Combining Dreams: A Pottery in the Sun

Combining Dreams: A Pottery in the Sun
October 1999
October 1999
Volume 47
Number 8
Cream and sugar set, 3 inches
in height, soda-fired porcelain
with Cone 6 glazes and luster,
by Julia Galloway, Rochester,
New York.
32 Intimate Interactions
The Vessels of Julia Galloway by Kate Bonansinga
35 International Potters Festival by Jim Robison
Featuring 18 demonstrators from around the world
Fostering artistic growth
through persistence and
determination at Grenada
Clayworks, Grenada.
39 Clay Cup VII by Kate Nelson
Form and function meet at Southern Illinois University
Combining Dreams: A Pottery in the Sun
by Delia Robinson
The trials and tribulations of establishing a pottery in paradise
44 Crossing Categories by Marilyn Andrews
Defining and utilizing the space between art and craft
48 Tom Laudenslager by Janice Steinhagen
Raku frames as an integral part of multimedia construction
50 The Westerwald Prize
Museum invites all of Europe for competition’s tenth anniversary
“Abstraction 9911
(Green),” 6¾ inches
in height, glazed
whiteware, by Leopold
Foulem, Montreal,
Quebec, Canada.
The cover: Wood-fired bottles,
to approximately 12 inches in
height, by Jason Hess; at the Lill
Street Gallery, Chicago, Illinois.
See the Gallery Guide beginning
on page 54.
October 1999
54 Gallery Guide
Where to see ceramics in the U.S. and abroad
61 Not For Any of the Tea in China
The Art of Leopold Foulem by Louana M. Lackey
66 Simply Red by David Hendley
Formulating and testing copper red glazes
70 Nanban by Isamu Mizoguchi
Wood-firing a 33-foot-long half-tube kiln
“Framework #17, Shadow Box I”
13 inches in height, extruded,
thrown and handbuilt, raku fired
to Cone 06, by Tom
Laudenslager, Coopersburg,
12 Contemporary Ceramics in Taiwan
Exhibition at the Taipei Gallery in New York City
12 Lis Erhenreich
Highly tactile ash-glazed ware at Galerie Besson in London
12 Phillips Auctioneers Adds Ceramics Department
Promoting contemporary ceramics in the international resale market
12 10th California Conference by Diane Chin Lui
300 artists converged in Davis to educate and communicate
16 Mystical Sculpture in Boston
Sculpture by five artists at the Society of Arts and Crafts in Boston
18 Ole Rokvam
Wood-fired stoneware vessels at the Signature Shop and Gallery in Atlanta, Georgia
18 Anne Hirondelle
Vessels and drawings at Foster/White Gallery in Seattle
18 Millicent Young Receives Fellowship
Sociopolitical sculptor awarded Virginia Museum of Fine Arts Professional Fellowship
20 Susan Peterson
Sculpture at Galeria Mesa in Mesa, Arizona
20 Rick Malmgren
Functional ware at Anne Arundel Community College in Arnold, Maryland
22 Jeanne Kelly Hutchinson by Donna Macri Stevens
Pit-fired vessels at the Gallery in Bloomington, Indiana
22 Matt Povse by Lisa Hinkle
Sculptural vessels at Suraci Gallery, Marywood University, Scranton, Pennsylvania
22 Gardiner Museum Receives Ceramics Collection
70-piece collection of Canadian, American, and British work donated
24 Experimental Ceramics in the Netherlands
Various artists’ work at the Cobra Museum of Modern Art in Amstelveen
24 Eva Zeisel’s Dinnerware Designs
Rediscovered originals at New York State College of Ceramics at Alfred University
8 Letters
26 New Books
76 Call For Entries
76 International Exhibitions
76 United States Exhibitions
80 Regional Exhibitions
80 Fairs, Festivals and Sales
82 Suggestions
84 Calendar
84 Conferences
84 Solo Exhibitions
86 Group Ceramics Exhibitions
90 Ceramics in Multimedia Exhibitions
92 Fairs, Festivals and Sales
93 Workshops
96 International Events
100 Questions
106 Classified Advertising
108 Comment:
Keeping the Fire Under Control by Cheri Long
112 Index to Advertisers
Editor Ruth C. Butler
Associate Editor Kim Nagorski
Assistant Editor Connie Belcher
Editorial Assistant Renee Fairchild
Design Paula John
Advertising Manager Steve Hecker
Customer Service Mary R. Hopkins
Circulation Administrator Mary E. May
Publisher Mark Mecklenborg
Editorial, Advertising and Circulation Offices
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October 1999
would have had much time for them in his
formative years.
However, I digress. CM’s letter writers
seem to be more enamored of writing than
Stimulating Letters
potting. The book How to Write, Speak and
I found the response to John Britt’s com­Think More Effectively by Rudolf Flesch
mentary on Bernard Leach in the Letters (New American Library) should help them
section of the September issue to be both shorten their letters by at least two-thirds.
stimulating and thought provoking. Obvi­ Then perhaps we might read them.
ously, in this sense, John Britt was successful. I would rather have an interesting letter,
It was equally obvious that this is somethingpoorly constructed, than pure education. I
that people are highly opinionated about. am sorry, Nils Lou [JunelJulylAugust 1999],
When I read the original commentary by but you lost me in the second sentence:
Britt [May 1999], I felt that he made many “Whether so or not, I succumb, albeit I will
valid points, yet when I read Alex Robert­ react...” People don’t speak that way.
son’s rebuttal, I found myself agreeing with
Sheila Smith, Sarnia, Ont., Canada
him as well.
I also enjoyed Lili Krakowski’s perspec­Blood Sport
tives about the Leach tradition and its ties to Who among us does not relate to the
the influences of William Morris. Right or Comment by Cliff Glover, “Mud, Sweat and
wrong, good or bad, it seems to me that we Tears” (September CM)? All of the disasters
cannot escape our roots, and I believe that he relates, and a few he did not relate, have
Bernard Leach is a very large root in the tree
been part of the life of potters, especially
that has become the modern ceramics craft those only in the first decade of practice. It
movement. If we find that somehow uncom­had me laughing out loud to learn that pot­
fortable to acknowledge this root, that is tery is a “blood sport.” Who of us has not
probably okay. Many adolescents would tried to put a piece of greenware into a glaze
divorce themselves from their parents if firing, only to have it blow up, leaving shards
firmly glazed onto surrounding pieces?
possible. I suspect that Bernard Leach would
My own disaster came this summer when,
also have trouble accepting much of the
modern craft movement (at least the potteryafter three decades, I overfired the bisque for
the first time ever! It left me scrambling to
part) as part of his legacy.
I do find the last paragraph by Lili
find glazes that would stick to nearly mature
Krakowski a little presumptive regarding the
porcelain. It was a wonderful wake-up call to
demise of gas and other fuel-firing methodsnever (ever) take this blood sport casually.
in favor of electric, though. If electric firing is Thanks for the humor, amid the disasters,
alive and well, so too are the other methods.Mr. Glover. We all need to remember that
The argument for electric as opposed to so-pots come and go, but that there is always
called “polluting” alternatives is tenuous at more clay, another kiln, and many days of
best. Pollution takes place in the productionjoy to be had in the sport of ceramics.
Roxann Sorenson, Alexandria, Minn.
of electricity; it is just moved away from the
site of the kiln and housed at the power
plant. Emissions from power plants continue
The Power of Spodumene
to be of major concern globally. In publica­ Richard Eppler’s article on formulating
tions such as Ceramics Monthly, I continue toglazes in the JunelJulylAugust issue of Ce­
ramics Monthly was good; however, I did
see high-fire reduction work well represented.
I believe the announcement of its demise inwant to point out one error. He commented
this case is premature at best.
that the soda and potassia oxides “are the
Earl Brunner, Las Vegas most powerful melting oxides available.”
Actually, lithium is the lightest, smallest
Write Effectively
and most reactive of all of the alkali metals,
Well! That dear old eccentric Bernard and it possesses the smallest ionic radius and
[Leach] must be rolling in ecstasy in that the highest ionic potential. All these factors
great big studio in the sky to hear all those combine to produce the most powerful flux
eminent, erudite Americans arguing over (melting oxide), which is exploited by the
him. Speaking as a born Brit, I don’t think he
ceramics industries in a variety of ways.
In frits and glazes, lithia is used to reduce
In keeping with our commitment to provide
the viscosity and thereby increase the fluidity
an open forum for the exchange of ideas
of the coatings. This reduces maturing times
and opinions, the editors welcome letters
and lowers firing temperatures. Small
from all readers. All letters must be signed,
amounts of lithia increase gloss and enhance
but names will be withheld on request. Mail
glaze colors.
to Ceramics Monthly, PO Box 6102,
Regarding lithia in ceramic bodies, lithia
Westerville, OH 43086-6102, e-mail to
reduces the problem of thermal shock and
[email protected] or fax to
minimizes the need for coarse grog in raku
(614) 891-8960.
bodies, while at the same time decreases
October 1999
was deeply involved with all that she loved—
Look” in the May 1999 CM. He presents the
art, people, ideas. She was passionate, humor­
composition of clay in a most knowledgeable
ous and nurturing. She reached out to
manner. To know clay definitely helps us to
firing temperatures (see “Spodumene for Low
people. She cared for the individual and forbecome better ceramists.
Thermal Expansion” in the December 1995the community at large. She was a gifted
Toby Schreiber, Malibu, Calif.
CM). Lithia can be purchased in the follow­teacher, and was beloved by her students.
ing forms: spodumene, petalite or lithium
Karon touched many lives through her More Bacerra
teaching, her art and through her example.
Please show more of Ralph Bacerra’s work
Derek J. McCracken She will not be forgotten and neither will her
[September 1999]. He is the very best with
American Minerals, Inc., King of Prussia, Pa. enthusiasm, leadership and good will.
his detailed surfaces. That is the real art he
Nan Smithy Gainesville, Fla. gives to the world.
Karon Doherty: In Remembrance
Judy Guth, Studio City, Calif.
Karon Doherty celebrated life. She was an
Frankly Speaking
artist, a teacher and a friend who personified Kudos to David Frank for his revealing Computer Technology
the joy of living and the joy of giving. Karon
and enlightening article on “Taking a Closer I am wondering about CM readers’ expe­
rience with computer technology in firing
kilns, especially gas kilns. In our university
setting without a technician or graduate
student to help with maintenance in the
studio, part of my job is firing kilns and I am
planning a building addition for 3-D ceram­
ics and sculpture.
By second semester, my students are firing
their own kilns, but in the newest area of the
computer-fired kilns, we are sometimes lost!
Our electricians and materials maintenance
crew are great, but our gas kiln purchased in
recent months has not received the kind of
service I expected (i.e., teaching manuals,
videos for programming, service representa­
tives coming on-site, etc.).
I am curious about others’ experiences
with kiln-computer technology and budgets
for such, and especially how students are
instructed in this area.
It’s one thing to set a rate-of-climb on this
kiln; it’s another to problem-solve with
resources that don’t seem designed for delet­
ing any kind of programming that should be
able to interface with what is already existing
in the studios. I would think that many of us
teaching in ceramics and sculpture programs
have existing budgets that do not allow for
much creativity in purchases of gas kilns.
Anne-Bridget Gary
University of Wisconsin, Stevens Point
Koie, a True Master
The article, “Visiting Ryoji Koie,” by
Kelvin Bradford in the JunelJulylAugust
issue was fantastic! I am new to the world of
ceramics and I am fascinated by it. Ryoji
Koie seems like a true master, and Bradford’s
article really brought that to life.
Brendan McClean, Belle Harbor, N.Y.
Support and Inspiration
I wish to thank Ceramics Monthly and
Gary Hatcher for the article concerning my
work in the JunelJulylAugust 1999 issue. I
am honored.
As a postscript to the article, I would like
to add the following: Since 1989, when I
stopped teaching, I have been on the circuit,
selling my work at juried craft shows and
Please turn to page 102
October 1999
Up Front
the past and culture, they also further broaden the relationship
between man and nature through the medium of art.”
Lis Ehrenreich
Vessels with heavily pitted ash glaze by Danish potter Lis
Contemporary Ceramics in Taiwan
Ehrenreich were exhibited recently at Galerie Besson in Lon­
“Evolution in Taiwan,” an exhibition of 50 ceramic objects by
don. Her work has “a Byzantine presence,” observes collector
16 Taiwanese artists, was presented recently at the Taipei Gallery William Hull in an accompanying booklet.
in New York City. “The 16 ceramists represented in this exhibi­
For him, the combination of “the textured surfaces with her
tion each have their own unique style of expression and reveal
singular glaze creates a sensual tension between these classic
the various forms of creative expression that make up contem­
porary ceramics,” commented Huang Tsai-lang, director of the
Kaohsiung Museum of Fine Arts in Taiwan, which organized
the show.
