at the Archie Bray Foundation for the
Ceramic Arts in Helena, Montana.
Multimedia Exhibition at Arrowmont
On view through December 20, the exhibition “New Directions, South­
ern Connection: Potters of the Roan and Tapestry Weavers South” at
Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee, fea­
tures over 100 works of ceramics by 13 artists who are members of a
Jerry Rothman’s “Bay View,” approximately 30 inches (76 centimeters) in height,
2001-2002; at the Laguna Art Museum in Laguna Beach, California.
Melisa Cadell’s “Cup in Hand,” 20 inches (51 centimeters) in height, earthenware;
at Arrowmont School of Arts and Crafts, Gatlinburg, Tennessee.
Peter Voulkos, and was an active member of the “Otis Group.” From
1958 to 1960, Rothman worked in Japan on both commercial and fineart ceramics. Later, when working in Laguna Beach, he began exploring
sculpture with a strong socio-political influence. During this period,
Rothman was also a ceramics professor at California State University
Fullerton. He retired after teaching for 26 years.
North Carolina regional crafts guild. The exhibition includes functional
ceramics and sculpture.
Beth Cavener Stichter Receives Grant
Beth Cavener Stichter was one of six emerging artists to receive a grant
from the American Craft Council. Ranging from $3500 to $5000, the
grants support emerging artists working in craft media. The funds can
be used for travel, research, andlor the purchase of equipment and
Ivar Mackay
“Sky After Rain,” an exhibition of porcelain vessels by British artist Ivar
Mackay, was presented recently at the Oriental Museum in Durham,
England. Influenced by the Chinese and Korean throwers and glaze
artists of the early dynasties, Mackay notes that “my primary interest is
in the thrown form. I am working with Limoges porcelain and blended
bodies to achieve maximum translucency. I seek painterly effects in my
glazes and prefer the natural characteristics of reduction firing to com­
plete the decorative process.”
Ceramics Monthly December 2003
tions of film theory to ceramic practices assign a postmodern character
to ceramic arts while underscoring how clay’s very nature asserts its
distinctions from other genres and media.”
Exhibition of Figurative Sculpture in Texas
“Small Figures,” an exhibition of ceramics by Melody Ellis, Edwardsville,
Illinois; C. W. Wells, Philadelphia; and Janis Mars Wunderlich, Colum­
bus, Ohio, was on view recently at Goldesberry Gallery in Houston.
Wells’ figures and wall installations are colored and embellished with
layers of markings and textures. Wunderlich’s hand-built busts and
C. W. Wells wall installation, 60 inches (152 centimeters) in length,
stoneware and earthenware, with oxides and stains.
Ivar Mackay’s “Lidded Jar,” 36 centimeters (14 inches) in height, porcelain
with bronzed russet iron glaze; at the Oriental Museum, Durham, England.
After studying with Michael Casson and Walter Keeler at Harrow
College, Mackay opened Shire Pottery and began creating wheel-thrown
terra-cotta flowerpots. It wasn’t until 1998 that he began experimenting
with porcelain. Today, his glazes include celadons, copper reds, temmokus,
russet irons and crackles.
Invitational Exhibition in Pennsylvania
Ceramics by San Diego, California, artist Paul Berger were featured in
“Telling Tales,” an invitational exhibition at Edinboro University’s Bruce
Gallery in Edinboro, Pennsylvania. Berger’s work uses images drawn
from cinematic sources on wall-mounted earthenware slabs. According
to Charlotte Wellman in the accompanying catalog, “Berger’s adapta-
Paul Berger’s “Actant,” 18 inches (46 centimeters) in length, glazed earthenware;
at Bruce Gallery, Edinboro University, Edinboro, Pennsylvania.
Janis Mars Wunderlich’s “Jumping Over Her Head,” 16 inches
(41 centimeters) in height, white earthenware.
Ceramics Monthly December 2003
Frank Ozereko’s “Julius,” wall piece, 17 inches (43 centimeters) in height,
fired to Cone 04; at Nada-Mason Gallery, Northfield, Massachusetts.
The pieces being framed have also evolved over time. At first, they
were small-scale narratives, then collections of real or imagined objects.
Others were exotic floral forms. Ozereko’s most recent series of wall
works contain horizontal ceramic shelves filled with rows of vessels.
“These last pieces reference the infinite variety present in the ceramic
utilitarian object,” he explained. “They demonstrate how vessel types
can be similar in use and size while their shape and physical characteris­
tics can be wildly different from each other.”
Dina Wilde-Ramsing
“Passages,” an exhibition featuring ceramic vessels by North Carolina
artist Dina Wilde-Ramsing, was on view through November 8 at New
Elements Gallery in Wilmington, North Carolina. “I believe that my
Melody Ellis’ “Shadow Puppets,” 91/2 inches (24 centimeters)
in height, earthenware with slips and glazes, with steel;
at Goldesberry Gallery, Houston, Texas.
standing figures are fired multiple times to create a rich surface. Her
forms reflect her response to the demands of motherhood and making
art. Inspired by antique toys and dolls, Ellis creates jointed figures with
bright surfaces.
Frank Ozereko
“Wall Pieces: A Chronology,” an exhibition of ceramics by Massachu­
setts artist Frank Ozereko, was on view through October 14 at NadaMason Gallery in Northfield, Massachusetts. Most of the works in the
show use symmetrical framing units: thrown plates, boxes, shelves or
niches that frame and contain their contents. Over the years, these
framing units have changed: many of the earliest pieces were in the form
of a simple, geometric box. These evolved into more complex, geomet­
ric forms that were almost Art Deco in appearance. Later pieces were
more flowing and organic in shape.
Dina Wilde-Ramsing’s “Anniversary Jars,” to HV 2 inches (29 centimeters)
in height, stoneware; at New Elements Gallery, Wilmington, North Carolina
Ceramics Monthly December 2003
work appeals more to the senses than to the intellect, and that the
content may be less important to me than the pure visual emotion,”
Wilde-Ramsing noted. “I suppose this makes my work decorative in
purpose. Nevertheless, when I look back over the work I have made, I
can always detect a consistent, recognizable element.
“That element is the effort to invoke the aesthetic and emotional
impact of artifacts from unfamiliar cultures. Archaeological artifacts are
ingenuous, unrefined, mysterious; and their content is sometimes un­
knowable. The emotion they elicit connects us to a long and wide
stretch of human artistic tradition. This desire for connection to the
past is well satisfied by working with clay. Although my work is unmis­
takably contemporary in design, it carries the influences of geology,
archaeology and history.”
Alison Reintjes
Ceramics by Montana artist Alison Reintjes were exhibited in “Geom­
etry & Pattern” at the Archie Bray Foundation in Helena, Montana. “In
my work, I rely on order and structure,” says Reintjes. “Geometry is the
basis for shapes, which can exist as either wall tiles or simple dishes. This
lends itself to natural groupings, forms that fit together to create a
structure of their own. The glazed surface patterns accentuate and
negate the form, taking advantage of the structure, but working inde­
pendently of it as well.
Ann Mallory’s “Just Picked #2,” 16 inches (41 centimeters) in height, ceramic and
iron fired together; at the Minor Memorial Library Gallery, Roxbury, Connecticut.
surface decoration and rightness of scale, which promotes a sense of
well-being, serenity and interior balance auspicious for thought.”
Kelly Barrett
Figurative sculptures by Tennessee artist Kelly Barrett were exhibited
recendy at Ewing Gallery of Art and Architecture at the University of
Tennessee in Knoxville. “Residual damage is the root of my ceramic
work,” Barrett stated. “Involuntary interactions with predatory indi-
Detail of Alison Reintjes’ installation “Geometry & Pattern,” 24½ inches
(62 centimeters) in length, slip-cast porcelain, fired to Cone 6;
at the Archie Bray Foundation in Helena, Montana.
“Using stimulating visual activity, I nonetheless look to retain sim­
plicity and quietness. Pattern becomes the means of finding this stillness
within movement.
“Working with pattern necessitates a strict observance of law and
principle, yet within the limitations of pattern is the suggestion that it is
unending and holds all possibility. This observance of law, therefore,
becomes the means of freedom through its very constraints.”
Ann Mallory
“Quiet Reductions,” a two-person exhibition featuring ceramic sculp­
tures and vessels by Connecticut artist Ann Mallory, was on view
recently at the Minor Memorial Library Gallery in Roxbury, Connecti­
cut. Mallory’s recent works incorporate torch-cut steel with wheelthrown and handbuilt clay forms. The pieces go through both bisque
and glaze firings completely assembled. “I favor clean volumes, minimal
Kelly Barrett’s “Signal Anxiety,” 25 inches (64 centimeters) in height, ceramic
and wood; at Ewing Gallery, the University of Tennessee, Knoxville.
Ceramics Monthly December 2003
viduals may profoundly affect the life of an innocent person. Although
the source of this terror may disappear physically, the anxiety still lingers
and starts to be controlled by the unconscious.
“I use clay as a means to transport ideas from the inside of my mind
into the outer world. I find great interest in the dynamic interactions of
the unconscious and conscious forces in the mental life of a person.
When disagreements in the unconscious between the id and the super­
ego arise, the conscious life, or the ego, is affected and, as a result,
develops a way to release the anxiety generated by the unconscious.
“My animated figurative sculptures combine a literal and humorous
approach to portray my idea of the id and the superego in a constant
battle to dominate the ego,” Barrett noted. “Rabbit ears, horns, wings
and playgrounds—symbols provoked from my dreams—are used in my
work to create a feeling of going within the self, through the fragments
of my memories, like in a fairy tale or nursery rhyme.”
Ellen Rundle and Linda Smith
Wall sculptures and pedestal pieces by Ellen Rundle and sculpture by
Linda Smith, both of California, were on view through October 30 at
Orlando Gallery in Tarzana, California. “After working with clay for
Linda Smith’s “Bowl on Head III,” 13¾ inches (35 centimeters)
in height; at Orlando Gallery, Tarzana, California.
After a career focused on painting, Smith began working with tiles
and mosaics several years ago. Inspired by the California Funk move­
ment, she finds clay to be “an exciting vehicle for my creativity. I enjoy
the process of combining color and pattern in my figures and forms.”
Paul Scott
“Cumbrian Blue(s),” an exhibition of pottery by English artist Paul
Scott, was presented recently at Tullie House Museum and Art Gallery
in Carlisle, England.
“In recent years, I have embarked on an ongoing series of com­
memorative plates and objects,” Scott stated. “Making reference to
existing ceramic forms and objects (sometimes from museum collec­
tions, sometimes from junk shops), they examine and commemorate
contemporary political and environmental events, or places that would
otherwise be forgotten by the purveyors of history and taste.
“In referencing objects from the Tullie House Collection, I have
chosen to create some that simply update the imagery of the museum
objects to 2003 versions. In others, I have used the form andlor
decoration to reference contemporary events.
“Most recent work has been concerned with the development and
Ellen Rundle’s “Marquis,” 18¾ inches (48 centimeters) in height.
depiction of landscape on ceramics,” Scott noted. “Using the skills of
many years, I relinquished some of my desire to control the process and the engravers, fine-art images were appropriated for mass dissemina­
tion through book illustration. Ceramics engravers in the 18th cen­
gave way to compromise,” Rundle commented. “My surrendering to
tury in turn used these images, collaging them with the oriental
what the clay and glazes want to do is an unexpected pleasure. I
appreciate the unglazed clay body, the occasional crack and bubble. The (pattern and style) to create mass produced consumer products which
referenced expensive porcelain (from China) with the exotic (images
quest to perfect techniques and learn new ones never ceases.”
Ceramics Monthly December 2003
U pf rO fit
^ surface of the piece to be fluid, as if it were water flowing from one
shape or idea to the next.
“When arranging a sculptural composition, I convey potential ani­
mation by way of considering how a piece leans or projects itself into the
negative space. The finished sculpture should dance visually, creating a
sense of continuous rhythm as the contours, shapes and surface colors
interact within and work with the space surrounding it.”
Alice Robrish
“Interiors: Sensuous and Sublime,” an exhibition of sculpture byTakoma
Park, Maryland, artist Alice Robrish, was on view recently at Hodson
Gallery at Hood College in Frederick, Maryland. Robrish’s latest forms
are influenced by her wilderness paddling and camping trips. “Traveling
solo made me keenly aware of my place in the universe,” she com­
mented, “my vulnerability to the vicissitudes of nature—cold water,
wind, waves and bears.”
Paul Scott’s “Cumbrian Blue(s) 2000, A Millennium Willow for Sellafield
(or Plutonium is forever, well 24 Millennia anyway),” 32 centimeters (13 inches)
in diameter, Royal Worcester bone china plate, with in-glaze screen print
and gold enamel; at Tullie House Museum and Art Gallery, Carlisle, England.
from the European tour and the British Empire). Images of places and
landscapes became pattern on decorative and functional objects.”
Juried Exhibition in North Carolina
From 170 two- and three-dimensional works juried into the “23rd
Annual July National Exhibition” at Franklin Square Gallery in
Southport, North Carolina, ceramist Jeremy Zwiefel of Tumwater,
Washington, was awarded Best of Show.
“Many of the shapes I utilize in my sculptures draw inspiration from
the human body, insects, fossils, trees and the four elements, especially
water,” Zwiefel stated. “I contemplate the air around my work as I
build, paying attention to the light as it breaks into shadow. I imagine
Alice Robrish’s “Fruit of the Spirit,” 31 inches (79 centimeters) in height, with
engobes, fired to Cone 6; at Hodson Gallery, Hood College, Frederick, Maryland.
Her sculptures explore the “interrelatedness of humankind and
nature. Humanity is not superior, is not in control, but is part of
creation,” she noted. “I’m exploring the transformations of our bodies,
of all living things, as we travel our path.”
Jeremy Zwiefel’s “The Proud Mollusk,” 47 inches (119 centimeters) in height,
Best of Show award winner; at Franklin Square Gallery, Southport, North Carolina.
Submissions to the Upfront column are welcome. We would be pleased to consider
press releases, artists’ statements and original (not duplicate) slides or transpar­
encies in conjunction with exhibitions or other events of interest for publication.
Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081.
Ceramics Monthly December 2003
ceramics montniy uecemoer ^uuj
new books
successful businesswoman who wanted to sell herbeginning of the true Susie Cooper approach,
designs widely. . . . Dedicated to economy and and a few years later, when the shapes were made
to her own specifications, her unique style really
functionalism, Cooper was, at the same time,
supremely elegant and expressive. These charac­ came to fruition. Throughout her life, her inspi­
teristics, together with modernism, materialized ration came from two main sources—the natu­
Susie Cooper
ral world and her interest in the visual arts,”
in her ceramic designs. Her pragmatism and
A Pioneer of Modern Design
hard work, allied to her art, design and business notes Nick Dolan. “Susie Cooper’s approach to
by Andrew Casey and Ann Eatwell
“Susie Cooper created her own remarkable skills, were attributes that attracted talented the design process was practical. It had to be for
career,” states Bryn Youds in this compilation of people. When she could, she surrounded herself her to survive in such a competitive market. Not
essays on the life and career of British ceramics always with the most skilled and trustworthy.” only did she work directly on the pottery rather
designer Susie Cooper. “Her life was driven by the After working for Gray’s Pottery, Cooper than on paper, but she kept ahead of her com­
desire to work, to perfect designs and to express opened her own pottery in 1929. “The newly petitors by continued experimentation with ma­
herself. In addition, she was an ambitious and established Susie Cooper Pottery heralded the terials such as colored glazes.”
Her design work and pottery studio are
among the topics discussed in this book, which
consists of eighteen essays by various authors.
Other subjects include
her style and art wares,
Susie Cooper bone
china, marketing the
pottery, women and
design in 1930s Britain,
royal patronage, etc. 231
pages, including bibli­
ography, list of places to
visit, backstamps, list of
employees at the Susie Cooper Pottery, glossary
of techniques and index. 157 color and 94 blackand-white photographs. $59.50. ISBN 1-85149411-1. Antique Collectors’ Club, Market Street
Industrial Park, Wappingers’ Falls, NY 12590;
e-mail [email protected]; see website at
www.antiquecc.com; telephone (845) 297-0003;
fax (845) 297-0068. In the United Kingdom,
Antique Collectors’ Club, Sandy Ln., Old
Martlesham, Woodbridge, Suffolk IP12 4SD;
e-mail [email protected]; see website
www. antique-acc. com.
Selling Your Crafts
by Susan Joy Sager
“Just as you needed to study and learn your
craft, you now need to learn how to run a
successful craft business
in order to sell your
crafts,” states the author
of this revised business
guide. “The best way to
learn how to run a craft
business and sell your
work is by getting
started, practicing, ask­
ing questions, evaluat­
ing what did and did not work, and doing it all
over again.”
One of the main areas updated is a chapter on
taking advantage of the Internet. Sager talks
Ceramics Monthly December 2003
photographs; 40 sketches. Softcover, $22. ISBN
paper clay. The first chapter, a new addition,
provides projects for those who have little or no 0-9638793-3-2. New Century Arts, Inc., POBox
art experience. Next, studio basics—wedging, 9060, Seattle, WA 98109; or see website
about using the Internet as part of your business handbuilding, carving, slabs, etc.—are covered, www.paperclayart. com.
plan, designing and maintaining a website, link­ then Gault discusses large-scale sculpture. “With
ing your site, and website promotion and mar­ an increase in scale, the opportunity for multiple
Staffordshire Potters
work sessions
keting plans.
at the bone-dry
Other sections include an overview of the
A Comprehensive List Assembled
permits from Contemporary Directories
professional craft world (profiles of craftspeople,
and with Selected Marks
craft administrators, mentoring, etc.), setting up
refinement of an by R. K. Henrywood
a crafts business, managing your crafts business,
“The area which has become known as the
idea to continue,”
and marketing your work. A final section lists a
Staffordshire Potteries lies in the north of the
she comments.
variety of resources: craft organizations, business
county, to the east
“Complex as­
associations, guilds and associations, magazines,
of Newcastle-underetc. 296 pages, including bibliography and in­ sembly forms are likely to survive and are
Lyme. The various
therefore worth the attempt... . Whether you
dex. Softcover, $19.95. ISBN 1-58115-266-3.
pottery towns and
Allworth Press, 10 E. 23rd St., Ste. 510, New add or subtract, build up with thin walls, or
villages are now
York, NY 10010; see website www.allworth.com; carve down from thick chunks, the imagina­
grouped together into
tion of a sculptor is well served by the versatility
or telephone (800) 491-2808.
the modern city of
of the medium.”
Subsequent chapters cover the use of paper
Paper Clay
which incorporates
For Ceramic Sculptors, A Studio
the six main towns of
with recycled paper. The final chapter looks at
Tunstall, Burslem,
firing in a kiln, resources for sculptors, where to
by Rosette Gault
First published in 1993, this revised edition find ready-made paper clay, plus images of art­ Hanley, Stoke, Fenton and Longton,” states the
author of this compilation. “Industrial concen­
includes information for beginning as well as work by contemporary artists. 142 pages, in­
more advanced ceramists who wish to work withcluding glossary and index. 86 black-and-white tration is, of course, quite common . . . but the
new books
Ceramics Monthly December 2003
Ceramics Monthly December 2003
new books
as the early publishers and compilers of pottery
directories, then talks about potters’ marks. The
remainder of the guide provides an alphabetical
degree to which it has arisen in the pottery listing of over 11,000 pottery manufacturers
industry is particularly marked. In 1948, for from 1781 to 1900 in the Staffordshire area.
example, some 85% of pottery workers in the Each listing consists of the address of the com­
country were in the Midlands, and almost the pany, as well as a chronological list of directory
entire industry was located in the city of Stoke- entries. Some also display early advertisements.
on-Trent. The dependence of the area on the 408 pages, including bibliography; appendixes
pottery industry was almost complete by the on original directory listings and index of part­
end of the 18th century.”
nership surnames; general index. US$89,501
The book provides a brief description of each £45. ISBN 1-85149-370-0. Antique Collectors’
town in which the potteries were located, as well
Club, Market Street Industrial Park, Wappingers ’
Falls, NY12590; e-mail [email protected]; see
website www.antiquecc. com; telephone (845)2970003; fax (845) 297-0068. In the United King­
dom, Antique Collectors’ Club, Sandy Ln., Old
Martlesham, Woodbridge, Suffolk IP12 4SD;
e-mail [email protected]; see website
www. antique-acc. com.
Quiet Beauty
Fifty Centuries of Japanese Folk
Ceramics from the Montgomery
by Robert Moes
This beautifully illustrated catalog accompa­
nies an exhibition that premiered at the Bard
Graduate Center in New York City, and contin­
ues to travel to various locations in the United
States through 2006.
“This exhibition comprises 100 ceramic
works of or related to Japanese tradition, in­
cluding one influential type of Chinese por­
celain, some Okinawan work, and three
modern British or American pieces, dating
from around 3000 B.C. to about A.D. 1990,”
comments Moes. “They are arranged in
roughly chronological order, subdivided by
region of production.”
In addition to utilitarian ware and figurines
from the Jomon period through the Mingei
movement, the catalog briefly touches on the
prepottery period
and later-20th-century studio ceram­
ics. Also shown are
examples of works
by several potters
who have been des­
ignated Living Na­
tional T reasures by
the Japanese gov­
ernment, including Shoji Hamada, Jiro Kinjo
and Tatsuzo Shimaoka.
Where possible, production and decorative
techniques, traditional motif symbolism, usage,
and other historical references are included in
photo captions.
A Meiji period handscroll illustration, de­
picting eight steps of ceramic production, begin­
ning with pulverizing the clay to loading a Kyoto
kiln, is also included. 256 pages, including his­
torical maps, kiln drawings, bibliography and
illustrated index. 110 color and 8 black-andwhite photographs. Softcover, $39.95. ISBN
0-88397-136-4. Art Services International, 1319
Powhatan Street, Alexandria, VA 22314; e-mail
[email protected] org; telephone (703)548-4554;
or fax (703) 548-3305.
Ceramics Monthly December 2003
Ceramics Monthly December 2003
Aim to Inspire:
Neil Patterson on the Art and Craft of Teaching
by Marilyn Anthony
“Pedestal Box,” 9 inches
(23 centimeters) in height,
thrown and altered earthen
ware, with terra sigillata.
Before I met Neil Patterson, he had already taught me something.
pulling her hair out, there was a fulfilling element I sensed there
My husband brought home a pair of Patterson’s gracefully shaped,
simply decorated, wheel-thrown, wood-fired mugs. The first time
I drank coffee from one, I realized, “This is what the lip of a cup
should be.” The mug’s smooth, sensual surface inspired mindful­
ness. The pleasure of drinking began before liquid reached the
palate, enhancing the enjoyment of a daily ritual. Patterson’s
elemental yet elegant clay pieces embody a personal style he de­
scribes as “a balance between cerebral and physical, fussy and free.”
Patterson isn’t content to let his pots offer their own silent
instruction. While many artists fear a teaching career, worried it
will distract them from creating their best work, the 39-year-old
potter decided early on that he wanted a creative life in both the
studio and the classroom. He is now well established in his
combined career.
Patterson currently occupies a dual role as adjunct-ceramics
and three-dimensional-design instructor at Tyler School of Art in
for sure.”
With good models for the life of artist and teacher, he plotted
an educational route to train for both careers. Cleveland Institute
of Art’s (CIA) five-year program got him started. CIA introduced
him to the importance of a “program with a program,” as he
affectionately describes it; “a real plan and a sequence of courses,
starting with handbuilding to develop skills. It’s a very structured
approach, but with a lot of room for creative interpretation.”
Patterson didn’t proceed directly to graduate school. Instead,
he devoted two seminal years to a concentration program at
Penland School of Crafts in North Carolina. In the fall of 1986,
Ron Meyers and Michael Simon taught the pottery concentra­
tion. Even after 16 years, his Penland experience remains inspir­
ing and fruitful. In his view, the MeyerslSimon class “changed 20
people’s lives.”
Meyers especially affected Patterson’s approach to clay and to
Philadelphia and is a member of the art faculty at the Agnes Irwin
School. He has taught at several colleges and numerous clay
centers, including the Clay Studio in Philadelphia, and has also
led workshops in kilnbuilding and wood firing. Perhaps for sur­
prising reasons, Patterson appreciates what an educator’s career
teaching. “Ron really opened my eyes. He’s a great teacher, a full­
time teacher who is also very committed to his craft. He is so
has given him. “Teaching has really freed me in the studio. I’m
not dependent on selling my work to galleries, which I’d have to
be doing if I were only making a living from my daywork. I’ve
been able to work speculatively, so to speak, making whatever I
want. It consumes a lot of mental energy to teach, but I also find
it stimulating. It’s a different kind of thinking than studio work,
and I find when I get in my studio, I feel ready, almost hungry, to
deal with the issues of creating something of my own.” That
creative hunger yields prolific results, fulfilling some of the poten­
tial he originally imagined possible in an art career.
His introduction to pottery came from Joe Turkalj, a Croatian
sculptor and resident artist who taught in the Cleveland high
school Neil attended. The atmosphere of Turkalj’s studio, a con­
verted barn housing the sculptor’s stone carvings and figurative
pieces, proved powerfully attractive to the teenager. “The place
was just filled with his work. I was about 15 years old at the time,
and to me it seemed like a lifetime of work. He was always
working on something, like carving a huge block of marble. There
was just this creative environment, a sense of a full life. It was so
evident that this was a rich existence.” Turkalj introduced Patterson
to wheel-thrown pottery, which soon became his chosen medium.
From an early age, he made choices that aligned with his
deeply held principles. “I was from a really pacifist family. I
thought a lot about the destruction in the world. Joe’s place
seemed like a haven, where someone was adding creative energy
to the world. That’s what I wanted to do.”
Teaching added an extra dimension to creating. Neil quotes an
observation he recently heard, “the only moral occupation left is
nursing,” and amends it to include, “definitely being a teacher,
too.” As the son of a teacher, he was drawn to the satisfaction his
mother felt as an English teacher. “Despite the times I saw her
“Vase Presented,” 11 inches (28 centimeters) in height,
thrown and assembled earthenware, with terra sigillata.
Ceramics Monthly December 2003
incredibly direct and free with clay, unafraid. I guess I hadn’t
seen that comfort level and sassiness with clay. Having learned to
make pots in art school, a lot of my work was maybe more
designed first, thought out in my head first. Ron had a very
visceral kind of body approach to working with clay. Ron’s very
articulate in his teaching, but he would never say ‘my way is the
way you should do it.’ But by showing you how you could be so
Years as an observant student shaped his instructional style.