“Some artists preserved the original shapes of traditional
vessels, but adapted and transformed them into works of art,”
Lis Ehrenreich’s “Light Plate,” approximately 12 inches
square, high-fired earthenware; at Galerie Besson, London.
elements of the potter’s art that urges touching, as well as
viewing. Her hexagonal and octagonal platters share this tension
but also create a sense of mystery as to how much of the under­
glaze decor the artist has withheld.”
Phillips Auctioneers Adds Ceramics Department
Phillips International Auctioneers in London recently created a
new department devoted to contemporary ceramics. Heading
the department will be Ben Williams, who had been working
with contemporary ceramics expert Cyril Frankel at Bonhams
the past four years.
Williams believes that studio ceramics should be viewed as
works of art rather than merely functional objects, and intends
to promote a broader appreciation for pottery. “The world
contemporary ceramics market is growing fast, and [Phillips
will] have the only international department devoted solely to
this art form,” he asserted.
Hsin-chun Lin stoneware bottle, approximately 10 inches
in height; at Taipei Gallery, New York City.
10th California Conference
by Diane Chin Lui
he noted. “Others completely abandoned practical function and Over 300 artists participated in the “10th Annual California
used clay solely as a medium of artistic expression. They insisted Conference for the Advancement of Ceramic Art (CCACA)”
on the meticulous detail of traditional kiln firing, but at the
this past spring in Davis, California. Sponsored by the John
same time continued to explore new techniques. From reflecting Natsoulas Gallery, the conference fosters an exchange of ideas
and giving rise to their emotions to expressing the memories of and interaction among ceramists, educators and collectors
through lectures, demonstrations and discussions.
Submissions are welcome. We would be pleased to consider
The conference planners placed special emphasis on student
press releases, artists’ statements and photoslslides in con­
and educator participation, providing special group rates for
junction with exhibitions or other events of interest for publi­
students. Peter VandenBerge noted that “CCACA is one of the
cation in this column. Mail to Ceramics Monthly, Post Office
rare occasions that we ceramics artists and educators can actually
Box 6102, Westerville, Ohio 43086-6102.
find out what each other is doing and where the field is going.”
Up Front
On the first day of the conference, attendees visited five
opening receptions at galleries that were located within walking
distance of each other. Participating along with John Natsoulas
Gallery were Pence Gallery, J. Glenn Gallery, the Artery and the
Davis Art Center. During the opening reception at the Artery,
John Toki, this years juror for the “California Clay Competi­
tion,” presented 13 awards to exhibitors. Toki, who is president
of Leslie Ceramics and a ceramics professor at the California
College of Arts and Crafts, remarked: “California ceramics is
obviously alive and strong, and this show is a testament to the
creative spirit of the artists that make up our community.”
Marilyn Levine’s “Drawstring Bag,” 6 inches
in height; at John Natsoulas Gallery.
Claudia Tarantino’s “April Tea,” 5 inches in height,
porcelain; at John Natsoulas Gallery, Davis, California.
Dan Anderson’s “Best in the Long Run,” 8 inches
in height, soda-fired stoneware with decal enamel;
at John Natsoulas Gallery.
Masakazu Kusakabe’s “Hanaire,” 9¾ inches in
height, wood fired; at John Natsoulas Gallery.
Conference denfonstrations were entertaining and educa­
tional, providing the audience opportunities to ask questions of
the artists and comment on the works being made. Sculptor
Esther Shimazu of Hawaii and Sacramento artist Glenn Takai
demonstrated their individual handbuilding techniques. Bill
Albright, chairman of the Fine and Visual Arts at the Academy
of Art College, demonstrated mask-making techniques.
Some attendees brought their own greenware to participate
in a pit firing with Marc Lancet, ceramics art professor at
October 1999
Up Front
California State University, Sonoma, and Masakazu Kusakabe,
visiting ceramist and master kilnbuilder from Miharu, Japan, at
Schilling Farms. Kusakabe especially liked the “free and relaxed
atmosphere where people can ask the artist questions.” There
was also a bronze casting and pouring demonstration by Yoshio
Taylor, ceramics instructor at Cosumnes River College, and
Alan Osborne, sculptor and gallery owner, at the Art Foundry
in Sacramento.
Artists on the program discussed the evolution of their
artistic expression and ideas in their work, and showed slides.
Lisa Clague, who teaches ceramics at Solano Community
College, explained that her art is about “how you are experienc­
ing life” and about her dreams, which are subjects in her work.
Dan Anderson, professor in the Art and Design Department at
Southern Illinois University, said that water-tower designs
inspire him and affirm that his architectural vessels are “about
sculpture.” Nebraska artist Jun Kaneko talked about his ap­
proach to art as a combination of desire and patience “to
maintain your energy and to refine your ideas.” Anne Perrigo,
professor at the University of Texas, lectured about the evolution
of her ideas and concepts used in her sculptures made of clay
and found objects.
Designated the “honorary father of CCACA,” Clayton
Bailey presented a humorous and extensive thesis on “The Role
of Ceramics in the History of Comic Books.” When discussing
public-art commissions, Scott Donahue, an artist from
Emeryville, California, stated: “There is merit [in looldng] for
universality,” which is difficult “when our culture emphasizes
the individual.” Laurens Tan, currently a visiting professor in
the U.C. Davis landscape architecture program, explained how
his career has evolved from ceramics to his present work, which
includes architectural concerns and multimedia design. Finally,
Linda FitzGibbon, Davis, California, spoke about influences
from her educational studies and daily life on her sculptures of
music, fruits, vegetables and other objects.
At the Crocker Art Museum in Sacramento, conference
participants attended a presentation by Marc Lancet and
Masakazu Kusakabe about their collaboration and teaching
experience at Solano College. The two discussed their construc­
tion of the Dancing Wood Kiln, a unique kiln design that
produces a “dancing flame quality,” affecting the color, texture
and overall appearance of the pots. At the end of the presenta­
tion, Kusakabe gave each audience member a calligraphic work
as a gift.
Natsoulas envisions the conference as an occasion to provide
opportunities to discuss and explore issues of current concern
regarding the direction of ceramic art on the American as well as
international scene. The conference also advocates the advance­
ment and contribution of ceramics to art history and fine art. In
the past ten years, Lancet noted, CCACA has “allowed us to
learn from our traditions and stay informed about the present
and speculate on the future of ceramic art.”
Mystical Sculpture in Boston
“Mystical • Spiritual • Ritual,” an exhibition of ceramic sculp­
ture by Christina Bertoni, Pascoag, Rhode Island; Mimi
Logothetis, Philadelphia, Pennsylvania; Dana Major, Park City,
Utah; Sandy Shaw, San Anselmo, California; and Bill Stewart,
Hamlin, New York, was on view recently at the Society of Arts
and Crafts in Boston.
Sandy Shaw’s “Hands Bowl,” 9 inches in diameter,
porcelain with sgraffito decoration; at the Society of Arts
and Crafts, Boston.
Bill Stewart’s “Aerator,” 27 inches high, glazed terra cotta.
Inspired by works from various periods of art history
(espesially Mimbres Pottery), Sandy Shaw is also influenced by
gourds, her love of horses, Romanesque cathedral figures,
dreams and children’s art. “The subject of much of my work is
October 1999
Up Front
the relationship between humans and animals,” Shaw noted,
adding that “the work for this show was influenced by: the
recent death of my favorite aunt, the daily burials I observe
from my studio window next to a cemetery, and my lifelong
fascination with the fetal position.”
Bill Stewart has been using “the practical, spiritual, emo­
tional and psychological history of tools, toys and body adorn­
ment as source material....These pieces were constructed
utilizing a pragmatic as well as an intuitive approach,” he
continued. “A basic image is preplanned (observed), parts are
produced and assembled, but an aggressive, intuitive process is
forced on the imagery. The final image, fully recognizable,
hopefully provides the viewer an allusive narrative, somewhat
enigmatic, full of the mystery of self-discovery. Pushing the
limitations of the medium attempts to eliminate any constraints
on the imagination.”
Anne Hirondelle’s “Ishen Denshin Diptych,” 9½ inches in
height, stoneware; at Foster/White Gallery, Seattle.
extruded stoneware elements, the vessels are then dipped in a
soda ash glaze. The drawings present an inside-out view of the
vessel form.
Ole Rokvam
Millicent Young Receives Fellowship
Wood-fired stoneware vessels and sculpture by Ole Rokvam
were exhibited recently at the Signature Shop and Gallery in
Ruckersville, Virginia, ceramist Millicent Young has been
Atlanta, Georgia. “I see my work as a dialogue between past and awarded a Virginia Museum of Fine Arts Professional Fellow­
ship for 1999 to 2000. Juror Barbara Rossi, professor in the
department of painting and drawing at the School of the Art
Ole Rokvam’s “Untitled,” 13 inches in height, wood-fired
stoneware and found object; at the Signature Shop and
Gallery, Atlanta.
present,” Rolcvam explains. “My high-fire reduction work is
inspired by the 19th- and 20th-century machines, presented in
the vessel tradition. I try to create a sense of mystery and involve
the viewer or user in a dialogue concerning function, utility and
process. The issue of utility versus purely sculptural work
intrigues me.”
Millicent Young’s “Bosnia, N. Ireland, Somalia, Rwanda,
Burundi, Your Nightmare Will End,” 53 inches in height, clay
with steel; at the Montpelier Cultural Arts Center, Maryland.
Anne Hirondelle
Institute of Chicago, selected ten professional artists working in
Clay vessels and drawings on paper by Port Townsend, Wash­
various media to receive $8000 fellowships.
ington, artist Anne Hirondelle were exhibited recently at Foster/ Young’s sculpture was also recently on view in “Up From the
White Gallery in Seattle. Constructed from wheel-thrown and Earth: Clay in Sculpture” at the Montpelier Cultural Arts
Up Front
Malmgren. “I’ve enjoyed exploring the soft, fluid, gestural
nature of clay, the spaciousness within functional forms and
the glassy, crystalline quality of glazes. My hope is for that
Center in Maryland. Combining clay, dust, steel, mirrors and
text, her work refers to political and social atrocities of our time.
The sphere, she says, is a symbol of wholeness.
Susan Peterson
A ceramic sculpture by Tempe, Arizona, artist Susan Peterson
was featured in the “21st Annual Vahki,” a national juried
“Cut-Out Rim Bowl,” 16 inches in diameter, wheel-thrown
brown stoneware with sprayed overlapping glaze, $90,
by Rick Malmgren, Lothian, Maryland.
exploration to be so transparent that anyone, regardless of
experience, could come to know the nature and sensations
of clay.
“Potters often talk about depth in glazes,” he continues.
“They are talking about what they see as they look down
Susan Peterson’s “Untitled,” 18 inches in height,
clay and metal; at Galeria Mesa, Mesa, Arizona.
exhibition of contemporary crafts. Presented recently at Galeria
Mesa in Mesa, Arizona, the exhibition included 31 worlds by 22
craft artists.
Petersons sculptures are part bird, part human and part
machine with jointed limbs hanging from steel supports. “This
work reflects my fears and concerns about human impact on the
degradation of our environment,” she explains. “These birds are
part of a distopian world in which the fragile creatures have
mutated and armored themselves to survive the toxicity in
which they now live.
“Drawing on science fiction and blending absurd imagery
helps clarify my personal contradictions of modern life. Birds
are one barometer of this planets health, and despite our present
dire conditions, there is still hope.”
Rick Malmgren
Pottery by Maryland artist Rick Malmgren was exhibited
recently at Cade Art Gallery at Anne Arundel Community
College in Arnold, Maryland. This work was “guided by an
interest in movement, flow and crystallization,” comments
Rick Malmgren’s “Speckled Vase,” 15 inches in
height, wheel-thrown white stoneware with sprayed
overlapping glaze, $120; at Cade Art Gallery, Anne
Arundel Community College, Arnold, Maryland.
Up Front
the wind direction or the temperature, that makes the long and
tedious firing process worthwhile.
several layers through the translucent glass to the tiny crystals
and the clay beneath. It is the same experience as looking into a
shallow pond to see the algae, fish and pebbles at the bottom.
Generally, this is an acquired taste or skill for potters. It has
taken me years to develop a deep appreciation for it. By using
the glazes that boldly bubble, crawl or crystallize, I’ve aimed to
share what my eyes have gradually learned to see.
“How might one look at work of this sort? There is no
attempt to express a particular message in any of these pieces,”
Malmgren concludes. “There is no story or history aimed at the
conscious mind. They are also not designed to evoke an emo­
tional response....They are to be observed with the body, with
the viscera, deeper than the mind and heart. View these pots as
sensation, space and movement, the elemental level of our
experience in the world. Images and associations may likely
arise, but the only value or purpose here, as with dance, music
or good food, is to bring pleasure.”
Matt Povse
by Lisa Hinkle
“Dancing Clay,” an exhibition of stoneware by Matt Povse, was
on view recently at Suraci Gallery at Marywood University in
Scranton, Pennsylvania. Povse, who is the art department chair
Jeanne Kelley Hutchinson
by Donna Macri Stevens
Pinched and coil-built vessels by Indiana artist Jeanne Kelley
Hutchinson were exhibited recently at the Gallery in
Bloomington, Indiana. Inspiration often comes in quiet mo-
Matt Povse’s “Vessel 18,” 20 inches in height,
stoneware; at Suraci Gallery, Marywood
University, Scranton, Pennsylvania.
at Marywood University, has been a potter and sculptor for
almost 30 years. Much of his earlier work includes sculptures in
wood and metal, with an interest in architectural applications.
For this show, he created textured bowls on stands that cradle
the forms. Povse refers to these pieces as “anthropomorphic
ments, Hutchinson says, many times while walking along the
vessels.” Made of stoneware, they range in height from 12 to 30
paths that surround her home, which, befittingly is located in a
inches. The stands are carved and textured, while the bowls are
peaceful state forest.
brushed with a thick application of slip before they are glazed
“Nature can be loud and noisy,” she says, “so I try to be
and fired in a gas lain.
watchful. I try to take the shapes I see repeatedly in nature and
The real achievement here is in the seamlessness of construc­
refine them down to one single cell or a blade of grass.”
tion between bowl and stand. Atop the stands are individually
Once she has created the form, she develops a mold for the
built and carved clay disks, upon which the bowls teeter effort­
vessel and pours slip into it. When the finished piece is leather
lessly. Povse feels that at this point in his career, he has achieved
hard, she uses a smooth river stone to burnish the surface.
a balance between his love for the traditional ceramic vessel and
The vessels are then fired in an open pit for 24 hours, a
process that leaves the surface dusted with carbon. Close exami­ the more experimental sculptural form.
nation of one of these pieces may reveal the shadow of a fern, or
Gardiner Museum Receives Ceramics Collection
the trail of hot smoke as it brushed against the surface.
Aaron Milrad, an arts and culture lawyer in Toronto (see “The
It is the element of chance, says Hutchinson, the exciting
Collector’s Eye” in the December 1994 issue), has donated his
prospect of the different variations that can occur as a result of
Jeanne Kelley Hutchinson’s “Elemental #19,”
7 inches in height, pit fired; at the Gallery in
Bloomington, Indiana.
October 1999
Up Front
collection of contemporary Canadian, American and British
ceramics to the George R. Gardiner Museum of Ceramic Art in
Toronto, Ontario, Canada.
The collection was acquired over a 20-year period, and
numbers over 70 pieces. Milrad also donated related books,
catalogs and magazines, and plans to provide $50,000 over the
next three years for the purchase of contemporary ceramics, a
new area of collection development for the Gardiner.
Milrad became interested in contemporary ceramics when he
“was retained as a lawyer for the late Mr. Gardiner to assist with
the creation of the [museum]. At that time, he made me aware
of the importance of the ceramic arts, which led to my interest
in collecting. I am thrilled that the Gardiner has expanded its
mandate to include this material, so that I am now able to
donate my collection to the museum. I feel certain this dona­
tion will lead to a significant contemporary art program at the
Gardiner, serve to involve the many fine ceramics artists in this
community and elsewhere with the museum, and attract a new
and expanded audience.”
create ceramics. The works produced in 1954 in Albisola, Italy,
at the Mazzotti factory are considered to be the peak of postCobra ceramics.
Eva Zeisel’s Dinnerware Designs
“Lost Molds and Found Dinnerware: Rediscovering Eva Zeisels
Hallcraft” was presented through September 9 at the Interna­
tional Museum of Ceramic Art at the New York State College of
Ceramics at Alfred University in Alfred, New York. Zeisel
designed dinnerware for the Hall China Company in East
Liverpool, Ohio, during the 1950s. Her designs, along with the
original plaster molds, were on display in the show.
Although Zeisels designs were produced in plastic, metal,
wood and glass, she is best known for her ceramic dinnerware,
including the service commissioned in the 1940s for the Mu­
seum of Modern Art. Her most popular design—Hallcraft I
(Tomorrows Classic)—was produced by the Hall China Corn-
Experimental Ceramics in the Netherlands
“Cobra Ceramics,” an exhibition of works produced during
various periods of the Cobra movement in the 1940s and ’50s,
Mold and teapot from the Hallmark I (Tomorrow’s
Classic) line, designed by Eva Zeisel for the Hall
China Company, circa 1952.
Corneille’s “Untitled,” approximately 14 inches in diameter,
1954; at the Cobra Museum, Amstelveen, Netherlands.
was on view through September 9 at the Cobra Museum for
Modern Art Amstelveen in Amstelveen, Netherlands. Coopera­
tion among Dutch artists began with the Dutch Experimental
Group, from which the Cobra movement was born in 1948.
The painters in the movement—Constant, Corneille, Karel
Appel and Anton Rooskens—were invited by the director of the
Russel-Tiglia ceramics factory in Tegelen to experiment with
ceramics. The artists decorated bowls, vases and plates produced
by the factory. These pieces were mainly abstract—not the
typical “Cobra language.”
The following year, however, Corneille, Constant and Appel
returned to the factory to produce the same kind of imaginary
figures in ceramics as they did in their paintings. After the
Cobra group disbanded, several artists continued to meet to
Hallcraft II (Century) teapot, casserole, platters and
gravy bowl, designed by Eva Zeisel; at the International
Museum of Ceramic Art, the New York State College of
Ceramics at Alfred University, Alfred, New York.
pany in the 1950s. The Hallcraft II (Century) line was intro­
duced a few years later, but never became the commercial
success of the first series.
Zeisel designed the dinnerware while teaching at the Pratt
Institute and working as a freelance designer. For more than
three decades after production of Zeisels “Hallcraft” wares
ceased in 1962, the original master molds appeared to be lost.
Through the perseverance of Zeisel and others, however, the
molds were rediscovered in 1998.
October 1999
New Books
Divided geographically into three chap­ times the clay is simply colored by white slip
ters, the book focuses on the works of 50 in order to provide a light background for
international artists—from Great Britain, green, blue, brown and honey glazes; at other
France, the Netherlands, Germany, Hun­ times they delicately
gary, the United States, Canada, etc.—who sgraffito through a
Contemporary Approaches
use slipware techniques. Each essay includes
white slip background
by Victoria and Michael Eden
information about the artist and his or her or trail decoration in
This book takes “a personal view of the techniques; some also provide recipes and a vigorous, yet re­
diverse ways in which the technique of slipware
strained, manner.”
how-to photos.
is currently used. ” Following a brief history ofFor example, Terez Patona and Ferenc 160 pages, including
slipware from both a British and a world Brodsky of Hungary are “both fluent and glossary, list of suppli­
view, the authors discuss the production lively throwers, with a wide repertoire of ers, bibliography and
slipware of today, as well as the use (or traditional shapes, and an ability to apply a index. 69 color and
range of slip decoration techniques. Some­ 194 black-and-white photographs. $39.95.
nonuse) of lead glaze.
University of Pennsylvania Press Warehouse,
Post Office Box 4836, Hampden Station, Bal­
timore, Maryland21211; telephone (800) 4459880; or fax (410) 516-6998. Distributed in
Europe by Plymbridge Distributors, Estover
Road, Plymouth PL67PZ, England; telephone
1752 202301; or fax 1752 202331.
A Potter’s Workbook
by Clary Illian
“It is a wondrous thing that long after it
has ceased to be necessary, people still want to
make pots on the potter’s wheel. And luckily
for the people who want to make them, there
are still people who want to use them,”
observes Iowa potter Clary Illian in this how­
to guide to forming on the wheel. “A utilitar­
ian workshop in a book,” it is “designed to
help students who are learning to throw pots,
potters who know how to throw but feel the
need for greater understanding, and skilled
craftspeople who enjoy thinking about the
objects they love.”
Each chapter begins with an assignment
for the reader. The first chapter’s assignment,
for instance, is to make a cylinder somewhat
taller than it is wide, which will create a
“lively” internal space. As throughout, pho­
tos of sample forms are provided.
Next, Illian discusses rims and bases, then
looks at cylinders as pots. “A cylinder is a
shape that can be
simple or complex,
that can establish a
mood and can offer all
the metaphorical pos­
sibilities of any other
shape,” she com­
ments. “The fact that
it must be mastered
before other shapes
can be attempted has given it a low status, but
it has value of its own. Its potential for use as
well as appearance is endless.”
In subsequent chapters, she describes the
making of specific forms—pitchers, bowls,
plates and pots with lids—then talks about
“learning to see,” or paying attention to de­
tails, through repetition and replication.
October 1999
New Books
finishes for the work, such as floor wax, shoe
polish, tile sealer and paint. 112 pages, in­
cluding temperature equivalents for coneFinally, Illian addresses the developmentfiring ranges, tables on volume and weight
measurements, and bibliography. 101
of a personal style. “The line between partici­
pating in a style and copying the unique sketches. $20, spiral-bound softcover. Cheryl
voicing of a fellow potter is murky. Shapes,Herr-Rains, Post Office Box 145> Vienna, Maine
materials and firing methods are the generic04360-0145.
concerns..., but such details as a signature
gesture, the particular articulation of the endSetting Up a Pottery Workshop
of a handle, or an idiosyncratic tweaking of by Alistair Young
proportions and scale are the trademark solu­ In this guide for new potters, the author (a
tions of an individual. Once you are aware of
practicing potter) discusses various aspects of
this difference, you should fight the impulseestablishing a studio, beginning with its loca­
to copy and challenge yourself to find new tion and layout. “An ideal plan for the layout
solutions.” 128 pages. 252 black-and-white of a workshop would provide for the easy
photographs; 61 sketches. $22.95, softcover.
flow of materials from
The University of Iowa Press, c/o Chicago Dis­
storage, through pro­
tribution Center, 11030 South Langley Ave­
duction, firing, pack­
nue, Chicago, Illinois 60628; see website at
ing and dispatch or
www. uiowa. eduluipress; telephone (800) 621display of the finished
2736; or fax (800) 621-8476.
products,” Young
states. “This flow of
Fire Marks
materials should avoid
A Workbook on Low-Temperature
the lifting and mov­
Smoke Firing
ing of the same items
by Cheryl Herr-Rains
back and forth. It
“Low-temperature smoke firing has no should also prevent the accumulation of ma­
terials in such a way that they have to be
correct outcomes. When you get to the evalu­
moved in order to gain access to other items.”
ation step, you are the only one who can pass
judgment,” explains the author of this how­ Next, he discusses materials, tools and
to guide. “The fin­ equipment, including various kiln types, then
ishing effect from talks briefly about business practices, such as
these firings has a developing a business plan, financing, pric­
subtle nature....You ing and bookkeeping.
The final chapter takes a look at the
will not find answers
as much as you will studios of 14 potters from around the world.
find new questions.” South African ceramist Fee Halsted-Berning,
The text begins for example, founded the Ardmore Ceramic
with a look at prefiringStudio in 1985. Forty Zulu and Sotho artists
steps: gathering equip­are represented today. “Fee trains a group of
ment and tools, checking weather condi­ local women to handbuild and throw forms
tions, preparing the clay, constructing and as well as to decorate,” Young notes.
decorating the ware, and determining what Converted from old stables, the work­
metals and salts to use in the smoke firing toshop is equipped with two electric kilns and
a slab roller. “Small tools are made from
achieve various colors.