He also cites John Cage’s Ten Rules and Hints for Students and
Teachers and Anybody Else, and Paulus Berensohn’s Finding One's
Way with Clay as influential. He considers Berensohn’s book a
classic. “It’s specifically about pinch-pottery techniques, but you
could read it and apply it to learning to be a chef, or whatever. It’s
an approach to learning.” Berensohn’s philosophy supports
Patterson’s aspirations to be fully present in the classroom, mind­
ful of and responsive to his students’ needs. Underpinning his
thoughtful method of instruction is a conviction that everyone
has the ability to create and that, “being able to create is part of
being human.” By gently guiding his students to uncover their
unique ability, rather than fostering imitation, Patterson hopes to
prove that belief “one person at a time.”
Patterson gauges his teaching effectiveness using both qualita­
visceral, so body centered, not so mind centered, and achieve
results that you could see, he spoke to us through the pots, just
tive and quantitative standards, and believes it’s essential to en­
able pupils to “be amazed by their ability, and be excited about
what they’re doing. I’m keenly interested in my students and what
they do, and in their success. In many ways, I make that clear to
them; that I want nothing more than for them to succeed.”
For Patterson, helping students find their way with clay begins
with a motivational goal: “Get them excited first.” If his students
have never touched clay, he works to eliminate their fear. During
nine years on the Clay Studio’s Claymobile staff, he taught for­
merly homeless adults at Project Home in Philadelphia. “I was
working with people who had never been encouraged in any way
to do creative things. I would start them off with something that
would make sense. Like if they smoked, I’d say ‘make an ashtray.’
You can see them begin to open up. Soon they’re creating their
own unique visions.”
With general studies students, he employs another way to get
them in touch with clay. “The first class, I put big piles of clay out
on the tables. We break into groups of two or three students and I
challenge them with a series of short tasks, like ‘in two minutes,
make the tallest thing you can out of clay; make the longest thing
you can out of clay; make a city out of clay.’ It gets everyone’s
hands dirty and it helps them to realize that everybody has the
ability to manipulate clay with just these,” he says, holding up his
hands, “as tools. It breaks the ice socially. Then we do some
individual activities, as if we’re playing Pictionary. I give them a
word like ‘tension’ and tell them to show it in clay.”
To foster peer evaluations in his college classes, Patterson
by showing us. The students picked up on the power of working
that way.”
After Penland, Patterson chose Louisiana State University
(LSU) for his graduate work, taking time off from LSU to spend
a year in Wales as a special student at the Cardiff Institute of
Higher Education. He describes the clay department at Cardiff
as “the Alfred of the U.K.” He attended so many classes, “they
ended up giving me a diploma.” He returned to LSU, where he
learned the value of “a strong group of peers. Other clay students
were in my studio every day, casual in their remarks, interested
in the progress I was making, and very helpful.”
devised a nonthreatening method. “I never use the word critique,
but I’ve taken to giving out sheets of paper for a silent review. You
go around the room and write a paragraph on each of your
classmates’ work. I read what each student has written, then I
grade them on their writing. Next I cut the reviews up, collate
them and give them back to each student.” Patterson believes his
students value these written reviews more than classroom discus­
sions, because “they can be anonymous, so everyone is totally
honest. And reading is different than hearing. They have time,
days later, to look over the remarks. There is always something
that gets through to them.” He playfully admits that he benefits
“Flower Arranger,” 11 inches (28 centimeters) in height, stoneware, by Neil
Patterson, Philadelphia, Pennsylvania.
Ceramics Monthly December 2003
“Spice Sanctuary,” 11 inches (28 centimeters) in height, thrown, altered and assembled earthenware, with terra sigillata.
Detail of “Spice Sanctuary,” showing the individual compartments for spices.
Ceramics Monthly December 2003
from this emphasis on thinking about and explaining one’s work.
“Instead of being completely incapable of talking about my work,
now I’m only moderately incapable.”
Despite a certain degree of overlap, important differences
separate Patterson’s classroom work from his studio work. “In the
classroom, I’m guided by students’ needs, but in the studio it’s
only my curiosity. With teaching, I’m dealing with other people,
so I’m very careful about experimenting. But if I have a bad day
experimenting in the studio, nobody is harmed by it. Some clay
might end up back in the recycling bucket or, more likely, I’ll
have some wacky pot at the studio sale that people will scratch
their heads over. I’m not a huge risk
taker, and certainly not in the class­
room, but I do come up with things.
In one class, when no one was do­
ing any drawing in their source
books, I just decided to make every­
one start drawing. I gave out paper
and made up some quick drawing
exercises like, ‘draw a teapot; now
draw an even taller teapot, now draw
an even taller teapot than that.’ I
made it up as I went along, and I’ve
been doing it a lot ever since.”
In the classroom, Patterson al­
lows for spontaneity within a care­
ful plan. “I try to take a creative
approach to teaching. You have to
think on your feet to be an effective
teacher. Sometimes, whatever you
had planned is not going over and
you have to have plan B ready to go,
so I keep a ‘bag of tricks’ in my
teaching. The same thing can hap­
pen in my studio work. I have an
idea about these jars I’m going to
make and they’re just not working,
so I’ll start cutting them up.”
To move his daywork forward,
he believes in the power of play.
progression, I guess I would feel differently about going into the
studio every day exploring and, in a way, wandering.
“It makes a huge difference being married to someone who
understands that, on Saturday night, you might want to stay in and
start putting handles on those cups.” He beams, “It’s just great.
Sandi is inspiring for her work ethic, and her continuous desire to
improve. We can bounce ideas off each other, help each other with
technical ideas, and physically help each other by moving materials
and loading kilns. Being a potter is not an easy way to make a living
and, as I tell my students, you have to have some stamina.”
In 2002, the couple bought a building in the historic Fairmount
section of Philadelphia and began an
ambitious renovation. The transformed
building now houses workspace, three
electric kilns, a small kitchen and a
second-floor teaching space for work­
shops. Every autumn they host a twoday studio sale that has all the elements
of a great party, complete with won­
derful food and live music.
For his recent inclusion in the
Fleisher Memorial Art Center Chal­
lenge, Patterson made sculptural pieces
illustrative of his interest in Asian ar­
chitecture and viewer participation.
First came three pedestal pieces, coil
built during a visit he and Sandi made
to their friend Silvie Granatelli’s pot­
tery studio in Floyd, Virginia. Many
of the show pieces are wheel thrown,
altered and assembled, a working
method in which Patterson has be­
come keenly interested. In fact, the
class he’d teach to potters if given the
opportunity would be, ‘“Throwing,
Altering and Assembling Pots,’ because
I think more people should do it. I’d
like to see what other people would do
with that approach to working, out of
my own self-interest and curiosity.”
Despite his current two-and-a-halfFor potters considering a teaching
Stupa Illuminated,” 70 inches (178 centimeters) in height,
day weekly teaching load, Neil
career, Neil encourages exposure to
earthenware, with terra sigillata and glaze.
spends about 24 hours a week in
various teaching styles. “Spread out
the studio he shares with his wife, potter Sandi Pierantozzi. “I
your teaching influences. Visit a lot of clay programs to see how the
learn to do new things in clay by messing around,” he says. “I
studios are set up. Penland was a crucible of teaching. I got to see an
spend a lot of time in the studio, and sometimes, when I don’t
incredible diversity of teachers and teaching styles. It was an educa­
feel like throwing that other jar, I’ll just mess around. Although
tion in teaching. There are a couple of things that I took away: Be
I’ve never been to Asia, I’ve always been attracted to Asian archi­
really well organized in your presentation; know exactly what you
tecture and design, like Angkor Wat. I guess we all have interests
have to represent; and be somewhat entertaining.” He concludes
and things we’re drawn to. Those forms get into one’s subcon­
scious and maybe start coming out in the work. I don’t know
how, and maybe I’m not even sure I want to know, because I like
the mystery. It’s not science. If there was a perfectly logical
with a statement that attests to his goals and his accomplishments as
a potter, a teacher and a person. “We’re trying to tap into something
universal within us, trying to express things through pottery that
can hopefully only be said in clay.”
Ceramics Monthly December 2003
Teapots on My Mind
by Hwang Jeng-daw
The Taiwanese tea ceremony and the associated ceramic vessels
play important roles in Taiwanese culture. After collecting and
researching them for 15 years, I finally decided to try making
teapots myself in order to gain a deeper understanding of the pots
themselves and to improve my collection. From this curiosity,
starting 13 years ago, my interest and dedication have grown and
become more focused.
I was smitten from the very beginning by the magic that was
clay. My first work was a teapot. Reflecting upon it now, I can’t
imagine how I went from a background in business administra­
tion, knowing nothing about art, to making something as compli­
cated as a teapot. That was not a concern at the time, though. I
was not bound by any concept of difficulty, because I was so
interested in bringing my ideas to life. I felt right away that I had
a new calling.
The first thing I did was to surround myself with the basics:
clay, more clay, a wheel and an electric kiln. I was so focused on
the building of the pot that I hadn’t even considered the firing
process. I also began to read voraciously and experimented with
all the techniques I read about.
I began working as a professional potter in 1994 when I met
Ah Leon, best known for his highly realistic representations of
woodgrain in clay. I had expected to learn many techniques or
artistic expressions from him. Rather, he taught me how a potter
should educate himself. He also taught me the value of persever­
ance, and what really mattered in an artist’s life: his work.
In 1995, to broaden my horizons in clay, I went to the United
States and visited several popular contemporary potters, includ­
ing Paul Soldner, Richard Shaw, Warren MacKenzie and Marilyn
Lysohir. Then, in the summer of 1996, I studied ceramics at
“Calligraphy,” 41/2 inches (111/2 centimeters) in height, wheel thrown, fired to Cone 8 in oxidation.
Anderson Ranch Arts Center in Colorado, where I learned more
about the American philosophy of ceramics. These experiences
opened my eyes to the breadth of ceramics, the amount of special­
ization some potters adopt and the differences between the tradi­
tional foundations of Eastern pottery and modern philosophies of
Western pottery.
To my delight, soon after this brief introduction, I achieved
“Ambitious Teapot,” 9 inches (23 centimeters) in height, handbuilt
stoneware, fired to Cone 8 in oxidation.
one of my goals. In 1997, a piece of mine was selected for the
Fletcher Challenge Ceramics Award held in New Zealand. But
the enthusiasm and pride I felt passed away sooner than I would
have imagined. I attended the exhibition opening and saw so
many wonderful works in front of me. The depth, beauty and the
mastery achieved by others in my profession impressed upon me
the wealth of possibilities and disciplines within the world of
pottery. The lesson I learned at this event was to always be humble
and to never stop being a student of the art. I realized that the
learning process had only just begun.
Since making teapots was the motive for my creations, I de­
cided it was high time to visit Yixing, after having a solo exhibi­
tion at the American Cultural Center in Taipei in 1997. Yixing,
the 500-year-old town near Shanghai, China, is famous for pio­
neering unglazed, Chinese-style teapots. One week after the exhi­
bition, I flew to Yixing to see for myself what made Yixing pots so
special and to see what I could learn from the local potters. I met
many potters who were skilled at making the traditional, delicate,
unglazed teapots, and learned about their unique tools and tech­
niques. Some of the local potters started making teapots when
they were teenagers in order to hone their skills.
Every time I watched them working, I could see the influence of
the 500 years of teapot culture and history. I began to understand
the importance and influence of culture, history and environment.
Just as there are different fish in salt water and fresh water, you
can neither escape the influences of your environment nor can
you completely assimilate the influences of other environments.
You can, however, adapt some outside influences in developing
yourself and your own potential within your unique background.
In 1998,1 traveled to Japan as a resident artist at the Shigaraki
Ceramic Cultural Park. Three months there gave me the opportu­
nity to broaden my techniques by using such things as the gas
kiln, electric kiln, noborigama and anagama. I found that, by
using these various kilns in a short period of time, I could better
understand the potential and limits of each. Having access to the
library and museums, as well as a well-equipped studio, was ideal
for learning. Not only did I learn techniques in the studio, I also
“Print,” 20 inches (51 centimeters) in height, slab built,
learned about the history of Japanese ceramics and culture and, of
course, the tea ceremony. I came to understand that drinking tea
is a religion of the art of life, rather than just an idealization of the
form of drinking. And tea equipage has always had a deep rela­
tionship with tea and the drinking of tea.
After my stay in Shigaraki, I developed a deep interest in wood
firing, so I went to Seagrove, North Carolina, where David
Stumpfle owns an efficient wood kiln that he built himself.
Stumpfle is a functional potter and follows a routine almost every
with natural ash glaze, wood fired to Cone 9.
Ceramics Monthly December 2003
day, day after day, month after month, year after year. From his
routine, I could feel a kind of tranquility in the potter’s life, which
could be nourishing to the soul. One time I asked David how he
felt about another potter’s work. He replied, “Everyone has his
own opinion. You just need to focus on your creations.” From
these simple words, I got back what I always knew, but sometimes
forgot: I should focus more on my own creation, not on the
comparison with other artists’ work.
In 2001,1 was invited to Panavezys, Lithuania, as a guest artist
for an international ceramics symposium. Being there for a month
led me to understand that a potter wishing to gain an interna­
tional view should not only know how to make good work but
also be able to accurately express his ideas and techniques through
discussion, lectures, slide presentations and demonstrations.
What influenced me most was the talk I had with another
guest artist, Kirk Mangus, a potter and professor at Kent State
University in Ohio. He told me that not many young people
know how to “slow down,” and that, by slowing down, you could
actually make many things and make them well.
The following year, I was invited to Norway for another
month-long symposium. Although I originally expected to learn
about ceramics in Norway, I ended up spending more time learn­
ing about other aspects of life, such as friends, family, society and
all the responsibilities based on the relationships between people.
In other words, I tried to think about the meaning of life instead
of just the production of ceramics.
Now that I have been able to attain a more mature stage in the
technical aspects of ceramics, I have begun to move on to a more
philosophical phase, incorporating meaning and purpose rather
than just production. This is a greater challenge, perhaps unat
tainable. However, the path is just as important as the goal.
People often ask what a perfect teapot is. My answer is that
there is no rule to judge a teapot perfect or not. In art, nothing is
perfect; neither is a teapot. But if you are lucky and live long
enough, maybe you can encounter a good teapot, because I think
there will be at least one technically good (though not perfect)
teapot shown every 100 years. Appreciation should be on a per­
sonal basis, though, as opposed to a technical basis. In that
respect, each person will be able to find his own “perfect” teapot.
Understanding tea is as important as understanding teapots.
So respect the tea, the water, the pot, the heat source and time.
Most importantly, try to make it a part of your life, Drinking tea
is a belief in the art of life.
Throughout my 13 years of working in ceramics, I have learned
a lot from my teachers, friends and parents. I thank all of them for
helping me to grow and hope to continue in this field for a long
time to come. I have learned about what is important in life: faith
and good will toward others.
“Symbiosis,” 121/2 inches (32 centimeters) in width, thrown and altered stoneware, unglazed, fired to Cone 9 in oxidation, by Hwang Jengdaw, Tainan, Taiwan
Married to Clay (And Each Other)
by Deb Fleck-Stabley
“Figures with Birds,” 16 inches (41 centimeters) in height, carved earthenware with underglazes
and glazes, by David Stabley and Deb Fleck-Stabley, Bloomsburg, Pennsylvania.
We arrived home, exhausted from the storm-affected 2003 Balti­
more ACC (American Craft Council) show, and it seemed as if we
had been doing this for a very, very long time. And I guess we had.
My husband Dave and I met in 1977. His enthusiasm for ceram­
ics, spawned by an exceptional high-school instructor and nur­
tured at Millersville University in Pennsylvania, was enough to
turn me on to clay, inspire me to return to college, and join him at
Millersville to finish my degrees. We graduated in 1980. Dave
acquired a B.RA. with an emphasis in ceramics and printmaking,
as well as three years experience as a lab assistant. I obtained a B.S.
in art education with as many electives in ceramics as I could
manage, as well as a portion of my student-teaching experience
completed with Dave’s former high-school ceramics instructor.
With a wedding and graduation behind us, we followed our
college instructor’s advice and headed to the University of Ne­
braska, at Lincoln, for graduate degrees. Dave earned his M.EA.
there in ceramics, acting as a graduate teaching assistant. I earned
my M.A. in art education, also as a teaching assistant, bulking up
on ceramics courses for electives. It was in Nebraska that we
began sharing our own studio space. The space was massive,
housed multiple kilns, and clay and firing were free. We spent
many hours in the studio experimenting and “playing” with clay.
We turned down teaching opportunities in Nebraska after
graduation and returned to Pennsylvania to be closer to family.
Our goal was to work toward being able to make a living from our
clay work, because that’s how we really wanted to spend our time.
We had sold enough clay pieces at a student showlsale at the
university to make this seem a realistic pursuit. Going into busi­
ness seemed more appealing than seeking out teaching opportu­
nities that could take us farther from home. With the naivete and
energy of youth, we formed “Creative Clay Works” in 1984.
Our first three years in business were a struggle. We mixed clay
by hand (literally), worked out of a 10x10-foot bedroom studio,
and entered the craft-show world. Schlepping our work to shows
and then bringing most of it back home again and again ex­
hausted and disappointed us. Our parents wondered why we
weren’t using our degrees to pursue “real” jobs. Persistence was
easy, however, as our expenses were relatively low. With only our
dog to support and much experience at living meagerly, the
necessary side jobs needed only to be part time. Our egos took a
beating, but we were surviving.
After three years, our perseverance began to pay off. Side jobs
were no longer necessary. Our work became more refined as we
merged ideas and formed a body of work that we sold together.
Ceramics Monthly December 2003
“The Talking Head,” 22 inches (56 centimeters) in height, handbuilt earthenware, with underglazes, glazes and decoupage, by Deb Fleck-Stabley.
Ceramics Monthly December 2003
The work had a cohesive look and we shared a booth at craft shows,
displaying individual as well as collaborative pieces. We learned
which fairs worked for us and began weeding out those that didn’t.
We were selling solely retail then, doing an average of 15 craft fairs
a year. We were successful enough to buy premixed clay, a used slab
roller and new kiln.
In 1986, we were introduced to the idea of wholesaling our
work. We immediately warmed to the idea of spending less time on
the road, so we became proficient packers and good friends with
the UPS driver. We were still doing several retail shows a year, but
the wholesaling was providing us with a greater portion of our
annual income. With business improving, a move was in order. We
bought some rural property, and our studio operation continued in
an old farm outbuilding.
In 1988, we got a big break. We had our most successful
wholesale show to date at the Baltimore ACC show. We were
convinced that the excitement from that event sent me into labor,
as our daughter was born on the way home from the show. Life
changed in many ways after that! A new baby and an overabun­
dance of wholesale orders took over our lives. Wholesaling doesn’t
work for everyone, but as new parents, it was right for us. We
worked relatively quickly and preferred spending more time in the
studio producing the work rather than on the road trying to sell it.
The requirements for time and money to spend applying to and
attending shows was reduced. Incoming gallery checks provided us
with more security, but we didn’t forego retailing completely—
retail prices were always nice to get. Connecting with our patrons
was also important, as was getting out of the studio occasionally.
Dave and I still applied to shows together and shared booth space.
We worked hard at balancing business and childcare, but we
weren’t experts at it. By the time we had a better handle on things,
our second child was on the way. The effects of having two young
children and other external forces left me feeling burned out and
tired. The need for several levels of separation became apparent and
I needed to do something just for me. It was at this point, in 1990,
that Dave and I went back to pursuing our own directions in clay.
We still shared the studio, but applied separately to shows, rented
our own booths and no longer sold under the name Creative Clay
Works. This was an adjustment, as we had worked long and hard to
unify a body of work, and it was selling well.
Dave’s course seemed to travel along a relatively straight line
from that point. His clay pieces have maintained a certain identity,
although his forms and palette have changed over the years. His
foray into drawing on illustration board with colored pencils uti-
Above left: “I’ll Pull My Own Strings, Thank You!” 20 inches
(51 centimeters) in height, handbuilt earthenware,
with underglazes and glazes, by Deb Fleck-Stabley.
Left: “Now That’s a Candy Dish,” I8Y2 inches (47 centimeters)
in height, handbuilt earthenware, with underglazes and glazes,
by Deb Fleck-Stabley.
lizes some of the same imagery portrayed on his clay pieces but in a
more detailed way. He has also collaborated with a local wood
worker on some very exquisite pieces that combine his tiles with
wood furniture.
My path was somewhat more askew. I explored many different
directions in clay, and even gave it up for two years to work with
mache, wood and paper. But clay was a hard thing to let go. It had
gotten under my skin, as well as my nails, and continued to tempt
me with endless possibilities. I could never fully express myself in
the other media I tried. With burnout somewhat subsided, and the
kids a little older and less needy, clay became a working force in my
life again.
In 1994, Dave and I started an arts school of sorts. People often
asked us about classes, so we thought we should try to fulfill this
need. We had always given workshops and presentations, but hadn’t
taught on a regular basis. We rented a second-floor space in a nice
old building, ran the school, hired instructors to teach other media,
and taught most of the clay courses ourselves. The local community
did enjoy the classes, and we met many nice people, but the school
involved more managerial work than we anticipated. It was a timeconsuming addition to our lives, but not a substitution for studio
“Wall Tile,” 15 inches (38 centimeters) in height, carved earthenware,
with wax patina, by David Stabley.
“House Form,” 20 inches (51 centimeters) in height, handbuilt, carved earthenware,
with wax patina, colored pencils and paper collage, by David Stabley.
Ceramics Monthly December 2003
work. The sales from our artwork still paid the bills, but we were
exhausted. After two years, something had to give. We stepped
out and someone else ran the school for a while before it closed.
We learned a lot during that experience, and will utilize that
knowledge if we ever choose to limit our own clay production in
the future and teach classes. We continue to give workshops at
schools and universities, and Dave has been a guest artist at both
Arrowmont School of Art and Craft and Art New England.
We have spent 25 years with each other, 23 of them working
side by side. If we were to add up all of our time together, surely it
must be equivalent to at least 50 years of marriage! The space we
now share utilizes most of the lower level of our home. The clay
studio, kiln room, packing room, general workshop area and
office space occupy approximately 1700 square feet, while a sepa­
rate outbuilding houses our display and shipping supplies.
While Dave and I have our own worktables in the studio, we
share tools, equipment, kiln and two other worktables. We use
the same red-earthenware clay body (Dave’s recipe from our graduate-school days) and some of the same glazes, but our finishing
techniques vary. For the most part, Dave’s forms are
in group exhibitions each year, and show work in a one- or twoperson exhibition almost every year. We have also been instru­
mental, along with 12 other local artists, in forming and running
a cooperative gallery. This educates us in another facet of the
business of ceramics, and hopefully helps enlighten the commu­
nity at the same time.
We continue to bounce ideas off one another and provide
enthusiasm when the other can’t muster it. We each feed on the
other’s energy, knowing that doing this by oneself would have
been far more difficult. We strive to move forward in our craft,
aspiring to reach new heights, looking back proudly on what we
have accomplished. We remain resilient out of necessity, and the
creativity, fortunately, continues to flow. We feel very grateful that
we have been able to make a living as ceramics artists, and
thankful that our patrons have been supportive of our new ideas
and directions through the years. With kids soon driving, college
tuition in the relatively near future, and the need for a retirement
fund, it looks as if we must continue to work very hard. Who
knows, maybe we will be able to retire someday—if we want to.
thrown, slab constructed and extruded. He carves and
textures his pieces when they are leather hard and glazes
some areas when the pieces are bone dry. The pieces are
once fired in an electric kiln, and the unglazed areas are
painted black after the firing. Several layers of wax-based
patinas are added to finish he work. Dave’s landscapes,
cityscapes and fantasy images portray dreams and the
fragmented way in which we dream. My pieces are coil
and slab constructed. I use commercial underglazes and
glazes, applied when the pieces are bone dry. My work is
also once fired. My current body of work focuses on
people and their personalities, predicaments and issues. I
do enjoy poking fun at us, and most viewers find my
work humorous. I spend a lot of time on color, pattern
and developing expression in my figures.
Our division of labor within the business continues
to change as our kids get older. We try to involve them in
studio responsibilities (with pay, of course). Sometimes
they help us clean, pug clay, update the mailing list, load
the van and paint.
Our marketing strategies have also changed as we
involve computer technology in the business side of
things. We use a digital camera now, and have a website
(www.stableys.com). We expend almost as much energy
running the business as doing the actual clay work.
Although this can be frustrating at times, it seems the
ticket to success.
The ratio between wholesale and retail shifts each
year. Our wholesale work is currently represented in
craft shops and galleries throughout the entire United
States, but most of the retail craft shows we choose are
held in the Northeast and Midwest. This strategy will
probably change when the kids are older. We participate
“Head Bottles,” 18 inches (46 centimeters) in height, thrown and carved earthenware,
with glazes and wax patina, by David Stabley.
Ceramics Monthly December 2003
“Quillions,” I6V2 inches (41 centimeters)
“Fisherman,” 10½ inches (27 centimeters)
“Altered Vase,” 141/2 inches (37 centimeters)
in height, slip cast, with low-fire glazes and quills,
in height, earthenware, by Matthias
in height, wood-fired stoneware, by Kevin
by Ann Mortimer, Newmarket, Ontario, Canada.
Ostermann, Montreal, Quebec, Canada.
Crowe, Amherst, Virginia.
“21st Century Ceramics in the United States and Canada,” an invitational
exhibition of works by 250 ceramics artists, is on view through December 7 at
the Columbus College of Art and Design’s Canzani Center in Columbus,
Ohio. The following are excerpts from the book published in conjunction
with the exhibition:
The Relevance of Handmade Pottery
in the 21st Century
by Harvey Sadow
Artists have used the pottery format since the dawn of history. Those
Cycladic water vessels from the Mediterranean, decorated with flowing octo­
pus tentacles, have stayed in my mind since my first art-history class, along
with those little clay fertility figures, original sculptures from the dawn of
culture, seldom since matched in grace, beauty or metaphorical content.
Chinese, Japanese and Korean artists throughout history have painted as
expressively on their pottery as on scrolls or walls. They do not separate fine
and applied arts. Art is art and everything else is everything else. In Japan, the
Ceramics Monthly December 2003
“Double-Handled Covered Jar,” 13 inches (33 centimeters)
“Basin with Ears,” I8V2 inches (47 centimeters) in length,
in height, thrown and altered stoneware, salt glazed,
handbuilt stoneware with slips and glaze, by Mary Barringer,
by James Lawton, New Bedford, Massachusetts.