The following section describes five dif­anything found lying around, such as sticlcs,
ferent firing techniques: raku, saggar, saw­ toothpicks and pieces of metal.
dust, pit and above ground. “Although they “There is a display area at the studio,
are conceptually similar, the five low-tem­ which sells about 50% of the work, and the
perature smoke-firing methods differ in ar­ remainder goes to galleries in Africa, with
rangements and procedures,” the author some being shown as far afield as Europe and
Japan.” 128 pages, including appendixes on
explains. “Of all the low-temperature smokefiring methods, sawdust firing is the least craft organizations, ceramics periodicals, and
complicated. It’s an inexpensive way to ob­suppliers; bibliography; and index. 100 color
tain reduction effects, requires no special photographs; 34 sketches. Softcover, $20,
equipment and can be undertaken whereverplus shipping. Available in North America
from The American Ceramic Society, Post Of­
bonfires are allowed.”
Evaluation and troubleshooting are cov­ fice Box 6136, Westerville, Ohio 43086-6136;
ered next, including solutions for specific website at www. acers. org; telephone (614)794problems, such as too much black on the 5890 or fax (614) 794-5892. In Europe,
piece, not enough variation, or lack of color. availablefromA&CBlack Limited, 35 Bedford
The final section discusses appropriate Row, London WC1R 4]H.
October 1999
October 1999
Intimate Interactions
The Vessels o fjul ia Galloway
by Kate Bonansinga
“Salt and Pepper Pot,” 4 inches in height, porcelain, with Cone 6 soda-fired glazes and luster.
ost of Julia Galloways porcelain
vessels come in pairs: a creamer
and sugar caddy, two vessels on a tray, a
lidded pot divided into two compart­
ments of equal size, a salad dressing
assemblage for oil and vinegar, a salt
and pepper pot. She avoids the mono­
lithic and, consequently, the static. The
overall forms define and activate their
partner containers, and are often painted
with lines that bend and flow, swirling
flourishes reminiscent of plant life or
fabric designs. The overall palette tends
to be cool, including deep purple, royal
blue, charcoal gray, lustrous gold and
milky white.
Most of the pairs of vessels reside in
trays, custom-made environments.
Handbuilt from clay made up of over
60% grog, the trays have a raw quality
similar to that of bricks. Juxtaposed
against them, the porcelain seems deli­
cate, refined. Inside and in between the
clay walls of these paired vessels and
trays are volumetric negative spaces,
small-scale counterparts to grand archi­
tectural interiors. Its no coincidence that
Galloway began creating these environ­
ments as a resident at the Archie Bray
Foundation in Helena, Montana, an
institution founded as a brick manufac­
turer. She left there last summer in or­
der to assume a teaching post at the
Rochester Institute of Technology in
New York.
In many of the pieces included in
“Little Sanctums,” a recent exhibition
at Fifth Element Gallery in Portland,
Oregon, the trays are deep enough to
be boxes. One box sits on top of an­
other, its bottom surface serving as a lid
for the lower box. Tiny quatrefoils (con-
Wheel-thrown porcelain pitcher, 10 inches
in height, with Cone 6 glazes, soda fired.
“Salad Dressing Assemblage,” to 9 inches in height,
glazed and lustered porcelain, and fireclay.
“Cream and Sugar Set in Tray,” to 7 inches in height, glazed and lustered
porcelain containers on unglazed fireclay tray.
October 1999
“Salad Dressing Assemblage,” to 10 inches in height, soda-fired porcelain with Cone 6 glazes
and luster, and unglazed fireclay, by Julia Galloway, Rochester, New York.
ventionalized, abstracted representations
of flowers often used to adorn architec­
ture, particularly European Gothic ca­
thedrals) or dots perforate the lower
boxes and act as petite windows, offer­
ing a glimpse of the vessels inside. To
peer in at the salad dressing assemblage,
in particular, is to violate its privacy:
The spouts of the oil and vinegar con­
tainers touch in a gentle gesture, like
the hands of a dancing couple.
The title of a 1998 solo show, “Little
Confluences,” at the Clay Art Center in
Port Chester, New York, further sub­
stantiates Galloways fondness for the
tiny, the private, and for moments of
connection, when two things become
one. She cites Persian miniature paint­
ings as one source of inspiration: Their
scale as well as their subject matter (they
often depict tender moments in palace
interiors) are parallel to that of her ves­
sels, which capture the spirit of inti­
mate interactions and inner worlds.
Letters from the Roman alphabet
adorn some of the surfaces of her earlier
work. They are formal abstractions,
pleasing to look at but lacking in un­
derstandable textual meaning, like the
script on Islamic paintings for those not
versed in Arabic. Writing on clay pots
enjoys a long history; however, isolating
letters as ornament, outside of the con­
text of language, is unusual. With them,
she acknowledges the grace and beauty
of handwritten words, which, like hand­
made pots, are rapidly being replaced
by the products of machines. They are
Galloways homage to the human touch
and to the dignity of the mundane. Her
containers elevate the everyday activity
that engages them, making the routine
seem special.
She uses letters as decorative devices;
however, her understanding of the
meaning of words is not superficial.
She is adept in conversation, and often
toys with synonyms, intrigued by shades
of meaning. She calls herself a utilitar­
ian potter, astutely avoiding the se­
mantic baggage and confusion of the
term “functional.” Although painting
and sculpture have come to be thought
of as nonfunctional fine art, both have
important functions in that they beau­
tify spaces, challenge and absorb view­
ers, record ideas and histories, and speak
of things beyond themselves. Julia
Galloways utilitarian pots serve all of
these functions as well. ▲
International Potters Festival
by Jim Robison
ike the best of
between hands and
opera, there is
wooden paddles on
excitement, anticipa­
a traditional Korean
tion, great human
momentum wheel
endeavor, good hu­
made especially for
mor and rapturous
the occasion. When
audience response
the vessels were com­
pleted, thick white
reach unexpected
slip was applied by
heights on stage at
the double handful
the biennial “Inter­
in a flurry of activity
national Potters Fes­
that could have been
tival” in Wales.
a dance or combat,
Tragedies are forgot­
or both.
ten and the resolu­
The spellbound
tion is complete Korean potter Kang Hyo Lee coiled and paddled a shoulder-high vessel,
audience was visibly
when, as they say,
moved as he brought
then applied white slip decoration in the Punchong style.
“the fat lady sings.”
the performance to a
Well, the Korean
close with a Korean
potter Kang Hyo Lee is anything but a in length, were created by the seem­
folk song. Rapturous applause followed.
fat lady, but his incredible performance ingly effortless method of throwing 12- What an ending to the final stint of
of making and decorating a shoulder- kilo (approximately 51/2-pound) lumps demonstrations! And this was only one
high vessel in the traditional Punchong of clay to the left and right of him as he element in the mix of some 18 demon­
style was certainly breathtaking. Thick squatted down on the floor of the stage. strators representing 8 countries (10 if
coils, 2 meters (approximately 6½ feet) These were joined together and shaped you want to count Scotland and Wales
October 1999
Master of ceremonies Jim Robison (left) on stage with Latvian potter
Dainis Pundurs as he completes the top of a monumental wheel-thrown
form while standing on scaffolding.
as separate entities of the U.K.). In fact,
next to Kang Hyo Lee, up on builders’
scaffolding, stood Latvian potter Dainis
Pundurs applying the finishing touches
to a beautifully thrown and roulettedecorated bottle form, which was taller
than the door through which it would
need to exit.
The illustrious potter Ray Finch
opened this years activities, and in a
surprise move known to only the events
planning committee, was himself pre­
sented with a lifetime achievement
award for service to ceramics. This is
the beginning of a planned tradition
that will be continued at each festival.
Honorary festival president Mick
Casson presented the award. The Fri­
day evening continued with a short slide
presentation by each demonstrator.
On Saturday and Sunday, paired
demonstrations were conducted on stage
and changed at hourly intervals. Every­
one appeared twice and was also given
an hour slot for a slide lecture in sepa­
rate theaters. Spaces were allocated for
continuous working between times so
that visitors could informally approach
and talk to the guest artists.
Peter Frazer Beard (England) and Phil
Rogers (Wales) began Saturday morn­
ing with handbuilding and throwing,
adding detailed explanations of glazing
and finishing pieces on Sunday. The
beautiful turquoise blue of Beard’s pots
is achieved partly by radically overfiring
alkaline copper glazes. Rogers’ contrast­
ing approach to functional ware is in­
spired by historic Korean pieces.
The large-scale throwing of Dainis
Pundurs (Latvia) was paired with the
salt-glazed ware of Cathi Jefferson
(Canada), whose work showed the sub­
tle influence of the natural surround­
ings of her home in Deep Cover, North
Vancouver, British Columbia.
Sculptor Alan Watt gave an object
lesson on observation skills when he
used knife and wire on solid blocks of
clay. The torn and assembled fragments
retained the freshness of untouched sur­
faces, resembling natural rock forma­
tions of his native Australia. Insights
Canadian potter Cathi Jefferson
demonstrated the production of
tableware for salt glazing.
Paolo Staccioli of Italy created a row
of handbuilt horses dedicated to the
British willingness to “stand in line.”
Student award winner Helen Smith will
use photographs and paper clay to
create a book about the festival.
into the use of terra sigillata and luster through the night), Coll Minogue and pushed the boundaries of kilnbuilding
to enhance “black firing” added to the Robert Sanderson (Scotland), with help still further with the construction of a
from half a dozen eager Bretton Hall press-molded brick sculpture-as-kiln
Vilma Henkelman (Netherlands) College students, constructed and fired fired on site. And there was an opportu­
threw and assembled a large sculptural a large Bourry-box wood-burning kiln. nity for audience participation when
form on stage, with an energy remind­ They had been on site for just three Steve Mattison and Meri Wells lit up
ing me of Peter Voulkos during my days prior to the event, and several skep­ the raku kiln on the terrace.
own student days of the ’60s; on Sun­
tics were confounded when on Sunday
Welsh artist Stephanie Roberts in­
day she attacked the slip-coated piece afternoon the successful firing was un­ vited audience participation in the cre­
with a long 2x4-inch piece of wood packed. They had managed to level the ation of an ambitious three-dimensional
and a shovel.
site and build the kiln (assembled with mosaic, while a permanent record of
Mikang Lim (Korea) created several wet fire clay), pack the pots (some wet!), activities was undertaken by recent
of her striking figurative pieces using fire to Cone 11 and unpack before an graduate Helen Smith. She was the re­
variations in coil and slab techniques, admiring audience by Sunday afternoon. cipient of another award new this year
while Paolo Staccioli (Italy) modeled
Eddie Daughton extended the pyro- for a talented student or recent gradu­
directly, creating a whole herd of horses maniac tendencies by building and firing ate to take part in the festival. She will
and a group of angels. Originally a a replica Roman kiln. This was as­
use combinations of photographs that
painter, Staccioli also explained his child­sembled from freshly cut sod, lined with are to be printed on paper clay to create
hood passion for the animal and how clay and fired with wood. I’m not sure a book about the festival.
his painted luster tiles are created.
what the Romans would have made of
Other highlights included the
The on-stage line-up was completed his addition of copper oxide mixed with Aberystwyth Art Centre exhibition “The
by Joe Finch (son of Ray Finch), who oil around midnight, but the whoosh Cat Scratched Little Johnny,” which fea­
offered dozens of useful suggestions un­ of flame won’t soon be forgotten by tured much of the homegrown talent to
der the broad brush of “Potters’ Tips.” those who were standing nearby. Polish be found in the host country. Of the 43
Outside under sunny skies (and artist Malgorzata Dyrda-kujawska included, many are of international stat­
October 1999
the assigned lecture theater, so he kindly
agreed to a repeat performance during
Sunday lunch hour in the main hall.
Describing the track of studio ceramics
from Bernard Leach to current trends
as a landscape punctuated by plains,
hills and mountains, where peaks in­
cluded Shoji Hamada, Lucie Rie and
Hans Coper, the lecture was filled with
personal experiences and anecdotes,
making it anything but a dry history
lesson. The general conclusion was that
with opportunities like this, “who
needed lunch anyway?”
It should be said that many of the
artists were working under the
difficulties of long-distance travel and
an unfamiliar language (five interpret­
ers were needed), and they rose to the
occasion with tremendous energy and
good humor. Staccioli, for example, cre­
ated a whole row of horses across the
table (dedicated to the British willing­
ness to “stand in line”) and Pundurs
declared his giant textured pot “an ice
cream dedicated to the festival.”
This was the seventh biennial “In­
ternational Potters Festival” to have been
held in the Welsh seaside town of
Aberystwyth. Jointly presented by the
North and South Wales Potters Asso­
ciation, and the Aberystwyth Arts Cen­
tre, it takes literally years of preparation.
No sooner is one festival finished, than
the planning, evaluation and restruc­
turing for the next event are underway.