Shelburne Falls, Massachusetts.
wood kilns of Bizen and Shigaraki have, for ages, pro­
duced vessels painted by the flow of fire and ash. The
resulting effects are color-field abstractions in brilliant
and subtle earth tones. How new were the ideas of the
abstract expressionists and the color-field painters in
mid-twentieth century America? Perhaps they’re not
so new at all.
More Tangible Than Technique,
More Timeless Than Age
by Dick Lehman
“How many of you, if your lives de­
pended on it, could make and success­
fully fire a figure the size and complexity
of one of these Chinese terra-cotta war­
riors or horses?” asked professor Randy
Schmidt. Not a hand went up among
this group of Arizona State Univer­
sity graduate students.
He continued, “Here we are in the
late 20th century, with perhaps more
printed information about ceramics
than at any other time in history—
more tools, more techniques, more clays,
better kilns, more museums. We think we
are pretty hot stuff. Yet not one of us is
willing to stake our lives on being able to make
works of similar complexity and scale, beauty and
power, compared to the work that those ceramics artists
of more than 2000 years ago were routinely producing.”
“Porcelain Bowl,” 16 inches (41 centimeters) in diameter,
fired in an anagama, by Jack Troy, Huntingdon, Pennsylvania.
Ceramics Monthly December 2003
“Floating,” 13 inches (33 centimeters) in height,
“Ploughed Under,” 29 inches (74 centimeters) in height,
“Wind Swept,” 111/2 inches (29
terra cotta with slips, fired to Cone 5, by Denys James,
press-molded and carved earthenware, with oxides and stains,
centimeters) in height, stoneware
Salt Spring Island, British Columbia, Canada.
by Cary Esser, Kansas City, Missouri.
and porcelain, by Les Manning,
Medicine Hat, Alberta, Canada.
In the years since my visiting-artist stint at ASU, I’ve
held onto Schmidt’s questions and observations. His ques­
tions may have been thinly veiled indictments, and were
surely meant to motivate second-semester graduate stu­
dents to get serious and to make the best use of the
resources that were at their disposal. But his observations
about lost skills, and works of long-lasting power, beauty
and conviction were what most stayed with me.
I imagine the central challenge for clay artists in the
21st century won’t be primarily technical. The real chal­
lenge, I suspect, will be to live up to the tradition of the
best ceramic work of the past; making, for our time,
tangible works that fulfill all the functions daywork can
address. This includes works of long-lasting power, beauty
and conviction. In short, we must address the timeless.
The Future of Pots
by Scott Cooper
How could we have anticipated the successive waves
of change that led to where we are now? These include
influence from the Arts and Crafts movement, the revo­
lutions by Voulkos, Arneson and others, the rise of a
place for clay in academia and the subsequent pluralism
of the last 20 years. None of these followed a predictable
path. One could argue that, against that background,
utilitarian pots never went away. They just faded in and
out of prominence. But to me, the fact that they’re still
here at all is something of a marvel.
When I first heard the title for this book, I couldn’t
help but think of superconductors and nose cones, high“Storm Warning,” 371/2 inches (95 centimeters) in height,
whiteware with underglaze, glaze and steel stand,
by Patti Warashina, Seattle, Washington.
Ceramics Monthly December 2003
“Cut Vase,” 19 inches (48
“Square Bowl: Twos on Red,” 81/* inches
“Huntington Park #19,” 53¾ inches
centimeters) in height, soda-
(21 centimeters) in height, terra cotta
(137 centimeters) in length, digitally
fired stoneware, by Brad
with majolica glaze, by Linda Arbuckle,
glazed tiles, by Bruce Breckenridge,
Schwieger, Athens, Ohio.
Micanopy, Florida
Madison, Wisconsin.
tech insulators and robotic mass-casting operations; and
this from a potter who uses a treadle wheel! What must
the general public think when it comes to that confusing
intersection of clay and the next hundred years? And
why are those space-age thoughts still my instinctual
reaction to the idea of the future?
This future is where I will spend the bulk of my career.
If I make a contribution, it is forthcoming in those hazy
times. If my chosen strain of ceramics goes out of fashion,
I’ll become retro. If pots should happen to move to the
top of the clay family heap for a while, I’ll go along in
tow. Whatever comes, it’s going to be mighty interesting.
What's Ahead for Ceramics
in the 21st Century?
by Karen Thuesen Massaro
In contrast to the 20th century, it’s been said that
people in the 21st century will change careersljobs nine
times on average. If this is true, it will certainly affect our
field. Think of how many of our preeminent artists have
devoted their entire lives to making fine pots and sculp­
tures. Increasingly, artists may use clay for brief periods,
or move from clay to multimedia or other media, per­
haps making the role of the technical assistant increas­
ingly important.
I remain optimistic. There are still those fresh sub­
lime breezes of “new” daywork and wake-up calls for us
to pay attention to what life is about. Maybe there will
come rallies for change or another lone stroke that will
alter how we all look at our daywork. Exciting, cutting“Falling Light,” 20 inches (51 centimeters) in height, stoneware, fired to
Cone 6 in oxidation, by Walter Dexter, Victoria, British Columbia, Canada.
Ceramics Monthly December 2003
“White Bull on Cart,” 11½ inches (29 centimeters)
“Orange Torso,” 11 inches
(28 centimeters) in height,
9 inches (23 centimeters) in height,
in height, handbuilt porcelain with glaze and gold leaf,
paper clay, by Barbara Tipton,
stoneware, by Richard Burkett,
on wood and bronze cart, by Ken Ferguson,
Calgary, Alberta, Canada.
San Diego, California.
Shawnee Mission, Kansas.
edge work is being done all over the world. North Ameri­
can work will, I think, be less likely to dominate globally
as it did in the 1960s and 1970s. One agent of change
will come from the thousands of immigrants as they
participate in the North American cultural landscape. I
count on them to make their roots and dreams visible.
Across the Digital Divide
With a Fistful of Mud
by John Glick
“Can I make a living as an artist?” seems to carry with
it even greater complexity and apprehension.
Not surprisingly, this is the question that comes up
each year in my own studio as I talk with my studio
assistant about hislher future plans. “Can I make it as an
artist in today’s world?” was my own very concern-laden
question from those many years ago . . . now still the
very real concern for today.
So, how to navigate in this post-digital world is the
key question. And, the answer is the same as it always
was ... it is about connecting!
Staying passionate about what matters to you in your
work is a beginning. Being unable to stop making what
you believe in and continuing to make the work that
gets you up in the morning and burns in your gut long
after the sun goes down is the rock on which to build. It
means listening to instinctive signals coming from your
soul that tell you about the path to follow.
This is what the artists I know have done over the
length of long careers. They have continued their com“Wing Map,” 81 inches (206 centimeters) in height, stoneware with slips
and glaze, salt fired, by John Balistreri, Bowling Green, Ohio.
Ceramics Monthly December 2003
“Majolica Begging Bowl,” 12 inches (30 centimeters) in width, tin-glazed terra cotta
Teapot, 61/2 inches (17 centimeters) in height, wood fired,
with polychrome overglaze and gold luster, by Rosalie Wynkoop, Helena, Montana.
by Richard Bresnahan, Collegeville, Minnesota.
mitment to their work with passion and continued to
ask the kinds of questions that propel the work forward.
And, if the work you make nourishes your spirit,
there is a chance that it can reach others. Something has
to be there to feel and if you put it there, then it is
accessible for others. This is what has made it possible
for generations of artists to feel heard and understood
over the din of life around them.
So, sitting there with my studio assistant, mugs of
tea in hand, our feet propped up and doing what we
love to do from time to time...talking deeply about
what matters. After much is pondered, I say, “Abso­
lutely! You can do it. Nothing has changed.”
Ghost Handles
by John Chalke
Designed to raise a frown and eventually soft hack­
les, the hoary “Where Do We Go from Here?” can be a
colorless question probably only asked by conference
organizers, nonmakers, thesis specialists and lost rally
drivers. I personally don’t know of any potterlclay artist
who particularly dwells on such heady stuff. Why? For
now we go on to the next firing. That’s where I’d like to
go. Did the questioner mean access to materials, better
fuel costs, availability of the Muse?
I find myself dealing more with: Where did I just
come from?
For information on 21st Century Ceramics in the United
States and Canada, visit the American Ceramic Society
website at www.ceramics.org/publications/books.
“Covered Jar, Column Series,” 19 inches (48 centimeters) in height,
thrown and fluted stoneware with high-calcium glazes, fired to Cone 9
in reduction, by Val Cushing, Alfred Station, New York.
Ceramics Monthly December 2003
Quiet Voice Loud Statement
The Work of Tomoo Kitamura
By Caren S. Rodriguez
For some, their passion is pre­
destined. For others, it is un­
earthed, silently lurking in
their past and slowly guiding
their life choices. Ceramics art­
ist Tomoo Kitamura tumbled
into his life’s work through a
end of each day, I would have
made 50 cups. Then he would
cut them all in half and mea­
sure the thickness and shape
of the walls. We would throw
them all out and start over
again the next day.”
Contrary to the insistent
cross-continental journey and
technique, a spontaneous
a second look at his ancestry.
statement made by an unlikely
Born one hour from
source inspired Kitamura.
Mashiko, Japan, Kitamura’s
While mingling with other
dawning into an artist should
potters, the wife of Shoji
have been a natural progres­
Kamoda commented, “Learn
sion. His hometown is the
to coil a pot. You can make
former residence and studio of
anything.” With the intense
famed ceramics artist Shoji
technical training behind him,
Hamada. The rural economy
the rebirth of family history,
was based on Hamada’s name,
and the words that Kitamura
and visitors populated the sub­
Untitled, 14 inches (36 centimeters) in height, coiled black stoneware,
with White Reduction Glaze and Barium Blue Glaze, fired to Cone 6, $1800.
credits as his inspiration, he
sequent pottery shops and stu­
ready for a transformation.
dios. Kitamura’s mother was a
Art as a discipline is one that arguably defies definition.
self-taught painter. His father was a carpenter and avid collector
Kitamura enrolled in the Penland School of Crafts in North
of Japanese pottery. Yet despite this familiarity with the ceramics
Carolina and developed a confidence in his trade that began to
world, Kitamura never considered a life behind a wheel or hold­
surface as creative risks. That assurance led to a greater awareness
ing a paintbrush to canvas. It took a dramatic move to the United
and a more spirited boldness unfolding in his work. The intense
States, a chance meeting and a marriage to an American art
dialogue between himself and the clay ventured into an original­
student for Kitamura to foster an interest in life as an artist.
ity in style. Kitamura credits his professors for their openness,
When he returned to Japan to study his craft, he revisited the
finally allowing him a discovery of his own soul in his art.
artistic philosophy of his native land. At Sakuma Pottery,
Alluding to his life experiences, Kitamura’s body of work is an
Kitamura learned the intricacies of the art form and the disci­
ardent connection between past, present and future. Echoing his
pline involved in functional creations. His instructor, Fujia
earliest lesson in pottery, Kitamura’s red stoneware vessels are
functional. When he began his career, he threw each vessel and
produced a vast array of functional vases, teapots and cups.
Sakuma, embedded the elements of wheel-thrown vessels by
giving his students a sample of a teacup to copy in both size and
thickness. “I did this for three months, seven days a week. At the
Ceramics Monthly December 2003
Still used today, Kitamura built a 30-cubic-foot catenary-arch
wood kiln. In about 15 hours, he can reach Cone 10. As the
glazed pots undergo their metamorphosis, Kitamura enjoys “the
time to think” and the natural cadence of stoking the flames. In
the end, he is pleased with the delicate and rare subtleties that a
flame can produce on a vessel.
Geometric surface treatments that emerge from Kitamura’s
coiled vessels are dubiously rooted in his early Japanese training.
Once again, elements of water and earth are rendered onto the
clay’s surface. Kitamura’s juxtaposition of textural elements and
intense glazing resonates with clean lines and repetitive forms.
Presently, Kitamura is content to be free from the restraints of
purpose. “I still enjoy making teapots, but know I don’t have to
worry if it will function.” Without concerns of comfortable handles
and properly pouring spouts, Kitamura has increased his com­
plexity in design. His handbuilt sculptural work alters the basic
shape and shadows the profiles of masculine features.
Ask him his career highlights, and he points to the fact that
others can appreciate the laborious process of creating, but, “It’s
more about personal accomplishment, such as having an idea and
seeing it through to the end—having the piece turn out as planned
after hundreds of test tiles trying to find a glaze that you love.”
As for the future, Kitamura believes that an artist’s art is always
changing through exploration. “This is my direction. I feel that
White Reduction Glaze
(Cone 10)
Dolomite.............................................................20 %
Talc........................................................................ 5
Whiting................................................................ 5
Kona F-4 Feldspar...........................................50
EPK (Edgar Plastic Kaolin)............................20
Barium Blue
(Cone 10)
Barium Carbonate.......................................... 40 %
Nepheline Syenite.......................................... 45
Silica (Flint)........................................................ 5
Add: Bentonite................................................. 2 %
Copper..................................................... 6 %
your work should change and grow, not to stay with one body of
work, but to evolve and grow as we all do.”
“Dreamer,” 11 inches (28 centimeters) in length, handbuilt
and carved red stoneware, with White Reduction Glaze
and Barium Blue Glaze, wood fired to Cone 10, $1200.
Vase, 19 inches (48 centimeters) in height, wheelthrown red stoneware, incised, with White Reduction
Glaze and Barium Blue Glaze, wood fired to Cone 10,
$900, by Tomoo Kitamura, Concord, North Carolina.
Ceramics Monthly December 2003
Buen Retiro Porcelain
by Maria Carmen Santos
Serving dish, approximately 41 centimeters (16 inches) in length, soft-paste porcelain, with glaze and enamel,
part of a dinner-service set made for Queen Isabella Farnese, 1760-1780.
Most surveys of historical porcelain do not cover Spanish contri­
butions. There is a good reason for this: Spain’s early attempts at
porcelain were cut short by historical events. However, the nearly
ness, impelled by the growth of European enlightenment. King
Charles III proved to be a forward-looking monarch, whose pro­
gram of reforms revitalized Spain at a time of depression. His
1500 known surviving pieces, manufactured between 1760 and
1808 at Madrid’s Buen Retiro Royal Factory, deserve closer scru­
tiny. The recent discovery of the factory’s remains, buried since it
burned down in 1812, brought to light not only its original site,
but a renewed interest in completing the European historical map
for early porcelain production.
The Spanish empire was in decline by the end of the 18th
century; however, the nation was in the grip of a new conscious­
creation of a porcelain factory in the capital city of Madrid.
The long tradition of Spanish earthenware pottery needed an
incentive to experiment with the soft and hard pastes that had
been developed in Europe in response to the porcelains from the
Orient. To do so, King Charles III raised the status of the potter
so that it could no longer be considered a lower profession, but a
skill compatible with public-office status. This step was crucial for
royal blessing and active participation were fundamental to the
Ceramics Monthly December 2003
Jug, 25.5 centimeters (10 inches) in height, soft-paste porcelain, with glaze
“Roman Charity,” 65.5 centimeters (26 inches) in height, soft-paste porcelain.
and enamel, part of a service set made for Queen Isabella Farnese, 1760-1780.
the recognition of ceramics as an artistic trade. Next, the king
imported experienced workers to run the factory. These men
came from the royal factory at Capodimonte in Naples (Italy), at
the time also under the patronage and rule of King Charles III.
The site for the new pottery couldn’t have been better; it was
built on the park grounds, known as the Gardens of the Buen
Retiro, of the royal palace in Madrid. Built in 1760, the complex
included a large factory, a chapel and living quarters for the
workers and their families. Excavations in 1996 unearthed the
waterwheel used to pump water from a nearby stream, as well as a
large number of porcelain shards. The wheel’s present position,
surrounded by the gardens of what is now a public park, is
testimony to a brief but fruitful period of production.
The aim of the royal factory was to introduce new and more
refined products into Spain—in effect, to substitute the luxurious
white translucency of porcelain for the rougher texture of Spanish
earthenware. The task proved more difficult than had been antici­
pated, as the use of soft-paste porcelain made the ware too fragile
for daily use, and hence not a saleable alternative. A durable
porcelain (hard paste) recipe was yet to be developed.
Endemic money problems continuously hounded the factory.
To the great expense incurred, there was the added problem of a
suitable transport infrastructure. Nonetheless, there are three dis­
tinctive stages to Buen Retiro Porcelain that bear witness to the
degree of success achieved in its short history.
The first stage of manufacture (1760-1783) was led by the
first appointed manager, Jose Gricci, and later by Carlos Scheppers.
Their early work is among the boldest and most delicate to come
out of the factory; notably, the exuberant porcelain cabinets in­
stalled in the royal palaces at Madrid and Aranjuez (Madrid).
Equally important is the dinner service made for Queen Isabella
Farnese between 1760 and 1780. The surviving pieces, on display
at the National Museum of Archaeology in Madrid, include plates,
serving dishes, a bottle cooler and a jug. Their sinuous forms
recall the prevalent taste for the French rococo style, but there is
also a sense of measure, foregoing excessive ornamentation and
curves. This restraint would have been in keeping with the policy
of pursuing the development of a truly Spanish art, which was to
be free of the perceived “corrupting” influence of the baroque or
rococo. The strongest voice at the time was Antonio Ponz, an
enemy of rococo style, whose travel writing established Spanish
artistic canons by reviewing the nation’s artistic heritage.
If, in this early Spanish porcelain, form was subdued to softer
curving lines, the decoration motifs also recall Spanish themes
Ceramics Monthly December 2003
and techniques. The dinner service depicts usual court themes, but
the figures are less stylized than their French counterparts, and the
setting is more pastoral, which evokes bucolic Spanish renaissance
poetry or even the peasant portraiture of Francisco Goya. On the
Buen Retiro dinnerware, figures wear costumes of a classical courtly
tradition, but there is also some evidence of local attire creeping
in, of the type often portrayed in Goya’s park scenes.
Moreover, there is a marked departure from traditional Span­
ish earthenware—earlier pottery design is cruder in execution and
intense in the use of color. Still, the early porcelain at Buen Retiro
manages to combine in a surprisingly harmonious manner that
Spanish flavor with the lightness
of touch more characteristic of
other European ceramic produc­
tion. The result is a dinner ser­
vice with a difference, resulting
influences with a Spanish artis­
tic environment.
The second stage of Buen
ing French army put a sudden stop to Sureda’s efforts. There are
enough examples from these few years, however, to point toward
an emerging and more clearly defined Spanish porcelain style.
When the French army reached Madrid in 1808, the factory
was occupied by its troops and the forge was used for the manu­
facture of arms. By 1812, the French had been defeated, but the
allied troops commanded by an English general destroyed the
factory completely; none of the files survived. There are various
accounts of its final demise. One reasonable explanation blames
its destruction on the fact that the factory was located on top of a
hill that was considered a strategic point for the defense of the
Retiro production (1784-1803)
corresponds to the tenures of
managers Carlos Gricci,
Sebastian Scheppers and Felipe
Gricci. By this time, the neo­
classical style was well established
and designs turned toward
greater clarity, with elegant lines
and gentle forms, while colors
were more subdued. No further
progress had been made in the
development of a hard-paste
recipe for durable porcelain, and Archaeological remains of a waterwheel and pump from the Buen Retiro Royal Factory, Madrid, Spain.
the production of ivory-colored
city. The French troops had built a stronghold there and the final
statuettes exemplifies the move toward a more widely appealing
bombardment might have been an attempt to destroy any vestige
classical production. Presumably, besides current taste moving
toward the idealized sobriety of ancient Rome, there must have
been a desire to make the factory more profitable by exporting to
European markets. Nevertheless, difficult transportation condi­
tions would simply not allow for wide distribution.
The third and last stage saw success in the development of a
hard-paste body. New manager Bartolome Sureda (1804-1808)
finally had found a kaolin deposit in a hill south of Madrid in
1803. Unfortunately, the war of independence against the invad­
of French occupation.
Undocumented and forgotten, its foundation and shards bur­
ied underneath gardens, the factory remained untouched for al­
most two centuries. Some examples of Buen Retiro production
have always been available in major museums, but the factory’s
place in history has never been fully established. No endeavor of
similar duration (only 48 years) could have been more significant
in the development of a national style.
Ceramics Monthly December 2003
Ishmael Soto
by Bobby Filzer Pearl
“Vessel,” 14 inches (21 centimeters) in height.
Ishmael Soto’s ceramic vessels and sculptures reflect his apprecia­
tion for the shapes and colors of his native state of Texas. Saint
Elena’s Canyon in Big Bend National Park, the Big Thicket of
East Texas, indigenous insects, lizards and birds, his pond, and
trees are all inspiration for the rough forms and the subtle glazes.
In his early years, Soto concentrated on wheel-thrown func­
tional ware. Some 40 years later, he still produces functional pots,
with an interesting shape, is placed within arm’s reach. Each clay
element is carefully placed, brushed with slip, and rolled or pressed
against the adjoining structure without distorting its shape. Con­
struction continues, with slow deliberation, until the piece is
finished, supported, loosely wrapped and set aside to dry.
Soto’s family came from northern Mexico in the early 1800s.
In 1854, his great-grandfather built the first church in newly
but his focus is now on sculpture constructed from slabs and
extrusions. He tears the clay, layers it asymmetrically, exposes
ragged edges and exploits any interesting surfaces that occur.
The process is purposeful, yet filled with suspense. He likes “to
do a series of pieces at one time. It takes six or eight pieces for me
to loosen up and I like to explore the shapes and surfaces and
discover what the clay can do.”
Slabs of clay are torn into strips and laid out on a worktable.
Long extrusions are also laid out in rows. Turntables and an
inverted bowl, or an upside-down metal lampshade, any form
populated Bandera, Texas. The church still stands. Like his great­
grandfather, he takes pride in what he can do with his hands.
Settled now in Blue, Texas, amidst farms, woods and ponds,
Soto lives in the house he built from new and old materials. In
addition, he has constructed a lovely greenhouse for his myriad
plants and flowers, planted lush gardens, and built the surround­
ing cottages for his four children.
He works in a studio designed by his son after his previous
studio had been completely destroyed by fire. Soto lost 30 years
worth of work, as well as all of his equipment, tools, books,
Ceramics Monthly December 2003
Construction of a teapot body begins with lining a mold with damp paper.
The handle and spout are constructed of leather-hard extrusions.
A slab is pressed into the bottom of the mold.
Hollow extrusions are laid into the mold and rolled flat.
After the mold is inverted onto a thick slab, the form supports itself.
Glaze is brushed on to achieve variation in the surface.
Ceramics Monthly December 2003
recipes and greenware. He did not allow that disaster to
destroy him, though. Instead, he considered the loss an
opportunity to start anew: “Fire is a cleansing process.”
After the fire, his family, friends and students joined
together to donate time, money, tools and building mate­
rials. The rebuilt studio has over 4000 square feet of floor
space, a raftered ceiling 17 feet high and enormous win­
dows on three sides. The space accommodates extruders,
potter’s wheels, a walk-in wood-fired kiln, a gas kiln, an
electric kiln, vats of glazes, long wooden worktables, walls
lined with shelves full of greenware, pedestals covered
with his terra-cotta and bronze sculptures, and a new
library of art books.
As a youngster, Soto lived in Austin, Texas, where in
the 1940s and 1950s, minority children in public schools
were discouraged from pursuing a college degree. Despite
the lack of support from teachers and school counselors,
he persevered, holding onto the goal of a life in the arts.
After high school, he enrolled at the University of Texas,
received a B.F.A., then earned an M.F.A. from Cranbrook
College of Art in Bloomfield Hills, Michigan. While main­
taining his own studio over the years, Soto has taught
ceramics and sculpture at the San Antonio College of Art,
the University of Texas and Austin Community College.
His style of teaching has remained constant. While
demonstrating a concept, he will involve the students
quietly, asking them to help with the extrusions or laying
out slabs; then, as he builds the form, he discusses what he
is doing in a casual manner. Should the piece he is work­
ing on slump, crack or fail in any way, he will explain the
mechanics of his mistake and calmly start over.
Many of his college students are from outside the
United States, and he delights in their efforts to explore
and include their cultural traditions in their work. “I
enjoy teaching these kids, watching them relax and open
their minds. All their other classes are so tight.”
What appealed most to former student Meredy Crisman
was Soto’s quiet way of teaching. “His demonstrations
looked so easy, effortless. He enjoys himself so much when
he works. He is happy with his hands in clay. Many stu­
dents pick up on that—it’s like a calm, happy transference.”
In addition to the plants, animals, mountains and
water he has encountered throughout his life, Soto’s sculp­
tures and vessels are also influenced by historical prece­
dents, especially the traditions of ancient Mayan, Egyptian
and Chinese artists. The teapot shown here may not hold
water, “but the whole concept of this work is traditional,”
“Vessel,” 26 inches (66 centimeters) in height,
mold-formed earthenware, with glaze.
he explains. “The definition of the body, the bottom and
the handle are the classical proportions of a pot set down
centuries ago. Even the spout is at the traditional 45°
angle. All I do is come up with a technique, which makes
the pot, and me, individual.”
Ceramics Monthly December 2003
A Maya Ceramics Tradition
Survives in the Yucatan
by Carol Ventura
The pots are placed on a metal grill and fired for six to eight hours in this wood-burning updraft kiln,
Ceramics first appeared in the Maya area of Central America
around 1500 B.C. Clay was modeled, coiled and press molded to
form sculptures, toys and vessels. While some pieces were deco­
from coils or slabs and fired on the ground in the open air,
Rodrigo and Patricia have modernized the craft somewhat by
incorporating a potter’s wheel and a kiln into their production.
rated with slips before firing, other polychrome ware was painted
First, locally dug clay is mixed with clay brought from a few
after firing. The potter’s wheel, lead glazes and updraft kilns were
introduced by the Spanish during the Colonial period.
Rodrigo Martin and his sister, Patricia, are members of a select
group of potters who create beautiful narrative reproductions true
to their pre-Columbian roots. Rodrigo learned the process 20
years ago from a teacher in Palenque. He, in turn, taught Patricia
a few years later. Although pre-Columbian vessels were handbuilt
hundred miles away, then tempered with fine white sand. After a
piece has been thrown and trimmed, it is painted with white slip.
The slip is made from the same clay body that is used to form the
pot, but without the sand, mixed to the consistency of thick
cream. The inside and outside of the pot is then dampened with a
wet cloth and burnished with a smooth quartz pebble.
After the burnishing has been completed, a motif is selected
Ceramics Monthly December 2003
A smooth quartz pebble is used to burnish the inside
Patricia applies the third coat of slip decoration
and outside of an unfired, dampened pot.
to a cylindrical vessel.
from one of many books that feature pre-Columbian pottery. The
motif is carefully drawn freehand with a pencil, then several coats
of black, red and orange slip (prepared from oxides obtained from
Uxmal area) are painted over the pencil marks with a small brush.
The painted slip is burnished with a stocking between coats. To
create a red, orange, black and white design, the pot is left
unpainted in the white areas.
The decorated pots are dried completely, then gently placed
on a metal grill in a wood-burning updraft kiln. Firewood is
stoked under the grill, a little at a time, to slowly increase the
temperature. It takes six to eight hours for the temperature to
reach 1500°F (816°C). After the kiln has cooled, the pots are
removed and wiped with a soft cloth dampened in a liquid that is
derived from a local plant.
Rodrigo and Patricia Martin sell their ware from their studiol
showroom, Taller de Reproducciones Prehispanicas, located in
front of their restaurant in the town of Muna, which is between
Merida and Uxmal. Prices begin at $200.
The author An art history teacher at Tennessee Technological Uni­
versity in Cookeville, Carol Ventura researched Maya crafts during
the summer of2002. To view images of craftspeople from around the
world, visit her website at http://plato.ess.tntech.edu/cventura.
Burnished and slip-decorated pots by Rodrigo and Patricia Martin,
Muna, Yucatan, Mexico.
Ceramics Monthly December 2003
David Dahlquist
by Kristin Senty-Brown
When David Dahlquist talks about the worship of objects and
our very human tendency to “brand” ourselves to physical things
as a means of self-definition, images of consumerism flash to
mind: Child goes grocery shopping with mom, sees cereal hocked
on TV, convinces mom and self that he has to have it. Somewhere
between ad agency and grocery shelf, a mysterious feeling of
identity or personal connection was created, powerful enough for
child and mother to succumb to the acquisition of the thing.
This desire to worship objects is not particular to consumer
culture. Rather, it is innate to our functioning, and part of our
human history, of which Dahlquist, an admitted object maker, is
keenly aware. As a teacher and public ceramics artist, he under­
stands human yearnings for connection and identifying with our
surroundings, which are sometimes satisfied as we brand ourselves
to particular objects.
Yet more than a crass commercialist who might take advantage
of those tendencies for a slick profit, Dahlquist views it as a rich
opportunity to connect people to something deeper than a cereal
box or brand of tennis shoe. Through the incorporation of clay in
public art, his mission is to create portals where ordinary spaces
are transformed into places where we can realize a stronger con­
nection to nature, and simply “feel” our humanity, with its con­
nection to past, present and future.
With a definitive reach into areas such as teaching, consulta­
tion, public art, architectural ceramics and restoration, as well as
collaborations with other public artists such as Andrew Leicester,
Dahlquist has successfully challenged any existing one-dimensional stereotype of the artist or clayworker. “If you go back in
history, the artist was a scientist, a theologian, a doctor, a poet,”
said Dahlquist. “I have always hoped to develop the broader sense
of possibilities for the artist today, and consequently raise the
professional stature.”
Ultimately, the key to his success may lie in a unique ability to
communicate the possibilities of ceramics to a broader audience.
“The mercurial nature of the artist doesn’t often lend itself to such
things as committee work, knowledge of insurance, or the ability
to communicate with architects and engineers. There are times
when my role feels more like that of a conductor. . . . Somehow I
am able to bring these pieces together.”
Employing this keen ability to communicate, Dahlquist is
intent upon reorienting our perception of art from something
more contained, blending instead with vibrant purpose in our
“Minnesota Profiles,” to approximately 20 feet (7 meters) in height, terra-cotta columns following
“Minnesota Profiles,” detail, one of 140 profiles of
the elevation of what used to be Summit Avenue, in front of the Minnesota History Center in St. Paul,
visitors to the Minnesota History Center used to
created in association with Andrew Leicester.
complete the project, wheel-thrown terra cotta.
Ceramics Monthly December 2003
everyday life. A self-described historian, he points to the Euro­
pean Renaissance, where 90% of a construction budget for a
building was typically used for art. In contrast, a mere 0.5% of a
state budget for a public building is thus currently allocated.
“The integration of artwork is what the site becomes known
for,” says Dahlquist, who incorporates site-specific historical re­
search into his designs. “At the turn of the century, many build­
ings were clad in a skin of clay...the impacts of the technological
revolution removed these handmade materials from design,” he
said, noting that since the mid 1980s, a growing number of
architects and engineers are more receptive to using clay and
other sculptural materials in their structures. Dahlquist is “mak­
ing a strong case again for the importance of using these
materials....It goes far beyond a ‘signature’ design element, really
delving into the fabric of the building and the site.
“We are so disconnected from nature. Our view is one of
inconvenience. A person can remain virtually isolated from the
natural world, moving from climate-controlled home to car to
office, without feeling the seasonal changes, or even touching the
earth,” says Dahlquist, whose installations often incorporate im­
ages of nature, including vines, flowing rivers and his signature
leaves. One recent commission involves a courtyard walkway
entitled “Soumas Court,” where colored tile leaf pavers wind
playfully throughout the brick pavement, encouraging the walker
to skip from patch to patch like a connoisseur of fall. More than a
typical art installation, too often characterized by a distinct and
distant relationship between object and viewer, Dahlquist wants
these entities to connect by incorporating his work into the
structure of the building and site.
To develop that sense of connection for Soumas Court,
Dahlquist drew inspiration from the Arts and Crafts period orna­
mentation embedded in the surrounding architecture, choosing
leaves patterned on white oak and English ivy, characteristic of an
Arts and Crafts garden. The subsequent leaf pavers were made on
a 60-ton hydraulic press for fast production.
To determine the overall layout of the intricate pieces in a
twisted courtyard space, with unusual variations in lighting and
dimension, experimentation was done with a smaller number of
pavers. Dahlquist then considered the perspective at the point of
entry and exit, how the viewer might respond to the objects
“Soumas Court,” various dimensions, brick clay with glaze,
installed at Hotel Pattee in Perry, Iowa.
underfoot, as well as the architectural consequences with the
surrounding buildings. “Public art has elements of theater,” says
Dahlquist, “where you must consider the entire setting, and how
the viewer will interact with it.”
Ceramics Monthly December 2003
For many years, Dahlquist re­
sisted his impulse to draw on clay,
working with the medium in rela­
tion to “ideas of containment and
the spirit of the interior space.” Yet
once he began to approach the clay
like a canvas, myriad artistic oppor­
tunities were suddenly accessible to
“Iowa Made: By Land and
Hand,” 71 feet (21.5 meters)
in length, 12-inch glazed
him. “It wasn’t until I began to draw
on clay that I was liberated to the
realm of possibilities in tilework and
architectural ceramic details. With
fewer and fewer teaching jobs, I want
to really broaden the perception of the possibilities
for clay and ceramics, especially for students who
want to make a living being close to this material.”
Dahlquist engages the viewer as a method for
revealing history, transforming detailed historical in­
formation into art that we can relate to both sensu­
ally and intellectually. “The artist has to create a
spark,” he said. “The only way to really get involved
in something is if it moves you.” Because he makes
these historical connections, the Iowa Department
ofTransportation (IDOT) commissioned him as part
of a multidisciplinary team to design a series of
roadside rest areas and welcome centers that would
brand a lasting impression of Iowa for the drivethrough visitor.
tiles, installed at the Varied
Industries Building at the
Iowa State Fairgrounds
in Des Moines.
For a site in rural Adair County with a history of
heavy agriculture and loss of natural flora and soil,
Dahlquist used the soil core sample obtained in con­
struction as a historical artifact depicting the loss of
Iowa’s fertile topsoil. He fabricated a cylindrical col­
umn in which he drew the details of the soil strata,
then used it to make molds for a series of terra-cotta
sections. What resulted was a dramatic series of lightand-steel-capped terra-cotta columns that line the
entry walkway, diminishing in height from the year
1850 to 2000 to communicate the profound loss of
topsoil and prairie plants. The terra-cotta sections
were eventually pressed into molds at a thickness of
1½ inches, and about 10% larger than needed in
order to allow for shrinkage, and then fired at Cone
04 in electric kilns.
Installation at an Iowa Department of Transportation rest area on Interstate 80.
A book motif is used to illustrate the role of education in “supporting” the state.
Ceramics Monthly December 2003
Such details are part of the growing body of
knowledge about the behavior of clay in architecture
as it responds to seasonal variations in temperature,
and the preparations required for it to withstand
those changes. “We’re always discovering useful
idiosyncrasies...that artisans would have passed down
from one generation to the next,” said Dahlquist.
“Unfortunately, no one wrote these things down, and
there’s about a 100-year gap in information that we’re
trying to recover in our own work.”
Termed by Dahlquist as a “freeze and thaw” archi­
tectural clay body, the cylinders were strung like beads
over a precast concrete pillar, with a dry mixture of
Portland cement and sand poured between them. The
cement then sets by wicking moisture from the air.
Incorporated in 1994, Dahlquist Clayworks
(www.dahlquistclayworks.com) has evolved into a mul­
tifaceted venue, representing a philosophy of daywork
as something flexible and accessible to a much broader
audience than by pottery alone. Dahlquist credits a
larger team of players with providing the technical
expertise to fully implement such ambitious installa­
tions, including a staff of ten, whose employment at
the Clayworks is modeled much after the fine-artisan
apprenticeship system of an earlier age. “The work
that we do through the Clayworks involves so many
individuals with such specific knowledge,” he said.
“From masons and architects to the artisans on staff
who make tiles or molds, it is an incredible collabora­
tion of talent.”
These collaborations become a critical part of in­
stalling public art in some challenging spaces, and
decision making and problem solving can require as
much creative attention as the initial artistic process.
Demonstrating those challenges is a recent installa­
tion entitled “Iowa Made: By Land and Hand,” a
71x23-foot ceramic tile mural, richly painted with
underglazes. Aptly described by Dahlquist as “Diego
Installation at an Iowa Department of Transportation rest area and welcome center, illustrating
the loss of topsoil between 1850 and 2000. Each terra-cotta section of the columns was mold
Rivera meets Grant Wood,” the mural lushly depicts
formed and fired to Cone 04 in an electric kiln, then installed over a concrete pillar. The space
agricultural images of farm machinery, plant life, and
between the pillar and the rings was filled with a dry mixture of Portland cement and sand.
the strength and skill of the human hand. While
might not even stop to initially consider as a public artist,” said
installing the mural in a newly enclosed entrance of a farm
Dahlquist. “At one time, I really thought that art and business
exhibition hall at the Iowa State Fair, installation crews discovered
had little, if any, relationship.”
that only part of the adhering wall was heated.
In a commercial world, understanding the dynamics of object
In an ingenious solution that could only take place with the
worship certainly has its purpose. For Dahlquist, that under­
insight of architects and a talented subcontracted tile setter, flexible
standing is carefully channeled into an honest desire to help us
fiber-glass gauze served as a temperature buffer between a block
connect with our humanity, ultimately facilitated through a re­
wall and sheet rock. Subsequently, the mural was laid out from
newed awakening to the uses of clay and the functionality of the
the center point, in order to accommodate for any growth or
artisan. “Most people today don’t spend a lot of time thinking
about their history, and yet they feel a deep desire to understand
something more about themselves and where they live. Art might
actually change that. The challenge is to go beyond the literal in
our use of objects to teach about history, to create a new experi­
ence where, through touch, sight and all of our senses, we are
more receptive to learn about ourselves in a new way.”
expansion by virtue of grout joints.
In order to minimize the potential for a jigsaw-puzzle-type
confusion when installing such a large mural with distinct pieces,
individual tiles were numbered with a letter and number grid on
the back. “There are so many incredible details and basic business
decisions that go into an installation...even things like acquiring
liability insurance or choosing the right installation crew, that one
Ceramics Monthly December 2003
Carrying the Empty Cup
Three Generations Within the
Japanese Master/Apprentice Tradition
by Dick Lehman
Metronomic chopping sounds from the neighbor’s hoe
signaled the end of tenacious weeds and increased chances
that the first cucumbers of the season would soon grace
the table in front of us. As my question lingered in the
air, Hiromi Matsukawa drew a slow deep breath, squinted
his eyes just a bit and pinched his lips together. Steam
Suketoshi Matsuyama
from Matsukawa’s coffee spiraled up through a slant of
sunlight until, exhaling, he chased the curls away with
his response.
“Perhaps I can best describe my apprenticeship to
Kanzaki sensei (master) in this way. It was as if he carried
an invisible pitcher in his hand—a pitcher that con­
tained knowledge. The pitcher was always full and ready
to be poured, even if the apprentices were not around. As
a teacher, Kanzaki was always ready.
“We apprentices carried invisible cups, although the
size and shape of each cup was different. Kanzaki saw
“Shigaraki Vase,” 29 centimeters (11 inches) in height,
by Suketoshi Matsuyama.
each apprentice’s cup and poured according to its size and shape.
He understood the capacity of each cup. In one, he poured a lot;
in another, he poured little by little.
“If the apprentice did not consume what was in the cup,”
Matsukawa continued, “the master could not pour more. If the
apprentice had the cup filled from some other source, the master,
likewise, would not be able to refill it. And if the apprentice
stopped carrying the cup, there could be no more pourings. But if
the apprentice drank from the cup, there would always be more
room for the cup to be filled again. To receive these pourings is
the most important work of the apprentice.”
In recent trips to Japan, I have become acquainted with three
Japanese potters who exemplify the success of the masterlappren­
tices system:
Eighty-six-year-old Suketoshi Matsuyama was an apprentice
to Kenkichi Tomimoto (Tomimoto went on to become a ningen
kokuho, Living National Treasure). Over the course of his career,
Matsuyama has been an educator and lecturer, as well as a studio
potter. He has received numerous awards and commendations,
and has exhibited widely in Japan and occasionally in the United
Shiho Kanzaki, age 60, was an apprentice to Matsuyama, after
which he established his own studio. He
has pioneered new textured works from
anagama firings (see CM, March 1997,
“Shiho Kanzaki: Extending the Tradition”),
and has exhibited in Germany and the
United States, as well as Japan.
Hiromi Matsukawa, age 44, was an ap­
prentice to Kanzaki. (He was also a student
of Matsuyama, when Matsuyama was
teaching at Musashino Art University.)
Matsukawa recently set up a studio in
Oodoi, near Okayama. Although nearer the
throwing pots. I was to make the wheel move with a belt while he
was throwing. There were no electric wheels in those days.”
“While he was working, he would lecture me on his craft
theory. He tried to tell me everything. I remember the most
important thing that he said: ‘You should not be making things
only according to the old pottery traditions. Those are important.
But everything comes from Nature. Nature is very important.
Look there too.’”
Said another way, Tomimoto may have been advising him to
look for new answers and to not be afraid to work in ways that are
outside of what is traditional.
This advice was soon tested, as Tomimoto received word from
the civil authorities in Tokyo that they would no longer tolerate
his smoky kiln. He would have to stop firing or move! This news
brought an abrupt end to Matsuyama’s apprenticeship.
Tomimoto reasoned, however, that Matsuyama had learned
enough in three years; his apprenticeship would be considered
complete. Matsuyama became an independent apprentice, and it
was appropriate for him to publicly refer to Tomimoto as his sensei.
Early experiences with failure and limitation seem to have
been a significant contributor to Matsuyama’s philosophy. He is
known as someone who searches for new answers. In his univer-
beginning of his own independent career,
he already has a growing exhibition record.
Because of their master/apprentice rela­
tionships, I asked them to reflect on this
tradition, particularly in regard to how it
has influenced how they learn and the way
they teach.
“As you know, I worked in Tomimoto’s
studio for three years. Tomimoto invited
me to live at his house. I believe that I may
be the only Japanese apprentice who actu­
ally lived and worked with him under the
same roof.”
It was common, then, for apprentices to do household duties
and to care for the children. Still, Matsuyama spent considerable
time assisting Tomimoto in the studio. “I helped him as he was
“Shigaraki Teabowl,” 9 centimeters
by Suketoshi Matsuyama.
Ceramics Monthly December 2003
inches) in height,
sity teaching, for example, he did not teach the separation of
Eastern and Western art, as traditionally had been done; he re­
fused to draw sharp distinctions between the artistic value of a
great painting and a beautiful flower on the side of the road. He
taught through the human and spiritual point of view, seeking joy
in all of life, whatever life might bring. Later in his career, he
addressed a particular issue of national failurellimitation: he in­
volved himself in and made significant contributions to some
previously intractable peace and justice issues within Japan, and
between Japan and Korea.
Near the end of my visit with Matsuyama, I asked if there
was anything else that he wanted to add. He responded: “There
is yet the most important thing: it is that failure makes good.
Through failure, we can find ways to overcome. In failure, we
find new beauty.”
And for the next 30 minutes, this obviously feeble octogenar­
ian suddenly regained the vigor and voice of someone half his age.
He moved about his studio, pulling pot after pot from storage
places. “Look at this one! This wood-fired piece did not get to
temperature. It was a failure! But look at what beauty occurred
when I refired it in an electric kiln. And this one I made when I
did not have access to a reduction kiln . . . , but I wanted
reduction effects so I added reducing material into the electric
kiln. Do you see what happened? And just look at this one; the
ash got piled up so fast on this wood-fired piece that it did not
melt. I thought it was a total failure until I brushed off all the dry
ash. Have you ever seen such a beautiful surface? And it never
could have happened if it had not ‘failed.’ Failure helps us to see
with new eyes—to discover new beauty.”
Certainly, his is not the voice of a puristltraditionalist.
Tomimoto’s advice had found a home in Matsuyama sensei’s
spirit. “Yes, yes, my apprentices come here to learn ceramics, and
they come here with purpose. And so they should see all my ways
of working and all my techniques. But eventually they have to
learn for themselves. Just like I do. That is the value of failure.”
In that moment, I began to understand that Matsuyama had
crossed over from maker to receiver. No, I am not saying that he
does not possess skills to make the objects he wants to make. He
not only possesses the skills and techniques to make, but also has
acquired the eyes and spirit to receive.
Suddenly, the last three sentences of his artist’s statement—
words I’d read repeatedly, with only confusion to show for my
efforts—began to make some sense: “Vessels cannot be made, but
they are born. I don’t make works, but they are brought to me. A
whole new life is brought to the one who holds all the experi­
ences, but doesn’t stick to them.”
“Shigaraki Vase,” 27 centimeters (11 inches) in height,
by Suketoshi Matsuyama.
Kanzaki’s apprenticeship to Matsuyama is unusual, by any
standard, as he never spent even one month working for him in a
traditional apprenticeship role. Rather, Kanzaki has received from
Matsuyama the designation of independent apprentice. Although
I attempted to discover the details of this unusual departure from
traditional apprenticeships, I continually came up against replies
like this: “Well, it is just difficult to explain.”
What did pervade and surmount these repeated comments
was the understanding that difficult did not mean embarrassing
or awkward or complicated. It seemed to be that the explanation
was difficult in the same way that sharing a profound experience
is difficult—the way trying to describe an epiphany to someone
else is challenging.
Whatever occurred, Kanzaki is Matsuyama’s apprentice, and
Matsuyama is Kanzaki’s master/sensei. Moreover, the loyalty and
mutual obligation that continues between these two men is as
ever-present as it would have been had Kanzaki spent ten years in
a traditional apprenticeship to Matsuyama.
Shiho Kanzaki did not study under Matsuyama in the traditional sense.
Instead, he received the designation of independent apprentice.
Recently, Kanzaki and I talked about how he continues to
learn and how he (as a master) teaches. In regard to learning,
Kanzaki observed that, at the early stages, there is a need for
inspiration that comes from outside of oneself. When he was
much younger, he would sometimes begin intentional learning by
examining pots, or images of pots, that he found interesting. He
said that he tried to look only at the things that were most
stimulating to him. And then he would view a single piece con­
tinually for two days. If after two days of constant looking, he was
still fascinated with the piece, he would measure it as a piece
worth learning from.
After this initial concentrated looking, Kanzaki would not
look at the piece for at least one year. (And he would not try to
make a piece that was inspired by this work for at least a year.)
Instead, he would let the image of the work, and his own imagina­
tion, begin to mature in his mind. He describes this process as
“chasing the image.”
The image would begin to change as it integrated with Kanzaki’s
heart and soul and spirit. As the image changed, Kanzaki contin­
ued to chase it. Over time, it became his own—not so much
resembling the initial form, but having been distilled into some­
thing of the spirit of the initial piece, having been flavored by his
own spirit.
When the making eventually began, the chase continued. The
works themselves began to inspire a new round of chasing. “It is a
matter of making works according to my own mind and heart and
spirit,” Kanzaki emphasized. “If you are a ceramics artist, all your
life and spirit and self can be explained
through your work.”
In regard to teaching, Kanzaki went on
to explain that he never demonstrates the
making process for his apprentices; they
never watch him actually make the pots.
“Why?” I wondered aloud. “How can
this approach teach the kind of making
that you describe?”
“If I show them how to make a chawan
(teabowl), maybe my apprentices will al­
ways be only tracing my work. Maybe they
will not be making works that come from
their own heart and spirit. Sometimes my
apprentices ask me, ‘How do you do that?’
Sometimes I say, T don’t know.’ In this way,
I help them discover for themselves.
“Of course, they make some failures
when they try to make their works. But
there is much learning by trying and failing
[an echo of Matsuyama’s convictions about
the ultimate value of learning from fail­
ures] . And if I tell them how from the be­
ginning, they will not know, forever, the
things they did not learn by trying. In this
way, I teach them everything that I know.
If I told them all the details of how-to-do, they might be success­
ful one time. But by failing, they will have learned in a way that
will cause them to be successful every time in the future. If I show
them how, they know only that technique and cannot change
easily. If I don’t show them how, my apprentices have to be
thinking, thinking, thinking to learn many ways of working and
making . . . , then they can change their way of working easily,
and make the works that come from the heart.
Ceramics Monthly December 2003
“Water Jar,” 17 centimeters (7 inches) in height, by Shiho Kanzaki.
“This is the important learning: to know more than tech­
nique. In this way, I open all secrets to my apprentices. To have a
big heart is to open all secrets. And big hearts can make big works.
If my apprentices learn this important lesson, they will become
successful at making their own works. If they become successful, I
do not hate or envy them. To envy their success would be to have
a small heart, and small hearts can make only small works. No, to
the contrary, I am very proud when my apprentices succeed in
learning all my secrets. I will have been, for them, the founder of
this way of working.
“I always try to teach my apprentices everything . . . , to teach
them to go beyond all that they have been taught. To really learn
my techniques is to make their own works, to go beyond my
works by making works that express their heart, soul and spirit.”
Matsukawa’s apprenticeship to Kanzaki lasted 11 years: 11
years of being on call nearly 7 days per week; 11 years of receiving
a kozukai (allowancelstipendlpocket money, in addition to the
provisions of food, clothing and housing) of ¥10,000 (about
US$100) each month; 11 years of learning by not being shown.
Interestingly, Matsukawa lived quite frugally over those years, and
saved almost ¥1,805,000 (US$15,000) in preparation for setting
up his studio, once he had become an independent apprentice.
Once, near the end of Matsukawa’s apprenticeship, Kanzaki
called all the apprentices together for a little quiz: “What is my
most important lesson to you? What am I trying to teach you?”
[What was he pouring into their cups?]
Matsukawa answered, “Your lesson to us is that we are to express
ourselves as fully as possible, with all our might and strength; to be
ourselves; to work within the limitations that greet us; and, through
our works, to express our spirit, mind and heart, as best we can.”
“Yes!” said Kanzaki.
Over the ensuing years, Matsukawa has learned additional
lessons in retrospect: He recalls the day that he and Kanzaki were
firing the anagama during particularly difficult weather. They
were taking turns: Kanzaki stoking while Matsukawa watched,
and vice versa. The firing was not going so well. It was Kanzaki’s
Ceramics Monthly December 2003
turn to stoke when his wife came to the kiln to watch. Suddenly,
Kanzaki said to Matsukawa, “You begin stoking now.” And with
that, Kanzaki walked away and up the hill that was behind the
kiln. Matsukawa was worried, wondering where he was going,
why he was leaving him alone with that difficult firing, how long
he would be away. After a while, Kanzaki returned with a wild lily
in his hand. He gave the lovely white flower to his wife and
resumed stoking. Suddenly, the firing began to improve.
“Since then,” commented Matsukawa, “I have come to learn
that it is most important to see the whole picture at all times—
not just the kiln, not just the problem that is immediately in front
of me. We know that we have five senses. But I think that there is
perhaps at least a sixth or maybe a seventh sense. And it has to do
with our sensitivity toward all of the rest of the world. Real
concentration is not focusing on a single thing. Real concentra­
tion is taking in all things—the entire environment. Real concen­
tration is seeing the flower in the middle of such a time as that.”
When asked how he would describe the full measure of success
in a masterlapprentice relationship, Matsukawa paused for several
minutes before saying, “During my apprenticeship years, I grew
up. I gained skills. I became more successful. I began to learn the
most important lessons, and my cup continued to be filled. Also
during this time Kanzaki grew. He became more successful, too.
If there is a good match between the master and the apprentice,
both can grow and succeed and change.
“A poor match can inhibit the growth of both. It is a little like
the relationship between a husband and a wife: while it may be
difficult to put into words the exact qualities for a successful
marriage, we know when it is happening and when it is not. The
measure of the most successful relationships is when there is
mutual benefit.”
Matsukawa continued, “I want to add one more thing. Earlier
I told you, ‘To receive is the most important work of the appren­
tice.’ But there is another equally important job. After receiving,
it is important that you take all that you have been given, and
“Iga Vase,” 26 centimeters (10 inches) in height, by Shiho Kanzaki.
invest it into and through your work, just as Matsuyama and
Kanzaki have done. In fact, all the work I make comes through
Matsuyama sensei and Kanzaki sensei. The pots were not made by
me alone. Yet the works are wholly my own. But one must make
work, not only to satisfy oneself, not just for self-satisfaction or
self-expression; that is not enough, of course. The work must
satisfy others, and share happiness with them. The work dares not
satisfy only the one who produced it.”