Attendance at this year s event is also
worth a note. Over 100 Irish potters
arrived en masse; groups from America,
Festival attendees gathered around a replica of a Roman kiln built from freshly cut
Israel, and some 20 students and staff
sod, lined with clay and fired with wood by Eddie Daughton of the United Kingdom.
from the Danish isle of Bornholm also
made the trip. The weather was kind,
and the bars open late, so conversations
ure, and emerging talents such as Claire had their own displays of work for sale, (so much a part of these events) could
Curneen (winner of the “Ceramics and many visitors went away clutching be held around kiln sites and demon­
stration tables. Some took the opportu­
Monthly International Competition” permanent memories of the weekend.
Outside of the opening and closing nity for a late evening stroll along the
award for sculpture) ensure the future is
secure. The center also has an extraordi­ ceremonies, the most well-attended lec­ sea. Memories are made of this.
nary permanent collection and craft gal­ ture was that by Mick Casson. Entitled
lery, which are always worth a visit. “How Did We Get Here and Where The author A long-time resident ofYorkTrade stands were well visited, and the Are We Going? One Potters View of shire, American-born ceramics artist Jim
North and South Wales Potters had a the 20th Century,” it was so popular, Robison serves as the master of ceremonies
delightful exhibition. The guest artists the overcapacity crowd couldn’t fit into for the “International Potters Festival. ”
Clay Cup VII
by Kate Nelson
“Cup with Yellow Terra Sigillata,” $30,
by Sanam Emani, Helena, Montana.
Untitled teabowl, $25, by Lou Pierozzi,
Carbondale, Illinois.
he seventh national “Clay Cup”
competition sponsored by the Uni­
versity Museum at Southern Illinois
University in Carbondale was judged
by California studio potter Sandy
Simon. For the most part, she was
guided by her functional background
when selecting worlds for the show; how­
ever, she was not deterred from choos­
ing some of the more eccentric cups
from the 600 slide entries as well.
While the cup is traditionally recog­
nized for its function and utility, this
competition has encouraged potters to
explore the format as a vehicle for selfexpression. This years show once again
represented the diverse directions both
emerging and established artists can take
when given the cup as a subject. ▲
“Morning Cup,” $200, by Thomas Orr, Portland, Oregon.
October 1999
Combining Dreams:
A Pottery in the Sun
by Delia Robinson
Darlington Charles throwing rum jug prototypes
hen the hildng guide in the
Grenadian rain forest over­
heard me describing a pot­
tery plate painted by a young man re­
cently killed in a car wreck, he impressed
on me that I was the owner of a trea­
sure. The tragic death of this young
man had shaken the island. He was
revered both for his personal qualities
and for his skill in painting the motifs
so loved by the islanders: nutmegs in
leafy clusters, colorful fish from the reefs,
or hummingbirds hovering by hibiscus
flowers. Shortly before his death, the
young painter had landed a job with a
new and promising enterprise, the
Grenada Clayworks. Though his last
work was more mundane (130 bread
plates hurriedly decorated to meet a
deadline for a local bakery), his life and
death had caught the imagination of
the people. His story also brought the
Grenada Clayworks to public attention,
for that was where the young man had
been given the chance to realize his
dream of being an artist.
A romantic getaway had brought the
owners, Corinne Schultz and George
Steel, to the island. Shaded from daz­
zling sunshine by palm trees while azure
waves lapped the golden beach, they
dreamed about their future together.
Somehow they decided to give up on
Washington, D.C., and make a life for
themselves in Grenada.
George had recently retired as a ho­
micide detective on the police force. A
few years before, he had met Corinne, a
criminal defense attorney, who just hap­
pened to be an amateur potter. Why
not open a pottery? They could com­
bine Corinne’s love of pottery with their
mutual love of the island .
Visiting Grenada at every opportu­
nity, they pursued their dream, which
took on more and more substance as
they began discussing the problematic
local clay with a host of experts. In late
1995, they formed a company, the
Grenada Clayworks, and sold shares to
friends and relatives.
By early 1996, George had managed
to obtain import concessions from the
Grenadian government—an invaluable
asset when operating a business in a
remote location with sky-high import
duties. That accomplished, they shipped
to Grenada a 30-ton hydraulic press,
four potter’s wheels, several kilns, and
all the related equipment and materials
necessary for production pottery.
They sold their house, cars and most
of their belongings, even the plastic sol­
diers belonging to their son Daniel (the
only decision in the move that he now
regrets) and in September 1996, with
their dog Molly, the family moved to
the island. They rented a small house
high on Mt. Moritz with a view of the
volcanic caldera forming St. George’s
impressive inner harbor, beyond which
the blue Caribbean and a blue sky meet
in a nearly imperceptible line. Behind
them, the rain forest begins.
For the pottery, they rented a 4800square-foot building in an industrial
park built by the government. The win­
dows open to the tradewinds carrying
both the sweet aroma of nutmeg, cloves
and cinnamon, and drifting sand. The
rent is $1000 a month, as are utilities.
The Grenada Claywork’s first em­
ployee, Darlington Charles, was discov­
ered through a Ceramics Monthly article
(November 1993). A skilled potter
trained at the National College,
Darlington was delighted to be lured
away from his job as salad bar chef at a
local restaurant. He is passionate about
throwing, especially big garden plant­
ers, but his own kiln could not accom­
modate monumental work, so he
jumped at the opportunity to make the
kind of pottery he most enjoys.
For George and Corinne, Darlington
has been a godsend. He has encouraged
and guided them through numerous
setbacks and has assisted them in finding
a nucleus of dedicated and enthusiastic
workers. In addition, he has trained two
other potters. Lawrence “Dr. Scream”
Amede, who had worked in the build­
ing trade, is now a proficient thrower
with an interest in making big pots.
Cindy Mark, a young mother with a
toddler, had worked as a cashier but
now throws creamers, sugar bowls,
candle holders, ashtrays and vases for
local restaurants, and spice jars for the
tourist trade.
Replacing the painter who died in
the car accident is a young man named
Hancheal Coutain. He leaves his home
high in the mountains at 6 AM to make
his way via a series of buses to the pot­
tery by 9. Hancheal previously worked
as a fish packer, a smelly job that was
hard to wash off, and now is happily
Stancy Gillizeau at his beloved hydraulic press.
October 1999
Corinne Schultz sponges iron oxide onto decorative tiles.
Evelyn James making beads
decorating mugs and platters with im­
ages of local flora and fauna.
Evelyn James had been employed as
a housekeeper until her persistence
landed her a position at the pottery. She
constantly called to ask, “George, do
you have a job for me?” At last, he gave
in. She has become a most versatile
employee—mixing glazes, making tiles,
and putting her hand to whatever needs
to be done. She also loads the kilns. “I
have never seen a kiln loaded as tightly
as Evelyn does it,” Corinne remarked.
Stancy Gillizeau was a lifelong em­
ployee on a banana boat where he tended
the engines. One year before retirement,
he was suddenly laid off. He now tends
the press—it gleams as if it were a show­
room model—and calls it “his baby.”
He also makes molds for the press, and
with it has produced stacks of dinnerware for local resorts.
Stancy mans the glaze booth as well.
He is justifiably proud of his glaze work.
Completely covering redware with white
A bird sculpture by Stancy Gillizeau, and a plate thrown by Darlington Charles,
then painted with underglazes in a nutmeg motif.
glaze is tricky but he has mastered the
skill with few rejects.
As with the other employees, Stancy
has blossomed into an impressive artist
in his own right, receiving recognition
for the clay sculptures that he does at
home in his spare time. Made to order
for the owner of a fruit stand, one shows
a sturdy terra-cotta gentleman chop­
ping a coconut with a machete. Others
are of birds, roosters, vehicles and a
mean-looking shark.
The sales manager, Denyse Ogilvie,
was born in Morocco of Arabic, Bengali
and Scots heritage, and schooled in En­
gland and Canada. Yachting with
friends, she came to Grenada, decided
to remain ashore, married a local man
and is now raising three small children.
An articulate spokesperson for the pot­
tery, she is particularly interested in the
regional marketing.
With this core of dedicated workers
and with orders coming in, one would
imagine that all was going swimmingly
October 1999
for George and Corinne. In truth, their
capital was nearly exhausted, burned up
by a long start-up period during which
they struggled with the difficult local
clay. Big beds of sticky red clay are ex­
posed by road cuts throughout the is­
land. Raw, it looks great, but it
misbehaves horribly when fired, spe­
cializing in blowouts and cracks of ev­
ery description. At last, one expert
recommended silica. This stopped the
cracking, but no one had ever been able
to get a glaze to fit.
At one point, the glaze-fit problem
seemed to have been solved. Indeed,
the fired glaze looked good at first, but
more disappointments were ahead. As
if by magic, glaze began pinging off a
large order of beer steins for a bar two
months later.
Such failures were standard through­
out the first year. Ultimately, they were
forced to abandon the local clay, and
now import dry ingredients to mix a
Cedar Heights Redart terra-cotta body.
Once that decision was made, produc­
tion of truly usable dinnerware could
belatedly begin. The glazes now fit, the
new clay behaves, but debts mounted
in the meantime.
A loan from the Grenada Develop­
ment Bank allowed the pottery to consolidate their debts and sidestep
foreclosure. Thanks to a down payment
on a large order of garden urns, the
payroll was met during the tense weeks
before the loan was approved.
In the tropics, it is not uncommon
to come upon abandoned warehouses
or derelict industries that have gone
belly-up shortly after conception. The
traveler who asks “What is that build­
ing?” invariably gets a side-to-side shake
of the head along with a sad story of
some overly optimistic foreigner who
sold his shirt to open a business that
was quickly destroyed by unforeseen
problems and local red tape.
Corinne and George have suffered
through multitudes of unforeseen
difficulties, but their story is unlike the
commonplace saga of most business ven­
tures gone wrong in tropical paradises,
as the Grenadian government has
smoothed the path for them in every
possible way. In fact, the Prime Minis­
ter and other dignitaries periodically
visit the Clayworks, encouraging their
enterprise and creating media attention.
The Grenada Clayworks has suc­
cessfully brought glazed pottery to an
island where almost everything manu­
factured previously was imported. By
training and creating jobs in an economy
where the unemployment hovers around
35%, the pottery, however small, is per­
ceived as a valuable resource to the is­
land. The plan to expand and begin
exports throughout the region has met
with much local approval.
Of course, George and Corinne
worry in the small hours of the morn­
ing about everything—the debts, their
obligations to the investors and to the
workers, and the difficulties still before
them. But when the sun climbs above
the horizon and the spice-scented breeze
shifts the leaves in the nutmeg trees, all
they can think is how lucky they are to
work and live with such good people in
such a heavenly place. A
Crossing Categories
by Marilyn Andrews
“Shutters,” 12 inches in height, handbuilt stoneware with slips
and clear glaze, fired to Cone 5 in an electric kiln, $450.
“Suspended Head,” 11 inches in height, handbuilt
stoneware, with slip decoration painted on greenware,
clear glazed, fired to Cone 5, $600.
friend said to me, “Its a shame
#% you have to squeeze your art into
salt and peppers.” A gallery owner told
me that my work confuses people.
“They cant tell if its art or craft or
decorative craft.” Another gallery owner
sent back some pots she’d ordered from
slides; she didn’t understand why these
images had so many dark elements, con­
tradicting their first impression of light­
ness. At street fairs, after looking closely,
people often remark, “This is really art,”
or “There are a lot of ideas here.”
I chose to cross categories in my work
to build meaning. It began as rebellion
against the art world, which seemed to
hold itself above the blue-collar world I
came from. I was attracted to the popu­
list ideology of clay and craft that as­
sumed everyone should benefit from
art making and that art should enter
ordinary life, making its goodness avail­
able there.
When I went public, entering the
marketplace to make my living as a
potter, I began to react to another phe­
nomenon. I was ashamed of my bluecollar identity and afraid to be stuck in
what I saw as second-class status. To
cover myself, I brought ideology from
the art world into my work—assump­
tions that art is better than craft, that
work an elite appreciates is better than
work many appreciate, and that ideas
are essential ingredients of art. I became
the potter Ceramics Monthly letter writ­
ers often complain about, defending
myself against failure as an artist by
claiming to be a potter, and against
failure as a potter by claiming to be an
artist. But work and thought made me
realize I am both. My strength is the
category crossing I began as a dodge.
I’ve made it my most important tool for
constructing images.
Categories are like buildings. We live
in them without realizing it most of the
time. Pots are physical and visible. But
the ways we interact with them and
with each other around them are not,
although this is a big part of what we’re
doing as potters. We debate constantly
the meaning and value of what we’re
doing with clay. This seems absurd un­
til you remember that meaning only
persists as long as its asserted. We can
only mean what we say as long as were
saying what we mean. The physical lasts
on its own. I make a bowl and exchange
it for money to use in other exchanges.
But whether I make the bowl well and
describe it truthfully is not fixed. If I
want these values held in place, I have
to find a socially constructed way of
doing it. We debate because we want a
sense of integrity in our work. Part of
the way we put value in it is by thinking
about it, describing it, categorizing it.
There are other category generators
at work around us. The academic world
tries to separate itself from the market­
place to protect meaning. Thus, we find
a confusion at the center of our debates
when those who follow this strategy
argue about value with those who take
their work into the marketplace.
People s use of our work also creates
categories. Some want decorative ob­
jects to become part of an arranged
room, to add to but not to disrupt the
overall effect. Some want an object that
can be a center of interest, to marvel at
and talk about it. Some want an object
that engages them intensely or embod­
ies some significance for them. Some
want objects that can give pleasure be­
cause they were made with pleasure and
the skill to convey that. Some want
objects that demonstrate their wealth
or educated eye.
But the most influential category gen­
erator for us is the market itself. Market
categories are based on the selling pro­
cess. The only meaning the market rec­
ognizes is what makes a good product,
what can make people more likely to
buy it. The market use of language tends
to erode meaning built by people in­
volved in other aspects of our social life.
Potters have seen this happen to the
language we use. “Handmade” has be­
come meaningless; its been used as a
sales slogan for goods that range from
things made by machines in factories to
things made by individual craftspeople
in their own studios. “One-of-a-kind”
October 1999
“Act of Faith,” 12 inches in height, stoneware with brushed
polychrome slips and clear glaze, $350.
must be an empty phrase by now, too—
I saw a photograph recently of 50 iden­
tical dolls produced on commission and
described as “one-of-a-kind,” apparently
because the craftsperson made them by
hand and they could not be as identical
as machine-made objects.
Meaning is an ongoing dilemma.
How can we preserve other-than-market meaning when we allow the market
to use all meaning as a sales tool, re­
gardless of how this affects our conver­
sations about meaning, including our
use of art? The Absolut Vodka ads re­
mind me of how we cannibalize all other
value to create a powerful marketplace.
And we can only do this as long as we
deny that its a detrimental activity. We
assert in the marketplace that free ex­
change is the supreme value. In other
roles, as potters for instance, we assert
the other values that we need. Thus,
were arguing with ourselves, as well as
among ourselves, about meaning.
I found I could use this dilemma as a
subject of my work through category
crossing. I point to the problem of mean­
ing by constantly bringing up the ques-
“Incubator,” 11 inches in height, handbuilt stoneware, with slip decoration
painted on greenware, clear glazed, fired to Cone 5, $325.
“Kneeling Bowl,” 5 inches in height, handbuilt stoneware,
with brushed slip decoration (applied to greenware)
and clear glaze, fired to Cone 5 in an electric kiln, $450.
tion: Is it art or craft, craft or kitsch,
thoughtful or funny, ordinary or im­
portant, functional or abstract? Category
crossing is also a way to intensify im­
ages. When assumptions are contra­
dicted, our attention becomes more
focused. And a certain kind of intimacy
often develops when people find some­
thing they didn’t expect. At first they’re
uncertain: “What is it?” When they’ve
looked closely, they may decide it’s in­
teresting work and go on to think about
how well it does its job of giving them
an opportunity to experience their per­
ceptions of the world.
Besides ways to build meaning in
individual pieces, I need an overall sense
of meaning to tell me that the market is
only one of the social dynamics at work
around me, to contradict the market’s
insistence that marketability is the su­
preme value. For this, some potters de­
pend on one of the pottery traditions
developed in societies with longer his­
tories than our own. The standards they
use to evaluate pots are based on the
achievements and ideology of the past,
which is a reference that resists erosion
because it is past. Some daywork is
grounded in the academic world, where
it is supported by a strong art and ce­
ramics history background, and the in­
tense exchange of ideas the academic
setting fosters.
As my context, I use the Western
traditions of political art and the politi­
cal thinking that assumes we are able to
invent social structures that operate with
less coercion as consciousness becomes
more self-aware. The wish to make im­
agery that contributes to the effort
grounds my sense of quality. It gives me
a standard that I feel passionate about,
and that counters the market pressure
to ignore what doesn’t sell.
At the same time, I attend to the
market because through it I earn a liv­
ing and connect with an audience. I
don’t want to escape it, but I want to
learn how I can use it and hold onto my
other commitments. I try to reach this
balance through awareness of the inter­
play of elements in my actions. “Act of
“Bird in Trees,” 12 inches in height, handbuilt stoneware, with brushed slips and clear
glaze, fired to Cone 5, $500, by Marilyn Andrews, Plainfield, Massachusetts.
Faith” and “Shutters” are two self-por­ functional because the image is about
traits that depict this effort.
refusing domestic function. It hovers
“Act of Faith,” the earlier piece, showsbetween “figurine,” for which it is big,
a figure who functions without a head. and “sculpture,” for which it is small.
Its not clear how the figure perceives “Shutters” is a functional object depict­
the world. She has a pitcher and bowl ing a figure surprised to find domestic
where her sense organs would normally function inside her. Both use domestic
be. Yet she is poised to move, her suit­ imagery to describe public identity.
cases ready at her side. Its the tension
The “Suspended Head” imagery is
between her limited vision and her re­
based on societal myths of the indi­
solve to move that gives the image vidual and the supremacy of the head.
strength. It has helped me see and ac­ The head teapot is supported by dis­
cept my difficulties in moving through embodied hands, which are extensions
the public world.
of a structure held in place by faceless
“Shutters” shows a figure with a nor­ attendants who function as sugar and
mal head, although somewhat fantas­
cream containers. The tiny spoon figure
tic, surprised to find the domestic scene is laid out in front. The social ritual
at her center. The domestic activity is of taking tea, in which individuals
not dominating her perception of the affirm their ties by eating together cer­
world, but its obviously central to her emoniously, is juxtaposed to the social
despite her unawareness of this. Both shaping of individuals through shared
pieces shuttle between the old catego­
ideology into a productive unit.
ries of art and craft. “Act of Faith” is not
“Incubator” is another image of so­
October 1999
ciety forming individuals, this time
through their positions. The egg-shaped
sugar bowl and squat creamer hold
themselves in place on the machinelike
armature by forming around projec­
tions. The figure on each is stretched
out across the surface. The spoon figure
lies stiffly ready for use at the top of the
mechanism. The rounded forms and
soft browns of the sugar and cream con­
trast with the squared edges and hard
blues of the armature. This piece relies
on the contradiction between its func­
tional purpose and the difficulties it pre­
sents to a user. The sugar and cream
individuals are literally at risk because
of their position in the apparatus. Any­
one thinking of using them must realize
this as a physical, personal fact. The use
of the object involves perceiving the
image, and the image describes us, giv­
ing the viewer an occasion to examine
her/his awareness of our social world. A
“Framework #24, Viewing Box III,” 91A inches in width, extruded and handbuilt clay, raku fired, with Plexiglas.
Tom Laudenslager
by Janice Steinhagen
air pockets in the clay during wedging.
or many artists working in two di­
Long extrusions are “edited” for the sec­
mensions, the frame is a mere after­
thought in the creative process. But for tions that appeal to him most, particu­
Tom Laudenslager of Coopersburg, larly areas that have a decayed or
Pennsylvania, “the frame is the thing.” distressed appearance.
Laudenslager came to clay following
Once the extrusions have dried to
more than a decade of working in pho­ the leather-hard stage, Laudenslager cuts
tography and teaching at the high-school them to size and shape, using a regular
level, and has since been exploring the handsaw and a wood miter box, then
enclosed world of shadow boxes and joins the corners. The resultant frames
three-dimensional collage, bounded by are selectively glazed and raku fired.
The contents of each shadow box
extruded, raku-fired frames. In the pro­
cess, he has melded his love for photog­ differ widely, but generally reflect
raphy and clay with his penchant for Laudenslager s focus on the old, used or
building and collecting. “Those were weather-beaten. Snippets of his photo­
always four separate lives for me,” he graphs, old scissors, irregular slabs of
explains. “This is the first time those fired clay broken and reassembled, or
miniature pots all find their way into
lives have come together.”
Thick plastic disks are used to make the enclosed environments.
“Road Find 2,” for instance, con­
dies for extruded “moldings.” The frame
profile is drawn on the disk, then cut tains objects (a white stone, a flattened
out with a jewelers saw. To create tex­ metal can and a worn glass bottle frag­
tural interest, he often deliberately leaves ment) Laudenslager collected from the
shoulder of the highway when his car
broke down. “Liquid” features one of
his photographic images silk-screened
with engobes onto leather-hard clay,
then covered with a clear raku glaze.
Often he develops several ideas si­
multaneously, cannibalizing one piece
to complete another in what he calls an
“abstract, random way of working.” The
pieces will be kept in view on his work­
table “because they tend to inform one
another that way. Whats ironic is how
an incomplete work that seemed so in­
spired to me will eventually impact other
works and maybe never be completed
itself. The work and the idea of it were
meant to serve as a catalyst for me, not a
finished object.
“The thing I have to watch with this
is overworking the pieces,” he admit­
ted. “There are times I find myself put­
ting too many things in, and then I’ll
edit some out.”
These pieces are designed to either
stand alone (for example, under a lamp
on a table) or hang on a wall. Some of
the boxes are small enough to cradle in
the viewers hand. Several have even been
installed in an interior wall in his home,
so that the back of the work is inset
several inches from the wall surface.
“In my art, I keep coming back to
creating the effect of something old that
was found in an archaeological dig,”
Laudenslager observed. When his cre­
ative focus was photography, he was
attracted by the atmosphere of decay
evident at abandoned industrial sites.
With his ceramic work, he explained,
“Im not trying to recreate an artifact,
but I love the whole aesthetic of some­
thing having had a life of its own rather
“Framework #13, Liquid,” 10½ inches in height, photo-screened engobe on
than being newly created.”
extruded and handbuilt raku clay, with broken glass.
Laudenslager made the leap from
photography to clay as a matter of ne­
cessity, when he was assigned to teach
several high-school ceramics classes. “I
was trying to acquire some skill on my
own in that vein, while telling myself
that in my heart I was really a photogra­
pher. Only in the last year have I real­
ized that I can give myself permission... to
combine some of my passions. This ap­
proach seems to come naturally to me.
Its the most comfortable I’ve found
myself working with clay.”
Laudenslager received both his
bachelors and masters degrees in art
education from Kutztown University.
He has taught photography at the com­
munity college level, and fine art, ce­
ramics, photography and drawing at the
high-school level. He is currently in his
seventh year teaching at Souderton Area
High School.
“Framework #20, Road Find II,” 8 inches in height, extruded
His motives for majoring in art edu­
and raku fired, with wood, Plexiglas, tin can, stone and bottle
cation as an undergraduate stemmed
glass, by Tom Laudenslager, Coopersburg, Pennsylvania.
from what, in retrospect, he called “an
inability to narrow myself to one me­
dium.” The ability to be a chameleon of studio space, but its far from the way their handles “because I love the way
sorts serves him well in the classroom, art teachers have to organize their the user cradles and handles them.
“Now, the idea of taking such [photo]
as he shifts gears rapidly from one class thoughts. I had to find a way out of this
imagery and using fragments of it in a
problem for my own personal, profes­
to the next.
daywork that might be held in the hand
“In the last year or so I’ve finally sional and artistic health.”
He recalled how he had, at one time, is very satisfying to me and makes quite
asked why I should keep these different
media so distinct from one another in used a large-format camera to make a bit of sense. That intimacy, I hope, is
my own art,” Laudenslager said. “It small, exacting photographic prints, like using a functional clay piece, ap­
makes perfect sense in the classroom, while also making sets of wheel-thrown preciating its economy, its beauty and
and its the most sane way to organize a mugs, concentrating on the structure of the pleasure it brings in use.” ▲
October 1999
The Westerwald Prize
“Gedanken Haus III,” approximately 21 inches in height, by Valda Podkalne; winner of the prize for ceramic sculpture
The jurors appreciated Podkalne’s “vigorous, unconventional operating process....The bright color becomes a
component of the material. It confers glowing strength to the work and intensifies the impression of compactness.”