There is a similar and beautiful paradox in the way the artistl
apprentice looks backward, honoring the teachings of the master;
yet, at the same time, looks forward, honoring the master by
surpassing the master. It is the remarkable paradox of mutuality.
Matsukawa mentioned something Matsuyama says: “Aging
and gaining experience makes you more sensitive to nature and
beauty. The older we get, the more we grow up, the more we are
able to see real beauty—in nature and in others.”
For Matsukawa, “the ability to continue to have the cup filled
depends on a sense of humility: the ability to receive even from
“Big Pot,” 47 centimeters (18 inches) in height, by Shiho Kanzaki.
Ceramics Monthly December 2003
“Iga Vase,” “Shigaraki Gourd-Shaped Bowl” and “Iga Teabowl,” to 17 centimeters
(7 inches) in height, with natural ash glaze, by Hiromi Matsukawa.
the smallest, youngest and least significant. If you remain ready to
receive, then your cup can be filled.”
Maybe the real meaning of independent apprentice is that you
keep carrying an empty cup, waiting, expecting it to be filled—not
by any single person or master, but by and through your increasing
abilities to apprehend, receive, recognize, express and embrace beauty.
Some Observations
When reflecting on how the apprenticeship system/tradition
served these three men, in their individual and quite-different life
circumstances, it is apparent that this system has a certain amount of
flexibility built into it—that it is responsive and not rigid, at least in
how it operated in the lives of these three. And within the flexibility
there seems to have been (what Eric Erikson’s theory of psychosocial
development calls) generativity: the ability to pass along, to subse­
quent generations, important techniques and values and vision and
inspiration in a manner that will allow them to surpass us.
Perhaps of even more importance to potters, these anecdotal
narratives may give us the opportunity to reflect upon our own
settings and ask ourselves: how are we contributing to generativity?
Hiromi Matsukawa in his studio.
Ceramics Monthly December 2003
In North America (and I address this location, not to the
exclusion of others, but only because this is my area of familiar­
ity), we have a remarkable number of organizations and events
and systems in place that function to pass along what is impor­
tant: we have annual gatherings, such as the “Functional Ceram­
ics Workshop” in Wooster, Ohio, and other similar events; we
have international conferences, such as that hosted by the Na­
tional Council on Education for the Ceramic Arts (NCECA); we
have numerous craft centers (we could name Anderson Ranch,
Arrowmont and the Archie Bray Foundation, without even ex­
hausting the As); we are resourced by college and university
course-of-study opportunities, and medium-specific periodicals,
videos and books; and (to the extent that they are not only
focused on marketing) exhibitions, to mention just a few.
Perhaps it is precisely because we, here in North America, have
not inherited a system or some other prescribed tradition that we
have this abundance of opportunities supporting the possibility of
our being generative. Yet their mere presence does not ensure that
we will move, with generativity, toward the other.
That, it seems to me, is the challenge of our living. And
Matsuyama sensei’s words may indeed be the measure of whether
we are meeting the challenge of living, by really growing up: “The
older we get, the more we grow up, the more we are able to see
real beauty—in nature and in others.”
The author A frequent contributor to Ceramics Monthly, Dick
Lehman maintains a studio in Goshen, Indiana. Translation assis­
tance for this article was provided by Chiaki Ota Matsukawa.
“Iga Vase,” 42 centimeters (17 inches) in height,
with natural ash glaze, by Hiromi Matsukawa.
“Iga Jar,” 16 centimeters (6 inches)
in height, with natural ash glaze,
by Hiromi Matsukawa.
Ceramics Monthly December 2003
call for entries
Application Deadlines for Exhibitions, Fairs,
Festivals and Sales
e-mail [email protected]; see website
www.akardesign.comlcallforentries.htm; or tele­
phone (319) 351-1227.
United States Exhibitions
December 10 entry deadline
International Exhibitions
December 3 entry deadline
Missoula, Montana
"International Cup" (February
6-29, 2004), open to clay objects that incorporate
the cup as a theme. Juried from slides. Juror: Beth
Lo. Fee: $15 for up to 2 entries. Cash awards. For
prospectus, contact the Clay Studio, 910 Dickens,
Missoula 59802; e-mail [email protected];
or telephone (406) 543-0509.
December 5 entry deadline
Chicago, Illinois
"Spertus Judaica Prize 2004"
(Fall 2004), open to works in all media creating
a nertamid, an "eternal light" suspended in
front of the Torah Ark in synagogues; open to
artists of all nationalities and religions. Juried
from slides, artist's statement and biography.
Award: $10,000 to winning piece. For further
information or to receive a prospectus, contact
Spertus Prize Competition, Spertus Museum,
618 S. Michigan, Chicago 60605; e-mail
[email protected];
www.spertus.edu; or fax (312) 922-3934.
December 31 entry deadline
Kirkland, Washington
"Gigantic: Ceramic Figu­
rines" (February 12—April 2, 2004), open to ce­
ramic figures no larger than 36 inches in any
dimension. Juried from slides. Juror: Patti
Warashina, artist and professor emeritus, Univer­
sity of Washington. Fee: $25 for up to 3 entries.
Awards: $2000. For further information and pro­
spectus, send SASE to Kirkland Arts Center, Gigan­
tic, 620 Market St., Kirkland 98033; website
telephone (425) 822-7161.
January 9, 2004, entry deadline
Mission Viejo, California "Big Fish, Little Pot" (Feb­
ruary 23-March 31, 2004), open to small ceramic
teapots. Juried from slides. Juror: Guangzhen "Po"
Zhou. Fee: $25 per entry, limit 3. Award: trip to
ceramic sites in China. Commission: 30%. For
prospectus, send SASE to Saddleback College Art
Gallery, 28000 Marguerite Pkwy., Mission Viejo
92629; e-mail [email protected]; or see
website http:llgallery.saddleback.edu.
January 11, 2004, entry deadline
Hohr-Grenzhausen, Germany
"11th Westerwald
Prize 2004" (September 17,2004-January 6,2005),
open to ceramics artists living or working in Eu­
rope. Juried from up to 3 photos or CD-ROM. Cash
awards. Commission: 80%. For further informa­
tion and an entry form, contact Keramikmuseum
HohrGrenzhausen; e-mail [email protected];
see website www.keramikmuseum.de; telephone
49 2624 946 010; or fax 49 2624 946 0120.
February 20, 2004, entry deadline
Baldwin City, Kansas
"The 2004 International
Orton Cone Box Show" (March 30—April 23,
2004, then traveling for 2 years), open to works
composed of more than 50% fired clay that will
fit into a large Orton Cone Box (3x3x6 inches).
Juried from actual works. Jurors: Janet Mansfield
and Phil Rogers. Entry fee: $30 (includes return
shipment of piece). Awards: $250 and $200.
Commission: 10%. For prospectus, send SASE to
Inge Balch, Dept, of ArtlCeramics, Baker Univer­
sity, PO Box 65, Baldwin City 66006-0065; or
e-mail [email protected]
February 29, 2004, entry deadline
Iowa City, Iowa
"Forms and Shapes: Box" (June
2004), open to ceramics artists. Juried from 6
slides of at least 2 works. Juror: Maren Kloppmann.
Entry fee: $35. For further information, send
SASE to AKAR, 4 S. Linn St., Iowa City 52240;
Ceramics Monthly December 2003
Nelsonville, Ohio
"Starbrick Clay National 2004"
(February 27-March 31, 2004), open to func­
tional, decorative and sculptural ceramics. Juried
from slides. Juror: Brad Schwieger. Fee: $20 for up
to 3 entries. Awards. For prospectus, send SASE to
Starbrick Clay, 21 W. Columbus St., Nelsonville
45764; e-mail [email protected]; see website
www.starbrick.com; ortelephone (740) 753-1011.
January 9, 2004, entry deadline
Rockport, Texas "Vitrified Clay National: Form and
Content" (February 11-March 14, 2004). Juried
from slides (with SASE). Jurors: Juan Granados and
Von Venhuizen. Fee: $20 for 3 entries; $5 for each
additional entry. For further information, contact
Mary Beth Orrison, Rockport Center for the Arts,
902 Navigation Cir., Rockport 78382; e-mail
[email protected];
729-5519; or fax (361) 729-3551.
January 15, 2004, entry deadline
Lancaster, Pennsylvania "The 12th Annual Strictly
Functional Pottery National" (April 24-May 31,
2004). Juried from slides. Juror: Susan Peterson.
For prospectus, send business-size SASE to
Market House Craft Center/SFPN, PO Box 204, E.
Petersburg, PA 17520; download application from
or telephone (717) 560-8816.
January 16, 2004, entry deadline
Atlanta, Georgia
"Teapots-A-Go-Go" (April 16May 15, 2004), open to ceramic teapots. Juried
from digital or printed images; include artist's
statement, resume and prices. Commission: 60%.
E-mail images (under 50KB) to [email protected]
with "teapot exhibition" in subject line; or mail
printed images with SASE to MudFire Pottery Cen­
ter, Attn: Teapot Exhibition, 1441 Dresden Dr.,
Ste. 250, Atlanta 30319.
January 23, 2004, entry deadline
Cambridge, Massachusetts "Cambridge Art Asso­
ciation National Prize Show" (May 3-June 24,
2004). Juried from slides. Juror: Bob Fitzpatrick,
director, Museum of Contemporary Art-Chicago.
Award: $2000 Best of Show. For further informa­
tion and prospectus, send SASE to Cambridge Art
Association, 25 Lowell St., Cambridge 02138;
[email protected];
(617) 876-0246.
February 1, 2004, entry deadline
Chicago, Illinois "15th Annual Teapot Show: On
the Road Again" (April 4-May 16, 2004), open to
functional, fun orfunky teapots in all media. Juried
from up to 2 slides per work (with SASE); up to 2
works. Fee: $25. Contact Joan Houlehen, A.
Houberbocken, Inc., PO Box 196, Cudahy, Wl
53110; or telephonelfax (414) 481 -4000.
February 14, 2004, entry deadline
Lincoln, California
"Feats of Clay XVII" (April 24May 23, 2004). Juried from slides. Juror: Richard
Notkin. Fee: $15 for 1 entry; $25 for two; $30 for
3. Awards: $16,000. For prospectus, send #10
SASE to Lincoln Arts, 580 Sixth St., Lincoln 95648;
or see website www.lincolnarts.org.
February 26, 2004, entry deadline
Ross, California "National Show" (May 2-26,2004).
Juried from slides. Juror: Richard Shaw, professor
atU.C. Berkeley. Fee: $30; members, $25 for up to
3 slides. Cash awards. For further information and
prospectus, send SASE to Marin Society of Artists,
PO Box 203, Ross 94957; or download from
website www.marinsocietyofartists.org.
March 1, 2004, entry deadline
Kent, Ohio
"Fourth Annual National Juried Cup
Show" (May 11-June 19, 2004), open to ceramics
Ceramics Monthly December 2003
call for entries
artists. Juried from slides. Juror: Janet Buskirk. For
further information and prospectus, send SASE to
Gallery 138, 138 East Main St., Kent 44240;
e-mail [email protected]; or see website
Wallingford, Pennsylvania "Out of the Fire"
(May 9-June 11, 2004), open to ceramics artists.
Juried from slides. Juror: Paula Winokur. Fee: $20
for up to 3 entries. Cash awards. For prospectus,
e-mail [email protected]; or tele­
phone (610) 566-1713.
March 20, 2004, entry deadline
Waynesboro, Virginia "Primary Colors: A Survey of
Contemporary Craft in Red, Yellow and Blue"
(May 20—July 1, 2004), open to crafts using pri­
mary colors in construction or design. Juried from
slides. Fee: $20. Commission: 60%. Cash awards.
For further information and prospectus, send SASE
to Artisans Center of Virginia, 601 Shenandoah
Village Dr., Waynesboro 22980; see website
www.artisanscenterofvirginia.org; or telephone
(540) 946-3294.
Regional Exhibitions
December 15 entry deadline
Mobile, Alabama "A Bunch of Guys Named
Steve" (February 1-29, 2004), open to residents
in Alabama, Florida, Georgia, Mississippi orTennessee, with the first name Stephen, Steve or
Steven. Juried from slides. For prospectus, send
SASE to Pottery Central, PO Box 4691, Gulf
Shores, AL 36547.
January 13, 2004, entry deadline
Lexington, Massachusetts "The State of Clay, 4th
Biennial Exhibition" (May 2-30, 2004), open to
current and former residents of Massachusetts.
Juried from slides. Juror: Peter Beasecker. Cash
awards. For prospectus, send #10 SASE to Ceram­
ics Guild of the Lexington Arts & Crafts Society,
130 Waltham St., Lexington 02421; or download
from website www.lexingtonma.org/LACS.
January 24, 2004, entry deadline
Port Huron, Michigan "Art in Environmental Activ­
ism" (March 1-19, 2004), open to artists in all
media and residing in Illinois, Indiana, Michigan,
Minnesota, New York, Ohio, Ontario, Pennsylva­
nia or Wisconsin. Juried from slides. Fee: $25 for 3
slides; $5 each for fourth and fifth entries. For
further information and prospectus, send SASE to
Art in Environmental Activism, PO Box 40,
Makanda, IL 62958-0040; or see website
March 11, 2004, entry deadline
Niceville, Florida "12th Southeast Regional Juried
Fine Arts Exhibition" (May 16-June 17, 2004),
open to artists 18 years or older who reside in the
southeastern region of the U.S. Juried from slides.
Cash awards. Best in show winner offered solo
exhibition in 2005. For prospectus, send SASE to
MA Eady, ADSO, 17 First St., SE, Ft. Walton
Beach, FL 32548; or download from website
Fairs, Festivals and Sales
December 15 entry deadline
Guilford, Connecticut "Expo 2004, 47th Annual
Juried Show of Fine American Craft" (July 15-17,
2004), open to crafts made in the United States.
Juried from slides. Entry fee: $40. Late entry dead­
line: January 10, 2004; fee, $60. For application,
e-mail [email protected]; see website
www.handcraftcenter.org; (203) 453-5947.
December 20 entry deadline
St. Louis, Missouri
"17th Annual Art Fair at
Laumeier" (May 7-9, 2004), open to handcrafted
work. Juried from 5 slides; 4 of work, 1 of
Ceramics Monthly December 2003
Ceramics Monthly December 2003
call for entries
booth. Jury fee: $35. Cash Awards: $5500. Con­
tact Jennifer Duncan, Fair Director, Laumeier
Sculpture Park, 12580 Rott Rd., St. Louis 63127;
e-mail [email protected]; or telephone (314)
821-1209, ext. 13.
January 4, 2004, entry deadline
New York, New York
"28th Annual American
Crafts Festival" (June 5-6 and/or 12-13, 2004)
"19th Annual Autumn Crafts Festival" (Septem­
ber 4-5 and/or 11-12, 2004), both open to
handcrafted work. Juried from 5 slides. Booth fee
per weekend: $475 for an 8x8-foot space; $540
for a 10x7-foot space; $640 for a 10x10-foot
space. Send SASE with $.65 postage to Raya
Zafrina, Director of Operations, c/o American
Concern for Artistry and Craftmanship, PO Box
650, Montclair, NJ 07042; telephone (973) 7460091; or fax(973) 509-7739.
Roslyn Harbor, New York "8th Annual Craft as
Art Festival" (September 17-19, 2004), open to
handcrafted work. Juried from 5 slides. Booth fee:
$480 for a 10x10-foot space. Send SASE with $.65
postage to Raya Zafrina, Director of Operations,
Craftmanship, PO Box 650, Montclair, NJ 07042;
telephone (973) 746-0091; orfax(973) 509-7739.
January 5, 2004, entry deadline
Morristown, New Jersey
"Spring Crafts at
Morristown" (March 19-21, 2004). "Holiday
Crafts at Morristown" (December 10-12,2004).
Juried from 5 slides of work, plus 1 of booth.
One-time annual fee: $25. Contact Artrider, PO
Box 28, Woodstock, NY 12498; see website
www.artrider.com; ortelephone (845) 331-7900.
New York, New York "Spring Crafts Park Ave­
nue" (April 2-4, 2004). "Fall Crafts Park Avenue"
(October 1-3, 2004). "Holiday Crafts Park Ave­
nue" (December 3-5, 2004). "Holiday Crafts New
York I" (December 10-12, 2004). "Holiday Crafts
New York II" (December 17-19, 2004). Juried
from 5 slides. One-time annual fee: $25. Contact
Artrider, PO Box 28, Woodstock, NY 12498; see
website www.artrider.com; or telephone (845)
Tarrytown, New York "Spring Crafts at
Lyndhurst" (May 14-16, 2004). "Fall Crafts at
Lyndhurst" (September 17-19, 2004). Juried from
5 slides. One-time annual fee: $25. Contact Artrider,
PO Box 28, Woodstock, NY 12498; see website
www.artrider.com; ortelephone (845) 331-7900.
February 29, 2004, entry deadline
Lancaster, Pennsylvania
"Long's Park Art and
Craft Festival" (September 3-6, 2004). Contact
Long's Park, PO Box 1553CML, Lancaster 176081553;
[email protected];
www.longspark.org; telephone (717) 295-7054.
March 1, 2004, entry deadline
Salina, Kansas
"Smoky Hill River Festival, Four
Rivers Craft Market Show" (June 11-13, 2004).
Juried from 6 slides. Entry fee: $15. Booth fee:
$150 for a 10x10-foot space, plus 10% on sales
over $ 1000. Awards: $ 1800. Contact Karla Prickett,
Visual Arts Coordinator, PO Box 2181, Salina
67402-2181; e-mail [email protected]; see website
www.riverfestival.com; telephone (785) 309-5770;
or fax (785) 826-7444.
Salina, Kansas "Smoky Hill River Festival,
Fine Art/Fine Craft Show" (June 12-13, 2004).
Juried from 6 slides. Entry fee: $1 5. Booth fee:
$250 for a 10x10-foot space. No commission.
Awards: $7400. Contact Karla Prickett, Visual
Arts Coordinator, PO Box 2181, Salina 674022181; e-mail [email protected]; see website
www.riverfestival.com; telephone (785) 3095770; or fax (785) 826-7444.
March 15, 2004, entry deadline
New Brunswick, New Jersey "30th Annual New
Jersey Folk Festival Juried Craft Market" (April 24,
Ceramics Monthly December 2003
2004). Juried from 4 slides. Jury fee: $5. Booth fee:
$130. Contact Helene Grynberg, American Stud­
ies Department, Rutgers, the State University of
New Jersey, 131 George St., New Brunswick 089011414; e-mail [email protected]; see website
932-5775; or fax (732) 932-1 169.
April 1, 2004, entry deadline
Verona, New Jersey "Fine Art and Crafts at Verona
Park" (May 15-16, 2004), open to handcrafted
work. Juried from 4 slides. Booth fee: $290 for a
10x12-foot space. Contact Rose Squared Produc­
tions, Inc., 12 Galaxy Ct., Hillsborough, NJ 08844;
e-mail [email protected]; see website
www.rosesquared.com; telephone (908) 8745247; or fax (908) 874-7098.
May 1, 2004, entry deadline
Cranford, New Jersey
"Spring Nomahegan Park
Fine Art and Crafts Show" (June 5-6, 2004),
open to handcrafted work. Juried from 4 slides.
Booth fee: $290 for a 10x12-foot space.
Contact Rose Squared Productions, Inc., 12
Galaxy Ct., Hillsborough, NJ 08844; e-mail
[email protected];
www.rosesquared.com; telephone (908) 8745247; or fax (908) 874-7098.
Jersey City, New Jersey "Fine Art and Crafts
at Newport's Town Square Park" (June 12-13,
2004), open to handcrafted work. Juried from
4 slides. Booth fee: $290 for a 10x10-foot space.
Contact Rose Squared Productions, Inc., 12
Galaxy Ct., Hillsborough, NJ 08844; e-mail
[email protected];
www.rosesquared.com; telephone (908) 8745247; or fax (908) 874-7098.
Montclair, New Jersey "Spring Brookdale
Park Fine Art and Crafts Show" (June 19-20,
2004), open to handcrafted work. Juried from
4 slides. Booth fee: $290 for a 10x12-foot space.
Contact Rose Squared Productions, Inc., 12
Galaxy Ct., Hillsborough, NJ 08844; e-mail
[email protected];
www.rosesquared.com; telephone (908) 8745247; or fax (908) 874-7098.
August 1, 2004, entry deadline
Upper Montclair, New Jersey "Fine Art and Crafts
at Anderson Park" (September 18-19, 2004),
open to handcrafted work. Juried from 4 slides.
Booth fee: $290 for a 10x12-foot space.
Contact Rose Squared Productions, Inc., 12
Galaxy Ct., Hillsborough, NJ 08844; e-mail
[email protected];
www.rosesquared.com; telephone (908) 8745247; or fax (908) 874-7098.
Cranford, New Jersey "Fall Nomahegan Park
Fine Art and Crafts Show" (October 2-3, 2004),
open to handcrafted work. Juried from 4 slides.
Booth fee: $290 for a 10x12-foot space.
Contact Rose Squared Productions, Inc., 12
Galaxy Ct., Hillsborough, NJ 08844; e-mail
[email protected];
www.rosesquared.com; telephone (908) 8745247; or fax (908) 874-7098.
Montclair, New Jersey "Fall Brookdale Park
Fine Art and Crafts Show" (October 16-17,
2004), open to handcrafted work. Juried from
4 slides. Booth fee: $290 for a 10x12-foot space.
Contact Rose Squared Productions, Inc., 12
Galaxy Ct., Hillsborough, NJ 08844; e-mail
[email protected];
www.rosesquared.com; telephone (908) 8745247; or fax (908) 874-7098.
For a free listing, please submit information on juried
exhibitions, fairs, festivals and sales at least four
months before the event’s entry deadline (add one
month for listings in July and two months for those in
August). Regional exhibitions must be open to more
than one state. Mail to Call for Entries, Ceramics
Monthly, 735 Ceramic PI., Westerville, OH 43081;
e-mail to [email protected]; or fax to
(614) 891-8960.
Ceramics Monthly December 2003
From Readers
Keeping a Stiff Upper Lip
If the lip of my pot is slightly uneven and I
don’t want to lose any height, I use my trimming
tool to even out the edge. I use my thumb and
index finger to support and steady the rim and
rest the trimming tool between them to remove
the least amount needed to create an even lip.
This method also removes the clay completely,
preventing it from reattaching to the lip.
—Kathy Sandberg, Plymouth, MI
Adjusting Lids to Fit
If you have a lid that does not fit perfectly
after firing, place a sheet of carbon paper be­
tween the lid and the pot, with the dark carbon
side up. Rotate the lid back and forth. The paper
will mark the area of the lid that needs to be
ground, instead of having to grind the whole
lid.—Norman Holen, Minneapolis, MN
Wax Removal
I have always been told that the only way to
eliminate unwanted wax resist is to bisque the
pot again. One day my teacher asked me, as a
former chemist, what, if anything, could dis­
solve unwanted wax on one of her teapot rims.
As I thought about it, I came to the conclusion
that any sufficiently nonpolar solvent, such as
hexanes and turpentine (common brush clean­
ers), would work. We went to the painting
studio, put turpentine on a paper towel and took
the wax off the pot. You might have to repeat this
process on larger areas of wax.
After the solvent that soaked in had evapo­
rated (a short time later), glaze was applied to the
teapot in the usual manner. It was fired and came
out of the kiln without any blemish. Be sure to
not try this around sources of heat or flame, and
dispose of rags or paper towels appropriately.
—Chia-Yu Hwu, Sunnyvale, CA
Share your ideas with others. Previously un­
published suggestions are welcome individu­
ally or in quantity. Ceramics Monthly will pay
$10 for each one published. Include a drawing
or photograph to illustrate your idea and we
will add $10 to the payment. Mail to Ceramics
Monthly, 735 Ceramic PL, Westerville, OH 43081,
e-mail to [email protected] or fax
to (614) 891-8960.
Ceramics Monthly December 2003
Ceramics Monthly December 2003
Events to Attend—Conferences,
Exhibitions, Workshops, Fairs
dents, A$300 (US$215); deposit, A$ 100 (US$72). For
further information, contact Ceramic Art, 120
Glenmore Rd., Paddington NSW 2021; e-mail
[email protected];
www.ceramicart.com.au; telephone 61 2 9361 5286;
or fax 61 2 9361 5402.
Canada, British Columbia, Burnaby
March 17-20, 2004
"INvestigations, INspirations: The Alchemy of Art and
Science," NCECA's 38th annual conference. See web­
site www.nceca.net; or telephone (866) 266-2322 or
(303) 828-2811.
Australia, Gulgong May 1-7, 2004 "Clay Mod­
ern, Finding New Expression in Ceramic Art" will
events, and exhibitions. Fee: A $420 (US$300); stu­
March 20,
"2004 Canadian Clay Ceramic Symposium"
will include demonstrations, presentations, lectures,
discussions and exhibitions by national and interna­
tional artists. Fee: Can$90.95 (approximately US$70).
For further information, contact Shadbolt Centre for
the Arts, 6450 Deer Lake Ave., Deer Lake Park,
Burnaby, V5G 2J3; telephone (604) 291-6864 or
(604) 205-3012.
Hungary, Kecskemet April 5-26, 2004 "Sound
of the Clay, Ceramic Musical Instrument Sympo­
sium." For further information, contact Steve
Mattison, International Ceramics Studio,
www.icshu.org; or telephone 36 76 486 867.
Solo Exhibitions
Scottsdale December2-31
Sam Chung;
at Gallery Materia, 4222 N. Marshall Way.
January 8-February 7, 2004 Don Reitz; at Udinotti
Gallery, 4215 N. Marshall Way.
Arizona, Tempe through February 7,2004 Xiaoping
Luo, "Time Square Series"; at Nelson Fine Arts Center,
Arizona State University Art Museum.
California, Laguna Beach through February 29,
2004 " Feat of Clay: Five Decades of Jerry Rothman," works
from 1956-1997; at Laguna Art Museum, 307 Cliff Dr.
California, Penryn December 6-7 "Wood-Fired
Works by Rodney Mott"; at Penryn Workshop, 1394
Orange Hill Ln.
California, Richmond
January 29-March 20,2004
Robert Milnes, "Buddha Code"; at Richmond Art
Center, 2540 Barrett Ave.
California, Sacramento
ary 3, 2004
December 11,2003-Janu-
Rebekah Diamantopoulos; at exploding
head gallery, 924 12th St.
California, San Francisco January 14-April 25,
2004 "The New Rice Festival: Vietnamese Artist Nguyen
Bao Toan"; at the Museum of Craft & Folk Art, Ft.