“Sehnsucht,” approximately 51 inches in length, by Jorgen Hansen; winner
of the prize for ceramic vessel. “Simple and clearly constructed, it shows
the sovereign handling of the material. The austerity of the form and the
nonspectacular colorfulness lead the observer back to the real nature
of the ‘vessel’ and enriches it with anthropological and ritual resonances.”
“Salt-glazed Jars,” to approximately 14 inches in height, by Jane Hamlyn;
co-recipient of the Hohr-Grenzhausen prize for salt-glazed stoneware
and porcelain. “In a brilliant and extensive manner, Hamlyn draws
on the potential of the salt-glaze tradition. With her vessels, the strong
sculptural form ideally completes the liveliness of the typical salt-glaze
surface and the economically used decorative elements.”
October 1999
“European Ceramics ’99—Westerwald
Prize,” a juried exhibition, was presented
at the Westerwald Museum in HohrGrenzhausen, Germany, through Sep­
tember 5. To commemorate its tenth
anniversary, the competition was open
for the first time to artists from through­
out Europe. (In the past, only German
artists were eligible.) Over 930 ceram­
ists submitted 2485 entries. From these,
the five jurors—Nino Caruso, Italy;
Gerda Fassel, Austria; Astrid Gerhartz,
Germany; Oliver Watson, England; and
Peter-Paul Weinert, Germany—selected
126 works for the exhibition.
With so many entries to review, the
jurors needed “utmost concentration,
up to the boundaries of receptiveness...seeing, judging, thinking over, tak­
ing into consideration, discussing,
arguing, deciding, synchronizing, ac­
cepting, doubting. And once again from
the beginning on. Together and against
each other. In this case, frankness, at-
“Krug mit Becher,” to approximately 8 inches in height, by Peter
Geymeier; co-recipient of the prize for ceramics produced in
series. “Geymeier’s pot with two cups is a functional industrial
product with pleasing aesthetics. Good design matches with
perfect transformation. Utmost discretion when using decorative
elements gives priority to the essential: form and function.”
“Tiegel,” approximately 34 inches in height, by Martin
Goerg; co-recipient of the Hohr-Grenzhausen prize for
salt-glazed stoneware and porcelain. “With his
tremendous vessels, Goerg leaves the field of the
traditional. His forms abstract the vessel by avoiding an
obvious connection to functionality.” The jurors
particularly appreciated the way he “experiments with
the unusual aesthetics of the surface and thus opens
new ways to salt glaze.”
“Servierschalen mit Deckel,” to approximately 11 inches
in diameter, by Monika Geulig; co-recipient of the prize
for ceramics produced in series. The jurors recognized
her “sound handicraft....Her dishes are attentively
worked, the components are well matched. The
combination of the typical salt-glazed surface with
colored glazes gives...unobtrusive freshness.”
“Funf Figuren (Negative),” to 25 inches in
height, by Thomas Buchmann; co-recipient
of the prize for young ceramists up to 35
years. “Buchmann’s lining up of body
shapes convinces through the sensitive
and complex handling of the figured
subject: The negative forms obtain
autonomy through the unobtrusive painting,
the visible refers to invisible essence.”
“Brunch-Container,” “Platten-Block” and “Breakfast-Container,”
by Judith Rataitz; co-recipient of the prize for ceramics produced
in series. “Rataitz shows courage of experiment. She develops
nonfamiliar form worlds and disregards traditional habits
of perception and utilization.”
“Reihung,” approximately 55 inches in height, by Nele Zander; co-recipient
of the prize for young ceramists up to 35 years. “Zander systematically puts
together precisely produced, homogeneous elements to an impressing reversible
sculptural unit. Numerous possible executions of her work are possible, but each
one is determined through the form of the module. The discretion in colorfulness
and processing, and the obviousness of the production process show great
determination when avoiding all unnecessary elements.”
October 1999
tention and tolerance determined the
atmosphere of cooperation.
“The number of the applicants and
the quality of works considerably varied
in the different sectors,” noted the ju­
rors. “Most works submitted were allot­
ted, as usual, to the field ceramic
sculpture,’ followed by about half as
many in the sector ceramic vessel.’ The
pleasantly high quality and the variety
of ideas of works submitted by young
ceramists earn special highlighting. De­
spite all predictions to the contrary, these
works impudently and freshly oppose
to the downfall of ceramics.”
Nine participants received awards:
best ceramic sculpture went to Valda
Podkalne of Germany; the top prize for
a vessel was awarded to Jorgen Hansen,
Denmark; and the prize for salt-glazed
stoneware and salt-glazed porcelain was
divided between Martin Goerg, Ger­
many, and Jane Hamlyn, Great Britain.
Monika Geulig, Peter Geymeier, Ger­
many, and Judith Rataitz, Austria, each
received awards for ceramics produced
in a series; while Thomas Buchmann
and Nele Zander, Germany, were
awarded prizes for ceramists up to 35
years of age. A
In response to frequent requests, the CM staff has begun
the compilation of what is intended as an annual guide to
galleries that typically exhibit ceramics, as well as
museums with significant collections. The listings here
represent primarily those venues we have been in contact
with over the past few years (our apologies to any who
are not included this time). To help us make the guide
more comprehensive in the future, please send informa­
tion to Ceramics Monthly, PO Box 6102, Westerville OH
43086-6102, USA.
United States listings are alphabetical by state, then cities
within the state. International listings are by country and
city. Websites and/or telephone/fax numbers have been
included to allow you to check current offerings and
hours before visiting.
United States
Galeria Mesa, 155 N. Center St., Mesa AZ 85201; telephone
(602) 834-2242; fax (408) 644-2901.
Gallery 10 Inc., 34505 N. Scottsdale Rd., Ste. 33, Scottsdale AZ
85262-1204; telephone (480) 994-0405.
gallerymateria, 4222 N. Marshall Way, Scottsdale AZ 85251;
telephone (480) 949-1262; fax (480) 949-6050.
Tempe Arts Center, Mill Ave. and First St., Tempe AZ 85280;
website; telephone (602) 968-0888.
Obsidian Gallery, 4340 N. Campbell Ave., #90, Tucson AZ
85718; telephone (520) 577-3598.
Tucson Museum of Art, 140 N. Main Ave., Tucson AZ 85701;
website; telephone (520) 624-2333.
Trax Gallery, 1306 Third St., Berkeley CA 94710; telephone
(510) 526-3655; fax (510) 526-0279.
Winfield Gallery, Sixth and Delores, Carmel CA 93921;
telephone (800) 289-1950.
The Artery, 207 G St., Davis CA 95616; website
artery; telephone (530) 758-8330.
John Natsoulas Gallery, 140 F St., Davis CA 95616; website; telephone (530) 756-3938; fax (530)
Gallery Eight, 7464 Girard Ave., La Jolla CA 92037; telephone
(619) 454-9781.
Mingei International Museum, PO Box 553, La Jolla CA 92038;
website; telephone (619) 239-0003; fax (619)
Top left Wood-fired porcelain platter, 16 inches in diameter,
by Paul Dresang, Edwardsville, Illinois; at Ferrin Gallery in
Northampton, Massachusetts.
Left “Horse and Rider,” 17 inches in height, handbuilt, fired
to Cone 6, by Jenny Lind, Pecos, New Mexico; at Baltimore
Clayworks in Baltimore, Maryland.
Freehand Gallery, 8413 W. Third St., Los Angeles CA 90048;
website; telephone (213) 655-2607.
J. Paul Getty Museum, 1200 Getty Center Dr., Los Angeles
CA 90049; website; telephone (310)
LA County Museum of Art, 5905 Wilshire Blvd., Los Angeles CA
90036; website; telephone (323) 857-6000.
Mendocino Arts Center, 45200 Little Lake St., Mendocino CA
95460; website; telephone (800) 6533328; fax (707) 937-1764.
Palo Alto Art Center, 1313 Newell Rd., Palo Alto CA 94303;
website; telephone (650)
Washington, D.C.
Anton Gallery, 2108 R St., NW, Washington DC 20008; tele­
phone (202) 328-0828; fax (202) 745-5842.
Freer Gallery, Smithsonian Institution, Jefferson Drive at 12th St.,
SW, Washington DC 20560; website; telephone
(202) 357-4880.
National Gallery of Art, 4th at Constitution, NW, Washington DC
20565; website; telephone (202) 737-4215.
Arthur M. Sackler Gallery, 1050 Independence Ave., SW,
Smithsonian Institution, Washington DC 20560; website; telephone (202) 357-3200.
Crocker Art Museum, 216 0 St., Sacramento CA 95814; website; telephone (916) 264-5423.
Florida Craftsmen Gallery, 501 Central Ave., St. Petersburg FL
33701; telephone (727) 821-7391.
Asian Art Museum, Golden Gate Park, San Francisco CA
94118; website; telephone (415) 379-8800.
Braunstein/Quay Gallery, 20 Hawthorne St., San Francisco CA
94103; website; telephone
(415) 392-5532; fax (415) 278-9841.
The Signature Shop & Gallery, 3267 Roswell Rd., NW, Atlanta
GA 30305; telephone (404) 237-4426; fax (404) 237-2382.
M. H. de Young Museum, 75 Tea Garden Dr., Golden Gate Park,
San Francisco CA 94118; website
Antioch Pottery Works, 25942 Heart-O-Lakes Blvd., Antioch IL
60002; telephone (847) 838-1040.
Dorothy Weiss Gallery, 256 Sutter St., San Francisco CA 94108;
telephone (415) 397-3611; fax (415) 397-2141.
Lill Street Gallery, 1021 W. Lill St., Chicago IL 60614; website; telephone (773) 477-6185.
Evolving Space, 536 Pacific Ave., San Francisco CA 94133;
website; telephone
(415) 989-2992; fax (415) 989-1959.
Ann Nathan Gallery, 210 W. Superior St., Chicago IL 60610;
telephone (312) 664-6622; fax (312) 664-9392.
Mexican Museum, Fort Mason Center, Bldg. D, San Francisco
CA 94123; website
m_mexsf.htm; telephone (415) 441-0445; fax (415) 441-7683.
Rena Bransten Gallery, 77 Geary St., San Francisco CA 94108;
telephone (415) 982-3292; fax (415) 982-1807.
San Francisco Craft & Folk Art Museum, Landmark Bldg. A,
Fort Mason, San Francisco CA 94123; website; telephone (415) 775-0990;
fax (415) 775-1861.
Frank Lloyd Gallery, 2525 Michigan Ave., Building B-5B, Santa
Monica CA 90404; website;
telephone (310) 264-3866; fax (310) 264-3868.
Hibberd McGrath Gallery, 101 N. Main St., Breckenridge CO
80424; telephone (970) 453-6391.
Denver Art Museum, 100 W. 14 Ave. Pkwy., Denver CO 80204;
website; telephone (303) 640-4433.
Brookfield Craft Center, 286 Whisconier Rd., Brookfield CT
06804; website;
telephone (203) 775-4526; fax (203) 740-7815.
Guilford Handcrafts, 411 Church St., Guilford CT 06437;
telephone (203) 453-5947.
Creative Arts Workshop, 80 Audubon St., New Haven CT 06510;
telephone (203) 562-4927.
Perimeter Gallery, 210 W. Superior St., Chicago IL 60610;
telephone (312) 266-9473; fax (312) 266-7984.
Evansville Museum, 411 S.E. Riverside Dr., Evansville IN 47713;
website; telephone (812) 425-2406; fax (812)
AKAR, 341 E. College St., Iowa City IA 52240; telephone (319)
Iowa Artisans Gallery, 117 E. College St., Iowa City IA 52240;
website; telephone (319)
Charles H. MacNider Museum, 303 Second St., SE, Mason City
IA 50401; website;
telephone (515) 421-3666.
Contemporary Artifacts Gallery, 202B N. Broadway, Berea KY
40403; telephone (606) 986-1096.
J. B. Speed Art Museum, 2035 S. Third, Louisville KY 40201;
website; telephone (502) 636-2893.
Kentucky Art and Craft Gallery, 609 W. Main St., Louisville KY
40202; website; telephone (502)
589-0102; fax (502) 589-0154.
Baltimore Clayworks, 5706 Smith Ave., Baltimore MD 21209;
telephone (410) 578-1919; fax (410) 578-0058.
October 1999
Boston Museum of Fine Art, 465 Huntington Ave., Boston MA
02115; website; telephone (617) 267-9300.
Pucker Gallery, 171 Newbury St., Boston MA 02116-2897;
telephone (617) 267-9473; fax (617) 424-9759.
Society of Arts and Crafts, 175 Newbury St., Boston MA02116;
website; telephone (617) 266-1810.