Mason Center, Bldg. A.
California, Santa Ana
through January 11, 2004
"Feat of Clay: Five Decades of Jerry Rothman,"
works from 1997-2003; at Grand Central Art Cen­
ter, 125 S. Broadway.
California, Santa Barbara
January 15, 2004
December 1, 2003-
Oscar Bucher, "Form and Color, A
Delicate Balance"; at Tierra Solida Gallery, 1221 State St.
California, Santa Monica
through January 10,
Richard Shaw, "Real New Sculpture"; at Frank
Lloyd Gallery, 2525 Michigan Ave., B5b.
Colorado, Breckenridge January 9-February 8,
2004 Sang Roberson; at Hibberd McGrath Gallery, 101
N. Main St.
Florida, Dunedin January 9-March 5, 2004 Kevin A.
Hluch; at Dunedin Fine Art Center, 1143 Michigan Blvd.
Illinois, Chicago through December 27 Jack Earl;
at Perimeter Gallery, 210 W. Superior St.
Illinois, Geneva December 1-30Sue Norris, "Stone­
ware Soda Fired"; at Down to Earth Pottery, 217½ S.
Third St.
Minnesota, Minneapolis
through December 30
Svend Bayer; at the Northern Clay Center, 2424 Franklin
Ave., E.
Montana, Missoula through December 19 Tim
Roda, "reverberation"; at the University of Montana,
University Center Gallery, Room 104.
New York, Alfred through December 19 Irvin
Tepper, "When Cups Speak/Life With the Cup: A 25Year Survey"; at the Schein-Joseph International Mu­
seum of Ceramic Art, New York State College of
Ceramics at Alfred University.
New York, East Setauket
through December 28
Marlene Parillo, "Mid-Life Stories"; at Hands On Clay,
Inc., 128 Old Town Rd.
New York, Long Island City through January 17,
2004 Karen Karnes; at Garth Clark Gallery Long Island
City, 45-46 21st St.
New York, New York through December 6 Kathy
Ruttenberg, "Species Specific"; at Gallery Henoch,
555 W. 25th St.
through December 6 Akio Takamori, "Omnipo­
tent"; at Garth Clark Gallery, 24 W. 57th St.
through December 9\Jalerie Carmet, "Continental
Mosaic"; Washington Square Windows, 80 Washing­
ton Sq., E.
through December 13 Nobuhiro Mizuma, "The
Memory of Water"; at Capeluto Arts, 147 Reade St.
through January 1, 2004 Young Sook Pahk,
"Celestial Transformations"; at Gallery Pahk, 988
Madison Ave.
Ceramics Monthly December 2003
Ceramics Monthly December 2003
through January 3, 2004 Marit Tingleff; at Nancy
Margolis Gallery, 523 W. 25th St.
New York, Port Chester January 5-24, 2004 An­
drew Hall, "TeacherlArtist or Artist/Teacher." January
30-February 26, 2004 Linda Christianson; at the Clay
Art Center, 40 Beech St.
North Carolina, Asheville December 1-31 Kathy
Triplett; at Blue Spiral 1, 38 Biltmore Ave.
North Carolina, Chapel Hill through February 24,
2004 Doug Dacey, "Colorful Elegance"; at Green Tara
Gallery, 1800 E. Franklin St., #18b Eastgate.
through January 11, 2004
Joanna Bloom. January 17-March 7, 2004 Rebekah
Diamantopoulos; at Contemporary Crafts Museum &
Gallery, 3934 S.W. Corbett Ave.
Pennsylvania, Chester Springs
ber 12
through Decem­
M. C. Richards, "The Fire Within"; at Chester
Springs Studio, 1671 Art School Rd.
through December
Yoon Kwang-cho, "Mountain Dreams: Contempo­
rary Ceramics"; at the Philadelphia Museum of Art,
Benjamin Franklin Pkwy. at 26th St.
December2-31 WesleyAnderegg, "Whimsical Cups
and Saucers"; at the Works Gallery, 303 Cherry St.
January 2-25, 2004 Lisa Naples. January 2-February 1, 2004 Rain Harris, "Gilding the Lily." January2February 15, 2004 Denise Pelletier; at the Clay Studio,
139 N. Second St.
Texas, Houston through December 11 Nick Joerling;
at North Harris College, 2700 W.W. Thorne Dr.
Wisconsin, Racine through January 18,2004 Marek
Cecula, "The Last Supper"; at the Racine Art Museum,
441 Main St.
Group Ceramics Exhibitions
Arizona, Tempe through February 1, 2004
yond Boundaries: The Yixing Influence on Contempo­
rary American Ceramics"; at the Ceramics Research
Center, Arizona State University Art Museum, Nelson
Fine Arts Center, corner of Mill Ave. and 10th St.
California, Claremont
January 24-April 4, 2004
"Ceramic Annual 2004, 60th Scripps Ceramic An­
nual"; at Ruth Chandler Williamson Gallery, Scripps
College, 1030 Columbia Ave.
California, El Cajon
January26-February20, 2004
"Viewpoint: Ceramics 2004"; at Grossmont College
Hyde Art Gallery, 8800 Grossmont College Dr.
California, Laguna Beach
through February 22,
"Rebels in Clay: Peter Voulkos and the Otis
Group"; at Laguna Art Museum, 307 Cliff Dr.
California, Long Beach
through April 4, 2004
"Clay Bodies: Staffordshire Figurative Ceramics from
the Collection of Dr. and Mrs. Leslie Dornfeld"; at the
Long Beach Museum of Art, 2300 E. Ocean Blvd.
California, Los Angeles
through December 7
"Face to Face, One Hundred WWII Veterans in Clay,"
works by Claire Hanzakos, Kaija Keel and Jilda Schwartz;
at Jose Drudis-Biada Art Gallery, Mount St. Mary's
College, 12001 Chalon Rd.
through December28 "CeramicTrees of Life: Popu­
lar Art from Mexico"; at the UCLA Fowler Museum of
Cultural History, North Campus.
through January25,2004 "California Pottery: From
Missions to Modernism"; at the Autry Museum of
Western Heritage, 4700 Western Heritage Way.
through February 1, 2004 "Transmitting Culture:
Korean Ceramics from Korean-American Collections
in Southern California"; at Los Angeles County Mu­
seum of Art, 5905 Wilshire Blvd.
through December 6
"(kup) Show," with works by Jon Ballstaedt, Rebekah
Diamantopoulos, Brian Fries, Kate Maury, and Molly
Roberts and Kathleen Kershaw; at exploding head
gallery, 924 12th St.
Ceramics Monthly December 2003
California, San Diego through December31 "Pot­
tery of Mata Ortiz"; at Wells Fargo Bank, 401 B St.
through January 25, 2004 "Mingei of Japan—The
Legacy of Its Founders: Soetsu Yanagi, Shoji Hamada
and Kanjiro Kawai"; at the Mingei International Mu­
seum, Balboa Park, Plaza de Panama.
California, Santa Ana through December 14 "Chi­
nese Ceramics Today"; at Orange County Center for
Contemporary Art, 117 N. Sycamore.
Colorado, Dolores through December 31 "The
Struggle of the Clay," Mata Ortiz ceramics; at the
Anasazi Heritage Center, 27501 Highway 184.
Florida, Dunedin January 9-March 5, 2004 "The
Power of Pottery"; at Dunedin Fine Art Center, 1143
Michigan Blvd.
Florida, St. Petersburg through December20 "St.
Petersburg Clay National 2003"; at St. Petersburg Clay
Company, 420 22nd St., S.
Georgia, Atlanta through December24 " MudFire
Holiday Pottery Show"; at MudFire Gallery, 1441
Dresden Dr., Ste. 250.
Hawai'i, Honolulu
January 18-February 13, 2004
"Chinese Ceramics Today"; at University of Hawai'i
Art Gallery, 2444 Dole St.
January 29-March 14 "From the Hand: Five Hawai'i
Ceramists," works by Kauka de Silva, Daven Hee,
Hideo Okino, Reid Ozaki and Yukio Ozaki. January31March 14, 2004 "Quiet Beauty: Fifty Centuries of Japa­
nese Folk Ceramics"; at Honolulu Academy of Arts,
Graphic Arts Gallery and Gallery 14, 900 Beretania St.
Illinois, Chicago through December 15 Charlie
Jahn and Mie Kongo; at Lillstreet Art Center, 4401 N.
Ravenswood Ave.
through January 4, 2004 "The Artful Teapot: 20thCentury Expressions from the Kamm Collection"; at
the Chicago Cultural Center, 78 E. Washington.
Indiana, Ft. Wayne through January 9,2004 "Cup:
The Intimate Object II"; at Charlie Cummings Clay
Studio, 4130 S. Clinton St.
through December 24
"Winterfest 2003." January 10-February 14, 2004
"100 Teapots 2"; at Baltimore Clayworks, 5707 Smith
Maryland, Frederick
23, 2004
December 19,2003-January
"Flame and Brushstroke," works by Leila
Holtsman and Shin-Yeon Jeon; at Hood College, Tatem
Arts Center, Hodson Gallery, 401 Rosemont Ave.
Massachusetts, Lenox through December28 "Stu­
dio Pottery Invitational 2003"; at Ferrin Gallery, 69
Church St.
Massachusetts, Worcester
21, 2004
January 29-February
"Handle It"; at Worcester Center for Crafts,
25 Sagamore Rd.
Michigan, Detroit through December31 "Earthy
Treasures Holiday Invitational." January 16-February
22, 2004 "Heads and Bodies"; at Pewabic Pottery,
10125 E. Jefferson Ave.
Michigan, Grand Rapids
through January4, 2004
"Quiet Beauty: Fifty Centuries of Japanese Folk Ce­
ramics from the Montgomery Collection"; at the
Frederik Meijer Gardens, 1000 E. Beltline Ave., NE.
Minnesota, Minneapolis January 16-February 22,
2004 "Three Jerome Artists," works by Megan
Bergstrom, Lis Buck and Alex Spaulding. "Fire, Form
and Figure," works by Jeffrey Noska and Barbara
Reinhart; at the Northern Clay Center, 2424 Franklin
Ave., E.
Mississippi, Biloxi through January30,2004 "Born
of Biloxi: George Ohr, Joseph Meyer, Manuel Jalanivich"; at the Ohr-O'Keefe Museum of Art, 136 G.E.
Ohr St.
New Jersey, Surf City
through January 5, 2004
"4th Annual Holiday Show"; at m. t. burton gallery,
1819 Long Beach Blvd.
New Mexico, Santa Fe
ary3, 2004 "Clay Artists of
February 7, 2004 "Three
December 5, 2003-JanuNew Mexico." January 9-
Person Exhibition—Arthur
Gonzalez, Ralph Scala, Michaelene Walsh"; at Santa
Fe Clay, 1615 Paseo de Peralta.
Ceramics Monthly December 2003
New York, Garrison through December 7 "Pas­
sionate Fire 2003: Wood-Fired Ceramics," works by
Roger Baumann, Joy Brown, Chrissy Callas, Peter Callas,
Paul Chaleff, Tony Moore, Tim Rowan and Jeff Shapiro;
at Germaine Keller Gallery, 17A Garrison's Landing.
New York, Port Chester December 4-20 "Fine
Functional Pottery and Ceramic Sculpture," members'
annual exhibition; at Clay Art Center, 40 Beech St.
through January 3, 2004 "Functional Ceramics
Invitational," with works by Hank Goodman, Silvie
Granatelli, Nick Joerling, Leah Leitson, Suze Lind­
say, Linda McFarling, Donald Penny, Mark Peters,
Sara Roland and Tom Spleth; at Blue Spiral 1, 38
Biltmore Ave.
North Carolina, Charlotte January 31-May 30,
2004 "The Artful Teapot: Expressions from the Kamm
Collection"; at the Mint Museum of Craft + Design,
220 N. Tryon St.
Ohio, Columbus through December 7 "21st Cen­
tury Ceramics in the United Statesand Canada"; at the
New York, Saratoga Springs December 1, 2003Columbus College of Art & Design, Canzani Center
January 15, 2004 "Bottles and Bowls"; at Hall's Gallery, corner of Cleveland Ave. and Gay St.
Peppermill, 165 High Rock Ave.
Ohio, Kettering through December 12 "Earth in
North Carolina, Asheville through December 12
Balance," a regional clay competition; at Rosewood
" Salt and Pepper"; at Odyssey Gallery, 242 Clingman Ave. Gallery, 2655 Olson Dr.
Ohio, Marion January 5-February 20, 2004 "Al­
tered Lives," with Janis Mars Wunderlich and Marty
Shuter; at the Ohio State University Marion, Morrill
Hall, 1465 Mt. Vernon Ave.
Ohio, Rocky River through December 20 Recent
works by William Brouillard, Robert Bruch and Pete
Scherzer; River Gallery, 19056 Old Detroit Rd.
Oregon, Portland December 3-24 "Cup 2003:
Sixth Annual Invitational"; at Fifth Element Gallery,
404 N.W. Tenth Ave., Ste. 1.
January 17-March 7, 2004 "Soul of a Bowl," tea
bowls by Frank Boyden, Tom and Elaine Coleman, Don
Reitz, and Jenny Lind; at Contemporary Crafts Mu­
seum 8t Gallery, 3934 S.W. Corbett Ave.
Pennsylvania, Erie through February8, 2004 "Art
Nouveau Tiles"; at the Erie Art Museum, 411 State St.
Pennsylvania, Philadelphia
through February 8,
"Elegant Innovations: American Rookwood Pot­
tery, 1880-1960"; at the Philadelphia Museum of Art,
Benjamin Franklin Pkwy. at 26th St.
Pennsylvania, Pittsburgh Decembers, 2003-January28, 2004 "Ritualistic Pots," works by Marlene Boyle
and Kyle Hallam; at the Clay Place, 5416 Walnut St.
through March 20, 2004 "Elizabeth R. Raphael
Founder's Prize"; at the Society for Contemporary
Craft, 2100 Smallman St.
South Carolina, Columbia through January 6,
2004 Exhibition of gallery ceramists; at Southern Pot­
tery Workcenter and Gallery, 2771 Rosewood Dr.
Texas, Houston through December 24 "Objects
d'Clay," works by Judy Adams, Henry Gamble III, John
Herman, Daryl McCracken, Katy McKinin and Bob
Reddell; at Foelber Gallery, 706 Richmond Ave.
Utah, Logan through December 6 "Clay West:
Intermountain Invitational"; at Nora Eccles
Harrison Museum of Art, Utah State University, 650
N. 1100 East.
Wisconsin, Racine through January 4, 2004 "The
Donna Moog Teapot Collection." "From the Kilns of
Denmark: Contemporary Danish Ceramics"; at the
Racine Art Museum, 441 Main St.
Ceramics in Multimedia
Arizona, Mesa January 21-February 28, 2004
"26th Annual Contemporary Crafts"; at Mesa Con­
temporary Arts, 155 N. Center St.
Arizona, Tempe through January 4, 2004 "Mexi­
can Folk Art in Context"; at Arizona State University
Art Museum, Nelson Fine Arts Center, corner of Mill
Ave. and 10th St.
Arizona, Tucson through January 3, 2004 "Go
Figure," including ceramics by Michael Corney and
Jenny Mendes. January 10-February 21, 2004 Threeperson exhibition including works by Mary Fischer and
Toni Sodersten; at Obsidian Gallery, 4320 N. Campbell,
Ste. 130.
Arkansas, Little Rock
through January 4, 2004
"The 31st Annual Toys Designed by Artists Exhibi­
tion"; at Arkansas Arts Center, 501 E. Ninth St.
California, La Jolla through December 26 "Festi­
val of Lights," ninth annual Menorah show; at Gallery
Alexander, 7925a Girard Ave.
California, La Quinta through December31 "The
Figurative"; at the Figurative, Gallery of Contemporary
Art, Carmel Bldg., 78065 Main St., Ste 102.
California, Long Beach
through January25, 2004
"Suenos y Encuentros: Works from the Collection of
Latin American Masters," including works by Lidya
Buzio and Gustavo Perez; at the Long Beach Museum
of Art, 2300 E. Ocean Blvd.
Los Angeles
through December 5
"Coming of Age in Ancient Greece: Images of Child­
hood from the Classical Past"; at the J. Paul Getty
Museum, 1200 Getty Center Dr.
through January 4, 2004 "The Circle of Bliss: Bud­
dhist Meditational Art"; at the Los Angeles County
Museum of Art, 5905 Wilshire Blvd. Continued
Ceramics Monthly December 2003
Ceramics Monthly December 2003
California, Richmond
January 29-March 20,2004
"Learned Behavior, Group Exhibition of Artwork by
Instructors in the Richmond Art Center's On-Site and
Off-Site Programs"; at Richmond Art Center, 2540
Barrett Ave.
California, Sacramento
through January 19,2004
" Icons or Portraits? Images of Jesus and Mary from the
Collection of Michael Hall"; at the Crocker Art Mu­
seum, 216 0 St.
through December 31
"Pre-Columbian Art—Marine Animal Forms"; at the
Mingei International Museum, Balboa Park, Plaza
de Panama.
California, San Francisco
through December 28
"Craft Showcase 4"; at the Museum of Craft & Folk
Art, Ft. Mason Center, Bldg. A.
through February 15, 2004
California, San Jose
"The Not-So-Still-Life: A Century of California Painting
and Sculpture"; at San Jose Museum of Art, 110 S.
Market St.
Colorado, Denver through December 7 "Chinese
Art of the Tang Dynasty from the Sze Hong Collec­
tion." through January 23, 2005 "Tiwanaku: Riches
and Rituals of the Ancient Andes"; at the Denver Art
Museum, 100 W. 14th Ave. Pkwy.
Colorado, Littleton through December 5 "Mate­
rials Speak," including ceramics by Peter Durst; at
Arapahoe Community College, Colorado Gallery of
the Arts, 5900 S. Santa Fe Dr.
Connecticut, New Haven
through December 24
"35th Annual Celebration of American Crafts"; at
Creative Arts Workshop, 80 Audubon St.
through December 31
"Memories2003," invitational exhibition of Christmas
ornaments and Hanukah menorahs; at Signature Fine
Contemporary Crafts, 48 Post Rd., E.
D.C., Washington through January 4, 2004 "Tea
Utensils Under Wraps," tea-ceremony wares and their
decorative storage containers. "Tales and Legends in
Japanese Art." January 31 -July 18, 2004 "The Tea
Ceremony as Melting Pot"; at the Freer Gallery of Art,
Smithsonian Institution, 12th St. and Independence
Ave., SW.
Florida, Nicevilie
January 18-February 26, 2004
"Florida Craftsmen's 50th Anniversary Exhibition"; at
Okaloosa-Walton Community College Arts Center,
100 College Blvd.
Florida, St. Petersburg through December31 "A
Season of Giving: Members Holiday Show"; at the
Florida Craftsmen Gallery, 501 Central Ave.
Florida, West Palm Beach
through December 23
"Florida Craftsmen's 50th Anniversary Exhibition"; at
the Armory Art Center, 1703 S. Lake Ave.
Georgia, Atlanta through January 4, 2004 "The
Etruscans: An Ancient Culture Revealed"; at Fernbank
Museum of Natural History, 767 Clifton Rd., NE.
Hawai'i, Honolulu
January 14-April 18, 2004
"Alsdorf Collection of Japanese Paintings and Ceram­
ics"; at the Honolulu Academy of Arts, Japan Gallery,
900 S. Beretania St.
Illinois, Chicago through December 27 "2 A Tea."
"Presence Presents"; at Function + Art, 1046 W.
Fulton Market.
December 5-31 "29th Annual Holiday Show"; at
Lillstreet Art Center, 4401 N. Ravenswood.
Louisiana, New Orleans
through January 11,
"Treasures for NOMA: Recent Acquisitions
in the Decorative Arts"; at the New Orleans Museum
of Art, 1 Collins Diboll Cir.
Maryland, Baltimore
through January 4, 2004
"Eternal Egypt: Masterworks of Ancient Art from the
British Museum"; at the Walters Art Gallery, 5 W. Mt.
Vernon PI.
Massachusetts, Boston
through January 18,2004
"Domesticated Animals," including works by Tom
Ceramics Monthly December 2003
Ceramics Monthly December 2003
Binger, Linda Cordell, Melody Ellis, Naoko Gomi, Renee
Harris, Karen Koblitz, Laura Jean McLaughlin, Laura
Perry, Susan Peterson and Sandy Shaw; at the Society
of Arts and Crafts, 175 Newbury St.
Massachusetts, Brockton
through January4,2004
"Craft Transformed: Boston University's Program in
Artisanry 1975-1985"; at the Fuller Museum of Art,
455 Oak St.
Massachusetts, Chestnut Hill
through December
"Memories 2003," invitational exhibition of Christ­
mas ornaments and Hanukah menorahs; at Signature
Fine Contemporary Crafts, the Mall at Chestnut Hill.
Massachusetts, Mashpee
through December 31
Memories 2003," invitational exhibition of Christmas
ornaments and Hanukah menorahs; at Signature Fine
Contemporary Crafts, 10 Steeple St.
Massachusetts, New Bedford
ber 13
through Decem­
"Craft Transformed: Program in Artisanry,
Swain School of Design 1985-1987, University of
Massachusetts Dartmouth 1988-2002"; at University
Art Gallery, Star Store, UMASS, 715 Purchase St.
through December 8
"Steeped in Tradition," 17th annual teapot exhibition;
at Ariana Gallery, 119 S. Main St.
through January 11,
"Sacred Symbols, Four Thousand Years of An­
cient American Art"; at the Minneapolis Institute of
Arts, 2400 Third Ave., S.
Mississippi, Biloxi through December31 "George
E. Ohr National Arts Challenge"; at the Ohr-O'Keefe
Museum, 136 G. E. Ohr St.
Missouri, Louisiana through December 14 "Holiday
Magic"; at the Old School, Dixon Gallery, 515 Jackson.
Missouri, St. Louis through December 24 "39th
Annual Holiday Exhibition"; at Craft Alliance Gallery,
6640 Delmar Blvd.
Ohio, Columbus through December 7 "Common
Ground World Project," includes works created from
the 188 United Nations' member countries; at the
Columbus College of Art & Design, Canzani Center
Gallery, corner of Cleveland Ave. and Gay St.
Oregon, Coburg through January 25, 2004 "LA
PETITE XI"; at Alder Gallery, corner of N. Willamette
and Pearl St.
Oregon, Portland
through February 15, 2004
"Saluting Six Decades: Contemporary Crafts Artistsin-Residence"; at Contemporary Crafts Museum &
Gallery, 3934 S.W. Corbett Ave.
January 23, 2004
December 6, 2003-
"Craft Forms 2003"; at Wayne Art
Center, 413 Maplewood Ave.
South Carolina, Charleston through December
12 "JAWS: Just Art With Sharks"; at the South Caro­
lina Aquarium, 100 Aquarium Wharf.
through December 20
"New Directions, Southern Connections: Potters of
the Roan and Tapestry Weavers South"; at Arrowmont
School of Arts and Crafts, 556 Parkway.
Texas, Denton January 31 -March 21, 2004 "17th
Annual Materials Hard and Soft"; at Meadows Gallery,
Center for the Visual Arts, 400 E. Hickory St.
Virginia, Leesburg December2,2003-February 1,
2004 "Time for Tea"; at Rendezvous Gallery, 5 Loudoun
St., SE.
Washington, Moses Lake
through December 31
"A Gift of Art for the Holidays"; at the Moses Lake
Museum & Art Center, 228 W. Third Ave.
Fairs, Festivals and Sales
Arizona, Carefree January 16-18, 2004
Annual Carefree Fine Art and Wine Festival"; down­
town, Easy and Ho Hum sts.
California, Berkeley
December 6-7, 13-14 and
"Berkeley Artisans Holiday Open Studios." For
information and locations, send SASE to Berkeley
Missouri, Warrensburg January 26-February 27,
Artisans Map, 2547 Eighth St., #24A, Berkeley 94710;
2004 "Greater Midwest International XIX"; at Central see website www.berkeleyartisans.com; telephone
Missouri State University, Art Center Gallery, 217 Clark St. (510) 845-2612.
New Hampshire, Concord through December 12
California, La Jolla through December 31 "Holi­
"Lighten Up." January 12-March 12, 2004 "High
day 2003"; at Gallery Alexander, 7925a Girard Ave.
Tech—Hand Made"; at Gallery 205, 205 N. Main St.
California, Richmond December 7 "Annual Holi­
New Hampshire, Hanover through December 14
days Arts Festival and Auction"; at Richmond Art
"Coming of Age in Ancient Greece: Images of Child­
Center, 2540 Barrett Ave.
Connecticut, Brookfield through December 31
hood from the Classical Past"; at the Hood Museum of
"28th Annual Holiday Exhibition and Sale"; at
Art, Dartmouth College, Wheelock St.
New Jersey, Princeton through January 18, 2004
Brookfield Craft Center, Rte. 25.
Connecticut, Danbury December 6-7 "Annual
"The Centaur's Smile: The Human Animal in Early
Holiday Pottery Sale"; at Wooster Community Art
Greek Art"; at Princeton University Art Museum,
Center, 73 Miry Brook Rd.
McCormick Hall.
New Mexico, Silver City
through December 15
"Dominant Sense," two-person exhibition including
ceramics by Todd Shelby; at the Blue Dome Gallery,
307 N. Texas St.
New York, Corning
December 5-January28, 2004
"Clay and Glass," including works by Gary Baxter, Du
Chau, Randy J. Johnston, Liz Lurie, Alleghany Mead­
ows, Mary Pollock, Steven Roberts, Tim Rowan and
Jane Osborn Smith; at Corning Community College,
Atrium Gallery, 1 Academic Dr.
New York, New York
through January 3, 2004
"Celebrations," including works by Karen Bennicke, Jack
Earl, Lisa Henriques, Sadashi Inuzuka, Shida Kuo and Tip
Toland; at Nancy Margolis Gallery, 523 W. 25th St.
through January 18, 2004 "Hunt for Paradise:
Court Arts of Iran, 1501-1576"; at the Asia Society,
725 Park Ave.
through July 6, 2004 "Petra: Lost City of Stone"; at
the American Museum of Natural History, Central
Park, W. at 79th St.
North Carolina, Asheville
through January 3,
"Still Life Invitational," including ceramics by
Steven Forbes deSoule and Virginia Scotchie; at Blue
Spiral 1, 38 Biltmore Ave.
Ceramics Monthly December 2003
Connecticut, East Hartford
December 6-7 and
"28th Holiday Open Studio"; at Greenleaf
Pottery, 686 Tolland St.
Connecticut, Middletown
through December 13
"The Wesleyan Potters 48th Annual Exhibition and
Sale"; at Wesleyan Potters, Inc., 350 S. Main St.
Florida, Fort Lauderdale
January 23-25, 2004
"Paradise City Arts Festival"; at Broward County Con­
vention Center, 1950 Eisenhower Blvd.
Florida, Miami Beach January 7-11, 2004 "Art
Miami 2004"; at the Miami Beach Convention Center,
1901 Convention Center Dr., Hall D.
Hawai'i, Honolulu through December 14 "22nd
Annual World Art Bazaar"; at Honolulu Academy of
Arts, Linekona Art Center, 1111 Victoria St.
Maryland, Baltimore December 6-23 "Holiday
Extravaganza"; at Baltimore Clayworks, 5707 Smith Ave.
"Sugarloaf Crafts Festival"; at Montgomery County
Fairgrounds, 16 Chestnut St.
Massachusetts, Boston December 5-7 "Crafts at
the Castle"; at the Castle at Park Plaza, Arlington St.
and Columbus Ave.
Massachusetts, Worcester December 4-23 "4th
Ceramics Monthly December 2003
Annual Holiday Faculty Show and Sale"; at Worcester
Center for Crafts, 25 Sagamore Rd.
Minnesota, Minneapolis through January4,2004
"Holiday Exhibition and Sale"; at Northern Clay Center,
2424 Franklin Ave., E.
Missouri, Kansas City December5-7 "Annual Hol­
iday Open House"; at Red Star Studios, 821 W. 17th St.
Montana, Missoula December 5-31 "The Clay
Studio Annual Christmas Sale"; at the Clay Studio,
910 Dickens.
New Jersey, Demarest December 5-7 "29th An­
nual Pottery Show and Sale"; at Old Church Cultural
Center School of Art, 561 Piermont Rd.
New Mexico, Santa Fe December 5" 11 th Annual
Holiday Sale and Open House" at Santa Fe Clay, 1615
Paseo de Peralta.
New York, Eastchester December 5-7 "Hudson
River Potters' Show and Sale"; at Eastchester Public
Library, 11 Oak Ridge PI.
New York, New York January 14-18, 2004 "Fifth
Annual New York Ceramics Fair"; the National Acad­
emy of Design Museum, 1083 Fifth Ave.
North Carolina, Marion December 6 "17th An­
nual Appalachian Potters Market"; at McDowell High
School, 600 MHS Dr.
Ohio, Columbus through December 23 "Gifts of
the Craftsmen Holiday Exhibition and Sale"; at the
Ohio Craft Museum, 1665 W. Fifth Ave.
December 13 "Annual Holiday Student Art Sale";
at Columbus College of Art & Design, Canzani Center
Gallery, corner of Cleveland Ave. and Gay St.
"Gifted," holiday show; at the Clay Studio, 139 N.
Second St.
Virginia, Chantilly
January 30-February 1, 2004
"Sugarloaf Craft Festival"; at Dulles Expo Center,
4320 Brookfield Corporate Dr.
Washington, Moses Lake
January 30-March 5,
"Columbia Basin Invitational"; at Moses Lake
Museum & Art Center, 228 W. Third Ave.
Phoenix December 5-7
"Circus Ceramic
Surfaces" with Brian Gartside. Fee: $150. For further
information, contact Desert Dragon Pottery, PO Box
www.desertdragonpottery.com; or telephone (602)
December 10 "Modern Day Alchemy: Turning Clay
into Gold," lecture by David Bradley; at the Phoenix
Civic Plaza. Contact David Bradley, 2233 N. 56th Ave.,
Phoenix 85035; e-mail [email protected]; or tele­
phone (602) 269-1244.
Arkansas, Mountain View
March 21-26, 2004
"Firing a Wood-Fired Groundhog Kiln." Fee: $200,
includes 36x36 inches of kiln space for work up to 9
inches tall in Cone 10 clay; participants should bring
Cone 10 bisqueware and Cone 10 glaze. "Beginning
Pottery and Slip Decorating." Fee: $200. Both work­
shops with Judi Munn and John Perry. Contact Kay
Thomas, Ozark Folk Center, PO Box 500, Mountain
View 72560; e-mail [email protected]; or tele­
phone (870) 269-3851.
California, Claremont January 24, 2004 "What is
American in American Ceramics," lecture with Jo
Lauria, in conjunction with the 60th Scripps Ceramic
Annual; at Ruth Chandler Williamson Gallery, Scripps
College, 1030 Columbia Ave., Claremont 91711; or
telephone (909) 607-3397.
Colorado, Boulder February 21-22, 2004 Work­
shop with Matt Long. Fee: $100. All skill levels.
Contact the Boulder Potters Guild, PO Box 19676,
Boulder 80308; e-mail [email protected]; telephone
(303) 447-0310 or (303) 444-0802. Continued
Ceramics Monthly December 2003
Ceramics Monthly December 2003
or telephone (301) 696-3456.
Massachusetts, Stockbridge January24-25,2004
"The Thrills, Problems and Discipline of Throwing" with
Connecticut, Brookfield January 17-18, 2004
Scott Goldberg. Fee: $180. Contact IS183, Art School of
"Jars and Lids" with Michael Conelly. "Public and
the Berkshires, PO Box 1400, Stockbridge 01262; e-mail
Private Commissions" with Elizabeth MacDonald .Janu­
[email protected]; see website www.ISI 83. org; telephone
ary 24-25, 2004 "Coil and Slab Handbuilding" with (413) 298-5252; or fax (413) 298-5257.
Elizabeth MacDonald. "Clay and Glaze Defects" with
Missouri, Kansas City February 7-8, 2004 Work­
Jeff Zamek. February 7-8, 2004 "Pottery for Teens"
shop with RandyJohnstonandJan McKeachie-Johnston.
with Chris Alexiades. February28-29, 2004 "Coil and
Fee: $ 120; members, $ 108. Contact Allison Zimmer, Red
Paddle Ceramics" with Peter Callas. March 26-28,
Star Studios: e-mail [email protected]; see website
2004 "Beyond the Wheel" with Mark Peters. Contact www.redstarstudios.org; or telephone (816) 474-7316
Brookfield Craft Center, 286 Whisconier Rd., PO Box
Missouri, St. Louis December 6 "Carving An­
gels" with Andrew Denney. Fee: $65; members, $50;
www.brookfieldcraftcenter.org; telephone (203) 775includes materials. December 13 "Ceramic Beads"
4526, ext. 102; or fax (203) 740-7815.
with Mary Henderson. Fee: $64; members, $49; in­
Florida, West Palm Beach January 16-18, 2004
cludes materials. For further information, contact
"Handbuilt Pouring Vessels," workshop and lecture
Craft Alliance, 6640 Delmar Blvd., St. Louis 63130;
with Sam Chung. Fee: $160. January 26-30, 2004
[email protected];
"Handbuilding with Soft Slabs, Part I and II," work­
www.craftalliance.org; telephone (314) 725-1 177.
shop and lecture with Barbara Knutson. Fee: part I,
New Jersey, Lodi December 6 "A Day with Peter
$175; part II, $250. February 7-8, 2004 "Clay and
Callas." December 13 "Glaze Mixing, Firing and De­
Creativity: Alternate Approaches," workshop and lec­
fect Troubleshooting" with Jeff Zamek. Fee: $90.
ture with Jeff Shapiro. Fee: $160. February 20-22,
Contact David Hughes, the Clay Education Center at
2004 "Altered Porcelain Pots," workshop and lecture Ceramic Supply, 7 Rte. 46 W, Lodi 07644; ortelephone
with Leah Leitson. Fee: $190. March 1-5,2004 "Yixing
(973) 340-3005.
Teapots," workshop and lecture with Xiaoping Luo
New York, East Setauket December 6-7 "Raku"
and Junya Shao. Fee: $425. All lectures free. For
with Peggy Stasi. Fee: $85. Contact Hands On Clay,
further information, contact Armory Art Center, 1700
128 Old Town Rd., East Setauket 11733; see website
Parker Ave., West Palm Beach 33401; see website
www.handsonclay.com; or telephone (631)751-0011.
www.armoryart.org; or telephone (888) 276-6791.
New York, New York December 5-7 " PMC Con­
Florida, Dunedin January 10-11,2004 "Impressed
nection Artisan Certificate." Fee: $450, includes mate­
Slab Pottery" with Kevin Hluch. For further informa­
rials, tools and firing. December 6-7 "Techniques in
tion, contact David Shankweiler, Dunedin Fine Art
Precious Metal Clay." Beginning and intermediate skill
Center, 1143 Michigan Blvd., Dunedin 34698; or
levels. Fee: $250, includes materials and firing. Con­
telephone (727) 298-3322, ext. 230.
tact Vera Lightstone, 347 W. 39th St., New York
Georgia, Atlanta January 17-18, 2004 "Tom
[email protected];
Coleman: Working with Porcelain." Fee: $110. Febru­
www.silverclay.com; telephone (212) 947-6879.
ary 28-29, 2004 "Debra Fritts: Form, Surface and
January 24 and 31, 2004 "Ceramic Plates" with
Color." Fee: $90. For further information, contact
Ellen Day. Fee: $90; members, $75. Contact Craft
Glenn Dair, Callanwolde Fine Arts Center, 980 Briarcliff
Students League, YWCA of the City of New York, 610
Rd., Atlanta 30306; e-mail [email protected]; or
Lexington Ave., New York 10022; see website
telephone (404) 874-9351.
www.ywcanyc.org; or telephone (212) 735-9804.
Illinois, Oak Park January 10-11, 2004 "Utility and
New York, Port Chester December 10 "Dry Throw­
Visual Inquiry" with Linda Christianson. Fee: $125. Contact ing" with Ayumi Horie. Fee: $75. December 11 "ZooDavidToan, Terra Incognito Studios, 246 Chicago Ave., Oak morphic Forms: Porcelain and Beyond" with Bernadette
Park 60302; see website www.terraincognitostudios.com; Curran. Fee: $75. January 31 -February 1, 2004 "Pots
or telephone (708) 383-6228.
with Soul" with Linda Christianson. Fee: $150. Con­
Kansas, Wichita January 8, 2004 "Wood Firing"
tact the Clay Art Center, 40 Beech St., Port Chester
with Chris Arensdorf and Peg Malloy. Participants
10573; or telephone (914) 937-2047.
should bring 10-20 small to medium bisqued pieces.
North Carolina, Charlotte February 21-22, 2004
January 10-11, 2004 Workshop and lecture with Peg "One on One" with Tom Coleman. Fee: $150, includes
Malloy. Wood firing and workshop fee: $125; mem­
notebook, breakfast and lunch. Hosted by Carolina
bers, $115. Workshop only fee: $75; members, $65.
Claymatters Pottery Guild. For further information, con­
Lecture is free. Contact the Wichita Center for the Arts,
tact Gary Lee at Rising Sun Pottery: e-mail
9112 E. Central, Wichita 67206; telephone (316) [email protected]; ortelephone (704) 735-5820.
2787; or fax (316) 634-0539.
Ohio, Columbus December 8 Slide lecture with
Maryland, Baltimore January 12-16,2004 "Work­
Mary Roehm. Contact Columbus College of Art &
ing Wet," hands-on workshop with Gay Smith. Inter­
Design, Canzani Center, corner of Cleveland Ave.
mediate to advance skill levels. Fee: $300; members,
and E. Gay St., Columbus 43215; see website
$280; includes 25 lbs of clay. For further information,
www.ccad.edu; or telephone (614) 224-9101.
contact Leigh Taylor Mickelson, Baltimore Clayworks,
Oklahoma, Norman February 28-29, 2004 Work­
shop with Doug Casebeer. Fee: $100, includes regis­
[email protected]; see website
tration. Limit of 20 participants. Contact Firehouse Art
www.baltimoreclayworks.org; telephone (410) 578Center, 444 S. Flood, Norman 73069; or telephone
1919, ext. 10.
(405) 329-4523.
"Master'sThrowing." Fee: $240. February7-8, 2004,
or May 15-16, 2004 "Plates and Platters." Fee: $150.
February 28-29, 2004 "Eastern Coil." Fee: $150.
March 6-7, 2004 "Brushmaking" with Susan Nayfield
Kahn. Fee: $165. April 16-17, 2004 "Partners in
Clay" with Daphne Roehr Hatcher and Gary Hatcher.
Fee: $185. May 1-2, 2004 "Glaze Application." Fee:
$150. Workshops (unless noted above) with Joyce
Michaud. Contact Joyce Michaud, Ceramics Program,
Hood College Art Dept., 401 Rosemont Ave., Frederick
[email protected];
Ceramics Monthly December 2003
Pennsylvania, Philadelphia
February 6-8, 2004
"Flat to Functional" with Lisa Naples. Fee: $195; mem­
bers, $180. March 27, 2004 "A Potter's Walking Tour
of the University of PA Museum of Archeology and
Anthropology" with Claire Rodgers. Fee: $40; mem­
bers, $35. April23-25, 2004 "Low-Tech Dish Sets from
Bisque Molds" with Lisa Orr. Fee: $195; members,
$180. Contact the Clay Studio, 139 N. Second St.,
Philadelphia 19106; or telephone (215) 925-3453.
Texas, Austin January 31-February 1, 2004 "Pour­
ing Forms with Template Construction" with Sam
Chung. Fee: $115. Contact Clayways Studio, 5442
Ceramics Monthly December 2003
Burnet Rd., Austin 78756; e-mail [email protected];
or telephone (512) 459-6445.
Texas, San Antonio January 17, 2004 "Transi­
tions and Transformations, " slide lecture with Geoffrey
Wheeler. March 12, 2004 "Imaginative Figures in
Clay," slide lecture with Janis Mars Wunderlich. Free.
Contact the Southwest School of Art and Craft, 300
www.swschool.org; telephone (210) 224-1848.
Wisconsin, Fish Creek December 8-11 "Begin­
ning Throwing" with Rich Higdon. Fee: $190, plus
materials. January 5-8, 2004 "Dishesfor Dishes" with
David Caradori. Fee: $160, plus materials. January 26,
28,30,2004 "Ceramics Glazing Workshop" with John
Hansen and Joseph Pesina. Fee: $90. February 19-21,
2004 "Tile Making" with Jeanne Aurelius. Fee: $150,
plus materials. April 12-15, 2004 "Beauty From Fire—
Japanese Raku Pottery" with Brian Fitzgerald. Fee:
$ 160, plus materials. May3-6, 2004 " Figure Modeling
in Clay" with Kirsten Christianson. Fee: $150, plus
materials. May 17-20, 2004 "Ceramicsfor Sushi" with
David Caradori. Fee: $160, plus materials. For further
information, contact Peninsula Art School, PO Box
304, 3900 County Hwy. F, Fish Creek 54212; e-mail
[email protected];
www.peninsulaartschool.com; telephone (920) 8683455; or fax (920) 868-9965.
International Events
Anguilla, British West Indies December 8-13
"Possibilities in Tile," workshop with Susan Reynolds.
Fee: $700, includes lodging, breakfast, lunch. Contact
Art Workshops, PO Box 593, the Valley, Anguilla,
BWI; e-mail [email protected]; or see website
Canada, Alberta, Calgary December 9, 2003January9, 2004 New work by Bonnie Anderson; at the
Croft, 2105 Fourth St., SW.
Canada, Ontario, Burlington
through December
"Recent Acquisitions," a selection of new work
highlighting the donations to the permanent collec­
tion in 2002. through March 21, 2004 "Something's
Brewing," including works by Tony and Sheila Clennell,
Bruce Cochrane, Leopold Foulem, and Richard and
Carol Self ridge. December 5, 2003-February 10, 2004
"I Know What I Like, Selections from the Herbert O.
Bunt Donation"; at the Burlington Art Centre, 1333
Lakeshore Rd.
Canada, Ontario, Scarborough December6 "Im­
proving Your Throwing Skills" with Robert Tetu. Free.
For further information, contact the Gardener's Cot­
tage, Cedar Ridge Creative Centre, 225 Confederation
Dr.; e-mail [email protected]; see website
www.clayandglass.on.ca; telephone (416) 438-8946;
or fax (416) 438-0192.
Canada, Ontario, Toronto
through December 24
"'Tisthe Season: The Holiday Collection"; at the Guild
Shop,f 118 Cumberland St.
through January 4, 2004 "Art Deco 1910-1939";
at the Royal Ontario Museum, 100 Queen's Park.
through January 18, 2004 "Passion and Porcelain:
Wadsworth Atheneum Museum of Art"; at the
Gardiner Museum of Ceramic Art, 111 Queen's Park.
England, Bath through December 23 New ce­
ramic figures by John Maltby; at Beaux Arts-Bath,
12/13 York St.
England, Bovey Tracey
through December 31
"Surface Tension." December 6 and 13 "Christmas
Fair"; atthe Devon Guild of Craftsmen, Riverside Mill.
England, Leeds through January 17, 2004 Jennie
Hale, raku animal forms; at the Craft Centre & Design
Gallery, City Art Gallery, The Headrow. Continued
Ceramics Monthly December 2003
Ceramics Monthly December 2003
England, Leicester
January 17-February2l, 2004
"Modus OperandilFive Ceramic Artists"; at the City
Gallery, 90 Granby St.
England, Liverpool December 1-31 Eddie and
Margaret Curtis, window gallery; at Bluecoat Display
Centre, Bluecoat Chambers, School Ln.
England, London through December 24 "Home
for Christmas." Anthony Theakston; at Contemporary
Applied Arts, 2 Percy St.
through January 10, 2004 "The Human Figure"; at
Cecilia Colman Gallery, 67 St. Johns Wood High St.
through January 10, 2004 Philip Eglin; at Barrett
Marsden Gallery, 17-18 Great Sutton St.
through January 25, 2004 "A Winter's Tale," in­
cluding ceramics by Jeremy James and Philip Wood; at
Crafts Council Gallery, 44A Pentonville Rd.
England, Newark through December28 "Light."
through January 1, 2004 "Tea for Two"; at Rufford
Ceramic Center, Rufford Country Park nr. Ollerton.
England, Sherborne
January 17-February21,2004
Stoneware by Deidre Burnett. Low-fired porcelain by
Anne James. Salt-glazed stoneware by Marcus
O'Mahoney; at Alpha House Gallery, South St.
England, Yanwath (near Penrith) through January
10,2004 "Cats," functional and sculptural cats, lionsand
tigers. January 28-March 20, 2004 "Hearts of Glass
(and Clay)"; at Laburnum Ceramics Gallery.
France, Nan^ay through December 14 Three-per­
son exhibition including ceramic sculpture by Axel
Cassel. through December 79Three-person exhibition
including ceramics by Gordon Baldwin; at Galerie
Capazza, Grenier de Villatre.
France, Thionville through December 17 "Terre
Contemporaine Belgium and France," including ce­
ramic sculpture by Monique Muylaert and Herman
Muys; at Centre Culturel Jacques Brel, 7, Place de la
Gare, Square Jean Moulin.
Germany, Hamburg through December 14 "Art
and Craft 2003." December 13 "The Colors of Meissen
Porcelain," lecture by Carlos Boerner. December 1314 "JapaneseTea Ceremony," a presentation. Decem­
ber 14 "Technical Perspectives in Porcelain—New Work
in the Field of Ceramics and Glass Design from Burg
Giebichenstein," lecture by Professor Hubert Kittel; at
Museum fur Kunst und Gewerbe, Steintorplatz.
Italy, Tuscany May 14-31, 2004 One-week handson workshop with Denys James; one-week hands-on
terra-sigillata workshop with Giovanni Cimatti. See
website www.denysjames.comlexcursionslitaly.
Jamaica, Trelawny April 23-May 1, 2004 "WoodFired Ceramics: inspiration and form" with Doug
Casebeer, Jeff Oestreich and David Pinto.Tuition: $2050$2850; includes housing and meals. Deposit $500;
registration: $150. Payment in full by March 1. Limit of
12 participants. Contact Anderson Ranch Arts Center,
PO Box 5598, Snowmass Village, CO 81615; see web­
site www.andersonranch.org; telephone (970) 9233181.
Japan, Kyoto and Shigaraki
May8-June 9, 2004
Four-week study program sponsored by the University
of Georgia. For further information, contact Glen
Kaufman: e-mail [email protected]; or tele­
phone (706) 542-1660.
Mexico, Oaxaca February 22-29, 2004 "Oaxacan
Clay Workshop" with Eric Mindling. Fee: $ 1050-$ 1300.
Contact Oaxacan Clay: e-mail [email protected]; or
see website www.manos-de-oaxaca.com.
Mexico, Puebla, Oaxaca and Mexico City
ruary 12-22, 2004
"The Clay Studio Mexico Tour"
Fee: $2995, includes airfare, hotels, meals and trans­
portation. For further information or a brochure,
e-mail [email protected]; telephone Amy Sarner
Williams (215) 925-3453, ext. 12; or telephone Julia
Zagar (215) 925-0193.
Netherlands, Delft through December 13 Michael
Cleff. through January 10, 2004 "The Dark Days in
Delft," works by Mieke Montagne, Frans Ottink, Bob
van Schie and Renate Weidner. December20-January
31, 2004 Piet Stockmans. January 17-February 28,
2004 Aisaku Suzuki; atTerra Keramiek, Nieuwstraat 7.
Netherlands, Deventer
through December 31
Nathalie Montarou, Brigitte Penicaud and Claude
Varlan; at Loes and Reinier, Korte Assenstraat 15.
Netherlands, Laren through December 15 Barbara
Nanning, "Evolution"; at the Singer Museum, Oude Drift 1.
Netherlands, Leeuwarden
through December28
"White Porcelain"; at St. Joseph Gallery, Frederik
Ruyschstraat 10.
Norway, Oslo through December 14 Nina
Malterud; at RAM Galleri, Kongens Gate 3.
Republic of China, Taiwan
through December 14
Three-person ceramics exhibition—Ching-Yuan Chang,
Keith Ekstam, Howard Koerth; at Ghu-Yun Art Gallery,
Yingge Village, Taipei.
through January 5, 2004 "The Third Taipei Ceram­
Germany, Karlsruhe December 14-January 18,
2004 "Pioneer of Modern Ceramics," Colin Pearson at ics Award Exhibition"; atTaipei County Yingge Ceram­
ics Museum, 200 Wenhua Rd., Yingge Jen.
80; at Badisches Landesmuseum, Schloss 76131.
Scotland, Edinburgh through December24 Craig
Guatemala, Antigua February 17-26,2004 "CeramMitchell. "Covetable Applied Art," including works by
icslPorcelain with a Mayan Touch" with Melinda Collins.
Pauline Zelinski; at the Scottish Gallery, 16 Dundas St.
Fee: $1850, includes airfare, tuition, lodging, breakfasts,
Scotland, Fife through December 21 "Presence
ground transportation and field trips. Contact Melinda:
[email protected]@artguat.org; see website and Absence," including porcelain by Mary White.
"Presents + Impulses," includng ceramics by Wendy
www.artguat.org; telephone (612)825-0747; or fax (612)
Jung and Clare Wratten; at Crawford Arts Centre, 93
North St., St. Andrews.
India, Jaipur and New Delhi February 6-19, 2004
Spain, Manises through January 18, 2004 "Sixth
"Arts and Culture in North India," hands-on workshop with
traditional potters. Fee: $3950. Contact Jim Danisch orOma International Biennial of Ceramics, Manises"; at Museu
de Ceramica de Manises, Calle Sagrario, 22.
Judith Chase: e-mail [email protected]; see website
Switzerland, Kirchberg through December 14
www.jandjtrips.com; or telephone (707) 629-3335.
"augenblicken," sculpture exhibition including ceram­
Italy, Certaldo April 17-May 1, 2004 "Architec­
ics by Krista Grecco and Herman Muys; at Kunstforum
tural Ceramics" with Marcia Selsor. May 1-May 15,
2004 "The Decorated Pot with George McCauley. Fee: Kirchberg, Eystrasse 66.
Wales, Swansea through January 11, 2004 Christine
€1800 (approximately US$2030); includes lodging,
Jones; at Mission Gallery, Gloucester PI., Maritime Quarter.
some meals and side trips. Limit of 12 participants.
Deposits due January 15, 2004. See website
For a free listing, submit announcements of confer­
or telephone (406) 245-6729.
ences, exhibitions, workshops and juried fairs at
May 30-June 12, 2004 "Pots and People—Making
least two months before the month of opening. Add
Connections" with Chris Staley. For further informa­
one month for listings in July; two months for those
tion, contact Lynne Burke: e-mail [email protected];
in August. Mail to Calendar, Ceramics Monthly,
see website www.potteryabroad.com.
735 Ceramic PI., Westerville, OH 43081; e-mail
Italy, Faenza through December31 "53rd Interna­
to [email protected]; or fax to (614)
tional Competition of Contemporary Ceramics"; at
International Museum of Ceramics, Via Campadori 2.
Ceramics Monthly December 2003
Answered by the CM Technical Staff
I justhadaCone 10turquoiseglaze tested for
toxicity using EPA 6010B trace-metals analysis
with citric acid. The glaze recipe is as follows:
Oribe Turquoise Glaze
(Cone 10)
Bone Ash.......................................................
Strontium Carbonate.................................... 9.36
Talc................................................................ 3.98
Whiting.......................................................... 17.88
Custer Feldspar............................................. 28.54
EPK (Edgar Plastic Kaolin)............................ 3.23
Silica (Flint).................................................. 35.11
Add: Copper Carbonate.................................
6.67 %
Bentonite............................................. 2.00%
It came up positive for copper. The result was:
251, PQL150. The lab was unable to tell me if this
would be a toxic amount for food ware. I have
checked around with the EPA web page and
tell me
constitutes a toxic
level. How can I find this information?—J.D.
It just so happens that John Hesselberth and I
have published a book on this very subject. Al­
though for Cone 6 glazes, the information and
discussion bears directly on your question. You
may also wish to take a look at our website
www. masteringglazes .com.
We have chosen to not use the phrase “food
safe” as it does not mean much, except when
applied to lead and cadmium—they are the only
two oxides which are regulated by law. This
could be why no one was able to give you
information on toxic levels. This does not mean
there are not other oxides that may present
problems for users of your ware. If a glaze does
change during use, there are some who are going
to find it disturbing.
First the glaze: The fluxes are well balanced,
but the alumina is low, which violates one of our
basic rules for stability. While we have not done
the testing on Cone 10 glazes, there is no reason
that we can think of that would lead us to believe
the rules will be substantially different between
Cone 6 and Cone 10 glazes. Perhaps we will find
that more silica and alumina will be needed.
The amount of silica in this glaze is enough,
but the overriding factor in this case is the amount
of copper. I am going to generalize here and say
that I do not think it is possible to have a tradi­
tional Oribe-type glaze that will be stable, based
on the experiments I have done so far. If you
change the glaze to try to make it stable, you lose
the color you want.
We used copper in the form of copper carbon­
ate, at 5%, as an indicator of glaze stability when
leach tested. Copper has the reputation of being
one of the most difficult oxides to keep in a glaze.
We also used 6% rutile. We then used primary
Ceramics Monthly December 2003
of 150, we know that the result of 251 is
taste the copper leaching into the orange juice
accurate, because it is above what can reliably after some time. If you leave vinegar or a lemon
be measured.
on it for 24 hours, you should be able to see
water standards as a base for judging glaze stability, The results for the test that you had done are how the acid attacks the glaze. Just make sure
even though the water standards are a very conser­
presented in parts per billion, or micrograms per you dry it off properly, and look at it with a
vative standard for glazes, as we wanted to be sureliter (ppb, |ig/L). In order to compare with the magnifying glass.
we were dealing with very stable glazes. The current
water standard, the units must be changed to parts I can safely say this glaze is neither durable nor
water standard MCL (Maximum Containment per million (mg/L). The test result of 251 ppb is the
stable in use with most foods. Even if it is not on a
Level) for copper release is 1.3 mglL (milligrams same as .251 ppm. This particular test shows that food-bearing surface, it will probably show wear
per liter, or parts per million).
the glaze leaches copper at a level below the current
from washing.
PQL stands for Practical Quantitation Level, water standard.
Ron Roy
which simply means the minimum concentra­
There are other issues to be concerned about
Ceramics Consultant
tion that can reliably be measured, indepen­
in this case. Try leaving some orange juice in a
Brighton, Ontario, Canada
dent of the lab or method used. So, with a PQL pot with this glaze on it. You should be able to
You published an article by Jeff Zamek called
"Substitutions for Gerstley Borate" (October 2001
we consistently see, both at our studio and at
the studio where my wife teaches, is that the
published recipe:
Floating Blue Glaze
(Cone 6)
Gerstley Borate....................................................26 %
Nepheline Syenite.................................................... 48
EPK (Edgar Plastic Kaolin)................................... 6
Silica (Flint)..........................................................20
turns green when fired to a true Cone 6, tip just
touching. To get a blue, we have to fire to Cone
5, tip just touching. Did Mr. Zamek really fire to
Cone 6? If so, I would really like to know how he
gets true blue colors while we get greens at that
Your question illustrates the point that the
color of some glazes are very sensitive to tempera­
ture. Sometimes a half-cone difference can change
a glaze color. You are firing to “Cone 5, tip just
touching” to obtain the rutile blue. This might be
the same as my rutile blue glaze fired to Cone 6 at
the 3 o’clock position. I think, in this case, different
potters read their pyrometric cones at different
positions. The other factor that may affect glaze
color is the amount of time it takes to get to the final
temperature. It is the combination of time and
temperature (heatwork) that determines how your
cones will melt. It should also be noted that the
difference in temperature from the 3 o’clock posi­
tion to the 6 o’clock position (the end point of the
cone) might be just a few degrees. This is why it is
important to perform tests and base your firing
profile on your own results.
Jeff Zamek
Ceramics Consultant
Southampton, MA
Have a problem? Subscribers’ questions are
welcome, and those of interest to the ceramics
community in general will be answered in this
column. Due to volume, letters may not be an­
swered personally. Mail to Ceramics Monthly,
735 Ceramic PI., Westerville, OH 43081,
e-mail to [email protected] or fax
to (614) 891-8960.
Ceramics Monthly December 2003
Ceramics Monthly December 2003
Ceramics Monthly December 2003
ceramics monthly annual index
January-December 2003
Attaining Merchant Status, Battersby, Feb., p 63
Blazing a Trail, New York’s Hudson Valley
Potters, Bresnan, June/July/Aug., p 64
Clay and Glazes
Anagama Firing at Chris Gustin’s, Ruescher,
Oct., p 45
Animal Tracks, Macaire, Oct., p 42
Claude Champy, During., May, p 36
Clay Body Absorption and Shrinkage, Zamek,
Apr., p 59
How to Interpret a Typical Data Sheet, Zamek,
Nov., p 69
Insights into the Resume of Vicki Hansen, Latka,
Feb., p 74
Leah Leitson’s Altered Porcelain Pots, Gleason,
June/July/Aug., p 84
Maxine Chelini, Garriott-Stejskal, Feb., p 35
Potter’s Song, A, Taylor, Apr., p 34
Pottery Shop at Greenfield Village, The, Bailey,
May, p 43
Quiet Voice, Loud Statement, The Work of
Tomoo Kitamura, Rodriguez, Dec., p 55
Rebecca Coffman’s Spirited Vessels, McCroskey,
May, p 61
Subtle Elegance, The Vessels of Pete Scherzer,
Turner, Sept., p 77
Tom and Elaine Coleman, Nance, Jan., p 48
When Bad Glazes Happen to Good Potters, An
Unsolved Mystery, Spencer, Mar., p 86
William Sawhill’s Crystalline Glazes, Sawhill,
Nov., p 60
Wood-Fired Look From an Electric Kiln, A,
Busch, Feb., p 45
Devious Details, Danisch, Feb., p 108
Getting a Handle On It, Clennell, Dec., p 112
Lost Mug, The, Kim, Apr., p 110
New Art Movement, A, Hluch, Mar., p 126
Nothing Ventured, Nothing Gained, von Dassow,
Jan., p 126
Pardon My Pedagogy, Pilcher, Nov., p 118
Price and the Second Highest Bidder, Brow,
Sept., p 128
Shrinkage, Krakowski, May, p 116
So You Say You’d Rather Not Have a
Revolution?, Stevens, June/July/Aug., p 140
That Would Be Just Ridiculous, Don't You
Think?, Lehman, Oct., p 118
Decoration and Process
Animal Tracks, Macaire, Oct., p 42
CJ Buckner’s Raku Menageriz, Atwater, Feb.,
p 69
Firing with Vegetable Oil, Britt, Apr., p 39
Giving Birth to Twins in New Mexico, Neymark,
Nov., p 50
Interior Vessels, Neal, Mar., p 82
Ishmael Soto, Pearl, Dec., p 60
Jane’s World: Jane Peiser’s Colorful Creations,
Wasserman, Jan., p 58
Mark Shapiro, Norris, Sept., p 51
Maya Ceramic Tradition Survives in the Yucatan,
A, Ventura, Dec., p 64
Rebecca Coffman’s Spirited Vessels, McCroskey,
May, p 61
Teapots for Kiln Gods, Murphy, Sept., p 44
Tom and Elaine Coleman, Nance, Jan., p 48
Travel Sketches, Perkerson, Nov., p 64
Up in Canada: An Appreciation of the Work of
Bruce Cochrane, Clennell, June/July/Aug.,
Wood-Fired Look From an Electric Kiln, A,
Busch Feb., p 45
The following departmentalfeatures appear monthly
except as noted:
Call for Entries
Classified Advertising
Emerging Artists, May, p 70
Gallery Guide, Oct., p 69
New Books
Questions: Answered by the CM Technical Staff
Residencies and Fellowships, Jan., p 92
Suggestions from Readers
Summer Workshops 2003, Apr., p 66
Video, May, p 34; Sept., p 42
21st Century Ceramics in the United States and
Canada, Dec., p 49
Alison Britton, Sept., p 81
Architectural Ornamentation, Fragments and
Elements, Feb., p 48
Centering: Clay and the Midwest, Levin, Apr.,
p 44
Ceramic Showcase 2003, Fairchild Oct., p 52
Ceramics 2003, Peterson Oct., p 67
Chinese Ceramics Today, Weaver Oct., p 62
Feats of Clay, Sept., p 60
Great Pots: A Landmark Exhibition at the Newark
Museum, Dietz, Feb., p 36
Michal Zehavi, Sept., p 59
Miguel Vazquez, Mar., p 46
Porcelain Brut: An Artists-in-Residence Project
by Kurt Spurey, Piersol, June/July/Aug., p 89
San Angelo National Ceramics Competition,
Clark Jan., p 40
Sana Musasama, Walls Sept., p 74
Tony Natsoulas’ Barococo, Mar., p 76
Two Cultures: A Dialogue, Jan., p 69
Word Made Clay: Ceramics in Its Own (W)rite,
The, Apr., p 42
18th-Century Buen Retiro Porcelain, Santos Dec.,
P 57
Australia’s Bendigo Pottery, Terpstra, Jan., p 66
Ceramics in Guanahuato, Mexico: A Look at Five
Contemporary Studios, Ventura Mar., p 78
Ducuale Grande: A Nicaraguan Women’s Pottery
Cooperative, Chartrand, Oct., p 56
In Their Own Words, 50 Years of Letters to the
Editor, Lackey, Jan., p 77
Legacy of Maria Poveka Martinez, The, Spivey,
Nov., p 77
Looking Back, Looking Forward, Nagorski Jan.,
p 84
Maya Ceramic Tradition Survives in the Yucatan,
Ventura Dec., p 64
Traditions and Innovations in Colombia, Arango,
Feb., p 77
Borders in Flux: Fronteras en Fusion, NCECA
2003 Conference Preview, Mar., p 133
Ceramics Monthly December 2003
Firing Practices: A Potter’s Council Regional
Workshop, Lee, Nov., p 73
In Their Own Words: 50 Years of Letters to the
Editor, Lackey, Jan., p 77
Looking Back, Looking Forward, Nagorski, Jan.,
p 84
Revival of a Community-Based Arts Program,
Shirley, June/July/Aug., p 92
Self-Expression at Hoover High School, Procter,
June/July/Aug., p 99
Traditions and Innovations in Colombia, Arango,
Feb., p 77
Potters and Pottery
18th-Century Buen Retiro Porcelain, Santos Dec.,
21st Century Ceramics in the United States and
Canada, Dec., p 49
Aim to Inspire: Neil Patterson on the Art and
Craft of Teaching, Anthony, Dec., p 36
Anagama Firing at Chris Gustin’s, Ruescher,
Oct., p 45
Australia’s Bendigo Pottery, Terpstra, Jan., p 66
B. R. and Abhay Pandit, Gill, Sept., p 88
Blazing a Trail, New York’s Hudson Valley
Potters, Bresnan, June/July/Aug., p 64
Bryan Trueman, Eden, June/July/Aug., p 90
Carrying the Empty Cup: Three Generations
Within the Japanese Master/Apprentice
Tradition, Lehman, Dec., p 70
Centering: Clay and the Midwest, Levin Apr.,
p 44
Ceramic Showcase 2003, Fairchild, Oct., p 52
’Chosin Pottery Inc., Stinking Fish in Paradise,
Hopper, Nov., p 43
Ducuale Grande: A Nicaraguan Women’s Pottery
Cooperative, Chartrand, Oct., p 56
Firing with Vegetable Oil, Britt, Apr., p 39
Firing Practices: A Potter’s Council Regional
Workshop, Lee, Nov., p 73
Great Pots: A Landmark Exhibition at the Newark
Museum, Dietz Feb., p 36
Highs and Lows of Making Pots, The, Dix, June/
July/Aug., p 76
In Their Own Words: 50 Years of Letters to the
Editor, Lackey, Jan., p 77
J. T. Abernathy with A Wealth of Information
with A Generous Spirit, Jacobson, Campbell
and Lou, May, p 65
Jennifer Lee: The Circumnavigation of Form,
Whiting, Oct., p 38
Leah Leitson’s Altered Porcelain Pots, Gleason,
June/July/Aug., p 84
Lee Rexrode, Jan., p 38
Legacy of Maria Poveka Martinez, The, Spivey,
Nov., p 77
Looking Back, Looking Forward, Nagorski, Jan.,
p 84
Mark Issenberg, Finkelnburg, Mar., p 72
Mark Shapiro, Norris, Sept., p 51
Mary Law, Irwin, Jan., p 72
Maxine Chelini, Garriott-Stejskal Feb., p 35
Michael Simon: Between the Universal and the
Personal, Brown Nov., p 36
Paul Heroux: A Natural Variety, Ruescher Sept.,
p 68
Phil Rogers, Busch May, p 48
Potter’s Song, A, Taylor Apr., p 34
Pottery Shop at Greenfield Village, The, Bailey,
May, p 43
Rebecca Coffman’s Spirited Vessels, McCroskey,
May, p 61
Roush’s Teapot, Brin, Oct., p 65
Sam Chung, Brown, Mar., p 41
San Angelo National Ceramics Competition,
Clark, Jan., p 40
Space and Form: New Work by Maren
Kloppmann, Otis, Feb., p 59
Steve Hemingway, Robinson, JunelJuly/Aug., p 95
Subtle Elegance, The Vessels of Pete Scherzer,
Turner, Sept., p 77
Sue Browdy, Browdy de Hernandez, June/July/
Aug., p 101
Sustaining a Standard of Living, Baker, Mar., p 57
Teapots on My Min6., Jeng-daw, Dec., p 41
Tom and Elaine Coleman, Nance, Jan., p 48
Traditional Values from Down Under: La Trobe
University’s David Stuchbery, Terpstra,
Mar., p 57
Up in Canada: An Appreciation of the Work of
Bruce Cochrane, Clennell, JunelJuly/Aug.,
P 55
Victor Babu, Connell, JunelJulylAug., p 46
Wally Schwab: A Marriage of Austerity and
Ostentation, Andres, Feb., p 50
Walter Ostrom with The Walter Ostrom Legacy,
Clark, Apr., p 50
When Bad Glazes Happen to Good Potters, An
Unsolved Mystery, Spencer, Mar., p 86
William Sawhill’s Crystalline Glazes, Sawhill,
Nov., p 60
Wood-Fired Look From an Electric Kiln, A,
Busch, Feb., p 45
Sculptors and Sculptures
18th-Century Buen Retiro Porcelain, Santos, Dec.,
P 57
21st Century Ceramics in the United States and
Canada, Dec., p 49
Adrian Arleo: Nature Studies, Prange, June/July/
Aug., p 49
Aim to Inspire: Neil Patterson on the .Art and
Craft of Teaching, Anthony, Dec., p 36
Alison Britton, Sept., p 81
Anagama Firing at Chris Gustin’s, Ruescher,
Oct., p 45
Animal Tracks, Macaire, Oct., p 42
Animal, Vegetable, Mineral: Sculpture by Whitney
Forsyth, Hoberecht, Jan., p 70
Architectural Ornamentation, Fragments and
Elements, Feb., p 48
Bernadette Curran, Cloonan, Nov., p 82
Blazing a Trail, New York’s Hudson Valley
Potters, Bresnan, June/July/Aug., p 64
Bodies of Nature, Kura, Apr., p 47
CJ Buckner’s Raku Menagerie, Atwater, Feb., p 69
Ceramic Road Warrior, The: An Interview with
Ray Gross, Betancourt, Feb., p 64
Ceramic Showcase 2003, Fairchild, Oct., p 52
Ceramics 2003, Peterson, Oct., p 67
Ceramics in Guanahuato, Mexico: A Look at Five
Contemporary Studios, Ventura, Mar., p 78
Chinese Ceramics Today, Weaver, Oct., p 62
Claude Champy, During, May, p 36
Clay: A Life Story, Kenny, Sept., p 82
Clay Meets Steel, Skeer, Nov., p 41
Collaborative Improvisation: Sculpture by Mary
Ann Predebon and Hugh Ralinovsky, Van
Dam, May, p 56
David Bradley: Circular Relationships, Brown,
Feb., p 80
David Dahlquist, Senty-Brown, Dec., p 66
Denise Phillips, Stokes, Feb., p 71
Feats of Clay, Sept., p 60
Finding One’s Own Voice, Shapiro, Mar., p 48
Fred Yokel, Lui, Nov., p 58
Giving Birth to Twins in New Mexico, Neymark,
Nov., p 50
I’ll Take the Ruins, Botbyl, Feb., p 42
In Their Own Words: 50 Years of Letters to the
Editor, Lackey, Jan., p 77
Infinite Re-Creation: The Sculpture of Susan
Halls, Rittenberg, May, p 40
Insights into the Resume of Vicki Hansen, Latka,
Feb., p 74
Interior Vessels, Neal, Mar., p 82
Ishmael Soto, Pearl, Dec., p 60
Jane’s World: Jane Peiser’s Colorful Creations,
Wasserman, Jan., p 58
Jared Jaffe’s Balancing Act, Hicks, May, p 59
Jeannie Oh, McElree, Sept., p 66
Journey in Tile, A, Reynolds, Apr., p 61
Kim Gi-chul, Gladstone, Nov., p 66
Looking Back, Looking Forward, Nagorski, Jan.,
p 84
Marcela Noriega Del Valle, Toto, Feb., p 56
Married to Clay (And Each Other), Fleck-Stabley,
Dec., p 44
Martha Daniels, Turnquist, Apr., p 64
Melissa Greene, Weaver, Mar., p 59
Michal Zehavi, Sept., p 59
Miguel Vazquez, Mar., p 46
Mika Negishi Laidlaw, Brown, June/July/Aug.,
p 80
New World: New Identity, Gates, May, p 54
Porcelain Brut: An Artists-in-Residence Project
by Kurt Spurey, Piersol, June/July/Aug., p 89
Quiet Voice, Loud Statement: The Work of
Tomoo Kitamura, Rodriguez, Dec., p 55
Restless Focus, Mohr, Sept., p 86
Revival of a Community-Based Arts Program,
Shirley, June/July/Aug., p 92
Sana Musasama, Walls, Sept., p 74
San Angelo National Ceramics Competition,
Clark, Jan., p 40
Scott Bennett’s Craft on Craft, Brown,
Jan., p 62
Some Assembly Required: The Work of Richard
Milette, Lackey, Mar., p 64
Standing Their Ground: The Slab-Built Struc­
tures of Mary Fischer, LaVilla-Havelin, Sept.,
p 48
Sue Browdy, Browdy de Hernandez, June/July/
Aug., p 101
Taste for Clay, A, Wilson, Oct., p 60
Teapots for Kiln Gods, Murphy, Sept., p 44
Tjok Dessauvage, During, Sept., p 62
Tony Marsh: Forms of Function, Butler, Junel
JulylAug., p 60
Tony Natsoulas’ Barococo, Mar., p 76
Traditions and Innovations in Colombia, Arango,
Feb., p 77
Travel Sketches, Perkerson, Nov., p 64
Two Cultures: A Dialogue, Jan., p 69
Vessel Derivations, Corregan, Jan., p 43
Walter Ostrom with The Walter Ostrom Legacy,
Clark, Apr., p 50
Word Made Clay: Ceramics in Its Own (W)rite,
The, Apr., p 42
Studio, Tools and Equipment
Building a Minigama At Mount Hood
Community College, Bruggeman and Curtis,
June/July/Aug., p 72
Firing with Vegetable Oil, Britt, Apr., p 39
J. T. Abernathy with A Wealth of Information
with A Generous Spirit, Jacobson, Campbell
and Lou, May, p 65
Kazegama, Davis, Mar., p 54
Kiln Exhaust Sniffer: A Do-It-Yourself Oxygen
Probe, The, Graham, Mar., p 84
Pottery Shop at Greenfield Village, The, Bailey,
May, p 43
Self-Expression at Hoover High School, Procter,
JunelJulylAug., p 99
Ceramics Monthly December 2003
Comment I
getting a handle on it by Tony Clennell
Through 25 years of making pots, the very
thing that gave me the most trouble in the
beginning is the thing that has become my
calling card.
I had been making pots at my uncle’s
pottery and I wanted to attend a six-week
course being offered at the Banff Centre with
legendary West Coast potter F. Carlton Ball.
I had to send slides to get into his course,
and I knew exactly what my biggest weak­
ness was—handles! I tried throwing little cyl­
inders and cutting rings with my pin tool. I
tried coils twisted and flattened. I tried pull­
ing a loop tool through a slug of clay. I tried
extruding them. None pleased me, so I gave
myself a project: I threw 500 mugs in a week
and set to pulling handles on them. By the
time I hit 500, they were okay, but not great.
I got into the course and, by chance, met a
young technician working at the center who
pulled a damn fine handle. Later, we would
become friends and she would spend six weeks
at my studio building a two-chambered wood
kiln. The kiln fired fine, but the nights pull­
ing handles and watching handles being made
were even better. The young technician was
Linda Christianson from Minnesota.
After many pots, and many more thou­
sands of handles, I was once again applying
for acceptance into a course being offered by
the jug man of England, Mick Casson. I got
into the course, and put whopping big
Often, the handle may be something that
only functions on a visual level. These are
lugs or ears, not handles. But they must be
on my pot. Ordinary pots become special! A
bad handle can make a good pot destined for
handles on cider jars and jugs. Casson was to
landfill. I also maintain that it takes longer to
say to me more than once, “Nice jug on that learn to pull handles than it does to throw
handle.” I asked if it was too big and if I pots on the wheel. It is a hard skill to master,
should change things. He said, “That is the and one that many shy away from. Even
very element of your pots that I’m attracted though throwing is somewhat difficult to
to. If anything, overstate them more.”
master, folks seem content to sit for hours,
Some years later, at a late-night bonfire, a days, weeks, years trying to master the skill.
jug of mulled wine was being passed around It is not quite so romantic to stand there
and a friend and fellow potter, Steve Irvine, with sleeves rolled up, pulling a slug of clay
of Wiarton, Ontario, grabbed the handle in for countless hours!
the darkness and said, “This is a Tony Clennell
I work with my wife, Sheila, and when
jug.” That little statement would be the be­
the chores of the studio get ahead of us, she
ginning of what I consider my “style.” Style helps pull and attach handles. I spend the
is the inescapable result of doing anything next couple of hours pouting. This is my
more than a few thousand times. I began to favorite job, and not to get to put them on is
put handles on everything I made—plates,
to take away my part of the signature.
bowls, jars, jugs, teapots, casseroles, vases,
If each one of our pots is individual, then
bottles, teabowls and, well, everything. I never each handle must be made especially for it. It
see one of my pots as complete without a is a matter of making the handle for the pot.
handle. To me, it is exciting that a person can One-size-fits-all is not something we feel com­
take one element of the pot-making process fortable with. After years of pot making, we’re
and make it an area of concentration.
still trying to get a handle on it.
index to advertisers
A.R.T. Studio ................................. 83
Aardvark Clay & Supplies.............. 97
ACerS Books....................... 101, 107
Aftosa.................................................... 2
Amaco and Brent........................... 27
Amherst Potters Supply............... 100
Anderson Ranch ........................... 91
Annie’s Mud Pie Shop.................... 96
Armory Art Center.......................... 89
Arrowmont School......................... 91
Axner Pottery....................... 8, 9, 99
Bailey Pottery ....
1, 15, 21, 28, 29
BatGrabber.................................. 111
Bennett’s Pottery.................................. 7
Big Pots Made Easy...................... 80
BigCeramicStore.com.................... 12
Bluebird Manufacturing.................. 94
Bracker’s Good Earth Clays
3, 80
Brickyard........................................ 92
Brown Tool Co............................... 92
Carolina Clay Connection............ 100
Ceramic Services.......................... 99
Ceramic Supply Chicago.............. 98
Ceramic Supply of New England ... 80
Ceramics Monthly................ 103, 105
Chinese Clay Art............................ 99
Clark Art Glass & Refractories ... 104
Classifieds.................................... 108
Clay Art Center.............................. 12
Clay in Motion............................... 96
Clay Times.................................... 91
Clayworks Supplies..................... 111
Continental Clay.......................... 106
Cornell Studio Supply.................. 111
Creative Industries........................ 90
Cress............................................. 13
Davens.......................................... 84
Del Val.......................................... 84
Dew Claw Studios........................ 100
Dolan Tools................................... 80
Duralite......................................... 96
Kazegama..................................... 100
Kentucky Mudworks..................... 104
Kickwheel Pottery..................................4
Pottery Making Illustrated............. 93
PotteryVideos.com....................... 79
Pure & Simple.............................. 102
L&L........................................ Cover 3
L&R Specialties.............................. 88
Laguna Clay............................. 25, 89
Lockerbie........................................ 95
Rascal Ware................................... 89
Manassas Clay............................... 96
Manitou Arts................................... 96
Master Kiln Builders....................... 84
Mastering Cone 6 Glazes................ 97
Mile Hi Ceramics............................ 78
Minnesota Clay.............................. 84
Euclid’s......................................... 82
Falcon Company........................... 80
Flat Rock Studio Clay Supplies 111
NCECA........................................... 87
New Mexico Clay.......................... 100
North Star............................... 31,95
Gare.............................................. 99
Geil Kilns....................................... 19
Giffin Tec...................................... 33
GlazeMaster................................. 111
Great Lakes Clay.......................... 30
Greyrock Clay Center................... 88
Olympic Kilns.................................. 11
Orton Ceramic Foundation........... 94
Paper Clay.................................... 104
Paragon Industries......................... 32
Pebble Press................................. 104
Peter Pugger................................. 104
Peters Valley Craft Center............ 92
PMC Connection............................ 95
Portland Pottery Supply.................. 95
Potters Council............................. 105
Potters Shop................................. 100
Handmade Lampshades............. 104
Herring Designs/SlabMat.............. 80
Highwater Clays............................ 23
Hormaca...................................... 100
Hydro-Bat...................................... 92
Jepson Pottery.............................. 81
Ceramics Monthly December 2003
SFSU Ceramics Guild................... 92
Sheffield Pottery........................... 97
Shimpo.................................. Cover 2
Sierra Nevada College.................. 96
Skutt Ceramic Products.........Cover 4
Smith-Sharpe Fire Brick Supply 34
Soldner Clay Mixers..................... 104
Spectrum Glazes.......................... 10
Standard Ceramic Supply............. 86
Studio Potter................................ 100
Thomas Stuart Wheels................. 17
Tools4Clay.................................... 98
Trinity Ceramic Supply.................. 14
U.S. Pigment................................. 97
Univ. of Georgia/Studies Abroad ... 92
University of the Arts..................... 89
Venco - Westwind - Solarflow ... 35
Ward Burner Systems................... 85
West Coast Kiln........................... 104
Westerwald.................................. 102
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