Ocmulgee Pottery & Gallery, 317 High St., Ipswich MA 01938;
telephone (508) 356-0636.
Ferrin Gallery, 179 Main St., Northampton MA 01060;
website http:llwww.ferringallery.comlferrin.html; telephone (413)
586-4509; fax (914) 271-0047.
Worcester Center for Crafts, 25 Sagamore Rd., Worcester MA
01605; telephone (508) 753-8183; fax (508) 797-5626.
Cranbrook Art Museum, 1221 N. Woodward Ave.,
Bloomfield Hills Ml 48303-0801; website
www.cranbrookart.edulmuseum; telephone (248) 645-3323.
Pewabic Pottery, 10125 E. Jefferson, Detroit Ml 48214;
website; telephone (313) 822-0954;
fax (313) 822-6266.
Mackerel Sky Gallery, 217 Ann St., East Lansing Ml 43895;
telephone (517) 351-2211.
Revolution, 23257 Woodward Ave., Ferndale Ml 48220-1361;
website; telephone (248) 541-3444; fax (248)
Sybaris Gallery, 202 E. Third St., Royal Oak Ml 48067; telephone
(248) 544-3388; fax (248) 544-8101.
Northern Clay Center, 2424 Franklin Ave., E, Minneapolis MN
55406; telephone (612) 339-8007; fax (612) 339-0592.
The Jayne Gallery, 4540 Main St., Kansas City MO 64111;
website; telephone (916) 561-5333; fax
(916) 561-8402.
Sherry Leedy Contemporary Art, 2004 Baltimore, Kansas City
MO 64108; telephone (816) 221-2626; fax (816) 221-8689.
Craft Alliance Gallery, 6640 Delmar Blvd., St. Louis MO 63130;
telephone (314) 725-1177; fax (314) 725-1180.
Archie Bray Foundation, 2915 Country Club Ave., Helena MT
59602; website; telephone (406) 443-3502;
fax (406) 443-0934.
Holter Museum of Art, 12 E. Lawrence St., Helena MT 59601;
website; telephone (406) 441-6400;
fax (406) 442-2404.
New Jersey
New Jersey State Museum, 205 W. State St., Trenton NJ 08625;
website www.state.nj.uslstatelmuseumlmusidxlhtml; telephone
(609) 292-6454; fax (609) 599-4098.
New Mexico
Bellas Artes, 653 Canyon Rd., Santa Fe NM 87501; telephone
(505) 983-2745.
Robert F. Nichols Gallery, 419 Canyon Rd., Santa Fe NM 87501;
website; telephone (505) 982-2145.
Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe NM 87501;
telephone (505) 984-1122; fax (505) 984-1706.
New York
International Museum of Ceramic Art, New York State College of
Ceramics, Ceramic Corridor Innovation Center, Rte. 244, Alfred
NY 14802; website;
telephone (607) 871-2421; fax (607) 871-2392.
[email protected] Gallery, 12 E. Market St., Corning NY 14890;
website; telephone (607) 962-1212; fax (607)
Antik, 104 Franklin St., New York NY 10013; telephone (212)
343-0471; fax (212) 343-0472.
Left “The Buenavista Vase, ” approximately 12 inches
in height, earthenware, Maya culture, early eighth century,
excavated in Belize; at the George R. Gardiner Museum
of Ceramic Art in Toronto, Ontario, Canada.
Top right Teapot, 5 inches in height, earthenware with terra
sigillata, multifired, by Peter Pinnell, Lincoln, Nebraska;
at Baltimore Clayworks in Baltimore, Maryland.
The Asia Society, 725 Park Ave., New York NY 10021; website; telephone (212) 288-6400; fax (212)
Garth Clark Gallery, 24 W. 57 St., New York NY 10019; telephone
(212) 246-2205; fax (212) 489-5168.
Greenwich House Pottery, 16 Jones St., New York NY 10014;
website; telephone (212) 242-4106.
James Graham & Sons, 1014 Madison Ave., New York NY
10021; telephone (212) 535-5767; fax (212) 794-2454.
John Elder Gallery, 529 W. 20th St., 7W, New York NY 10011;
website; telephone (212) 462-2600; fax
(212) 462-2510.
Nancy Margolis Gallery, 560 Broadway, New York NY 10012;
telephone (212) 255-0386.
Taipei Gallery, Chinese Information/Cultural Center, McGraw-Hill
Bldg., 1221 Avenue of the Americas, New York NY 10020;
website; telephone (212)
Clay Art Center, 40 Beech St., Port Chester NY 10573; tele­
phone (914) 937-2047.
Esmay Gallery, 1855 Monroe Ave., Rochester NY 14618-1993;
website; telephone (716) 271-3886.
Everson Museum of Art, 401 Harrison St., Syracuse NY 13202;
website; telephone (315) 474-6064.
Avante Gallery, 2062 Murray Hill Rd, Cleveland OH 44106-2337;
telephone (216) 791-1622.
North Carolina
The Cleveland Museum of Art, 11150 East Blvd., Cleveland OH
44106-1797; website; telephone (216)
Blue Spiral 1, 38 Biltmore Ave., Asheville NC 28801; telephone
(828) 251-0202; fax (828) 251-0884.
Gordon Beale Frank Gallery, 12609 Larchmere Blvd, Cleveland
OH 44120-1109; telephone (216) 421-0677.
Folk Art Center, Milepost 383, Blue Ridge Pkwy., Asheville NC
28815; telephone (828) 298-7928; fax (828) 298-7962.
Ohio Craft Museum, 1665 W. Fifth Ave., Columbus OH 43212;
telephone (614) 486-4402; fax (614) 486-7110.
Odyssey Gallery, 242 Clingman Ave., Asheville NC 28814;
telephone (828) 285-9700; fax (828) 253-3853.
The Toledo Museum of Art, Box 1013, Toledo OH 43697; website; telephone (419) 255-8000.
Green Tara Gallery, 118 E. Main St., Carrboro NC 27510;
website; telephone (919) 932-6400;
fax (919) 932-7547.
Ross C. Purdy Museum of Ceramics, The American Ceramic
Society, 735 Ceramic PI., Westerville OH 43081; website; telephone (614) 794-5800.
Gallery WDO, Ste. 610 at Atherton Mill, 2000 South Blvd.,
Charlotte NC 28203; website; telephone
(704) 333-9123; fax (704) 333-9183.
Freed Gallery, 6119 S.W. Hwy. 101, Lincoln City OR 97376;
telephone (541) 994-5600.
Mint Museum of Craft + Design, 220 N. Tryon St., Charlotte NC
28202; website; telephone
(707) 337-2000; fax (704) 337-2101.
Contemporary Crafts Gallery, 3934 S.W. Corbett Ave., Portland
OR 97201; telephone (503) 223-2654; fax (503) 223-2659.
Pocosin Arts, Main and Water Sts., Columbia NC 27925;
website; telephone (252) 796-2787.
Fifth Element Gallery, 404 N.W. Tenth Ave., Ste. 1, Portland OR
97209; telephone (503) 279-9042.
The Museum of American Pottery, 1150 Fleming Rd.,
Creedmoor NC 27522; telephone (919) 528-1041.
North Carolina Pottery Center, 250 East Ave., Seagrove NC
27341; website;
telephone (336) 873-8430; fax (336) 873-8530.
Southeastern Center for Contemporary Art, 750 Marguerite Dr.,
Winston-Salem NC 27106; website
nv/sz/27106.htm; telephone (919) 725-1904.
American Crafts Gallery, 13010 Larchmere Blvd., Cleveland OH
44120; telephone (216) 231-2008.
October 1999
Chester Springs Studio, 1668 Art School Rd., Chester Springs
PA 19425; telephone (610) 827-7277; fax (610) 827-7157.
Erie Art Museum, 411 State St., Erie PA 16501; website
www.erie.netl-erieartm; telephone (814) 459-5477; fax (814)
The Clay Studio, 139 N. Second St., Philadelphia PA 19106;
website; telephone (215) 925-3453;
fax (215) 925-7774.
Helen Drutt Gallery, 1721 Walnut St., Philadelphia PA 19103;
website; telephone (215) 735-1625;
fax (215) 735-1382.
The Works Gallery, 303 Cherry St., Philadelphia PA 19106;
telephone (215) 922-7775; fax (215) 238-9351.
Frog Hollow, Historic Rte. 7A, Equinox Shops, Manchester VT
05254; website; telephone (802) 362-3321.
The Clay Place, 5416 Walnut St., Pittsburgh PA 15232-2222;
website; telephone (412) 682-3737;
fax (412) 681-1226.
Frog Hollow, 1 Mill St., Middlebury VT 05753; website; (802) 388-3177.
Wayne Art Center, 413 Maplewood Ave., Wayne PA 19087;
telephone (610) 688-3553; fax (610) 995-0478.
Vermont Clay Studio, 2802 Waterbury-Stowe Rd., Waterbury
Center VT 05677; website;
telephone (802) 244-1126; fax (802) 244-8760.
Craighead-Green Gallery, 2404 Cedar Springs, Ste. 700, Dallas
TX; telephone (214) 855-5966; fax (214) 855-5966.
Scope Gallery, 105 N. Union St., Alexandria VA 22314; website; telephone (703)
San Angelo Museum of Fine Arts, Box 3092, San Angelo TX
76902; website; telephone (915)
659-4391; fax (915) 659-2407.
Southwest School of Art and Craft, 300 Augusta, San Antonio
TX 78205-12296; telephone (210) 224-1848; fax (210) 224-9337.
Arts of Utah Gallery, 2226 S. 700, E, Murray UT 84107;
telephone (801) 467-2377.
Frog Hollow, 85 Church St., Burlington VT 05401; website; telephone (802) 863-6458.
Foster/White Gallery, 126 Central Way, Kirkland WA 98033;
telephone (425) 822-2305; fax (425) 828-2270.
Foster/White Gallery, 123 S. Jackson St., Seattle WA 98104;
website; telephone (206) 622-2833; fax
(206) 622-7606.
John Michael Kohler Arts Center, 608 New York Ave.,
Sheboygan Wl 53082-0489; telephone (414) 458-6144.
Margo’s Pottery & Fine Crafts, 26 N. Main, Buffalo WY 82834;
telephone (307) 684-4906.
Victorian Ceramic Group Gallery (VCG), Metro Craft Centre, 7
Blackwood St., North Melbourne, 3051 Australia; website; telephone 61 3 9329 1919;
fax 61 3 9329 2272.
Shepparton Art Gallery, The Civic Centre, 70 Welsford St.,
Shepparton, Victoria, 3632 Australia; website; telephone 61 3 5832 9861;
fax 61 3 5831 8480.
Inner City Clay Workers Gallery, St. Johns Rd. and Draghon St.,
Glebe, NSW, 2037 Australia; telephone/fax 61 2 9692 9717.
The Banff Centre, 107 Tunnel Mountain Dr., Banff, Alberta TOL
0C0, Canada; website; telephone
(403) 762-6180; fax (403) 762-6345.
George R. Gardiner Museum, 111 Queen’s Park, Toronto,
Ontario M5S 2C7, Canada; website;
telephone (416) 586-8080; fax (416) 586-8085.
Left “Broad Bottle, ” 9 inches in height, wheel-thrown and
altered stoneware, wood fired, by Neil Patterson,
Philadelphia; at Lill Street Gallery in Chicago, Illinois.
Top right “Lucky,” 23 inches in height, glazed earthenware,
by Michael Lucero, New York City; at Dorothy Weiss Gallery
in San Francisco, California.
Prime Gallery, 52 McCaul St., Toronto, Ontario M5T 1V9,
Canada; telephone (416) 593-5750; fax (416) 593-0942.
Royal Ontario Museum, 100 Queen’s Park, Toronto, Ontario
M5S 2C6, Canada; website; telephone (416)
Canadian Craft Museum, 639 Hornby St., Vancouver, British
Columbia V6C 2G3, Canada; telephone (604) 687-8266; fax
(604) 684-7174.
Gallery of BC Ceramics, 1359 Cartwright St., Granville Island,
Vancouver, British Columbia V6H 3R7, Canada; website; telephone (604) 669-5627;
fax (604) 669-5645.
Canadian Clay and Glass Gallery, 25 Caroline St., N, Waterloo,
Ontario N2L 2Y5, Canada; telephone (519) 746-1882; fax (519)
Galleri Norby, Vestergade 8, DK-1456 Copenhagen, Denmark;
telephone 45 3315 1920; fax 45 3315 1963.
Keramikmuseet Grimmerhus, Kongebrovej 42, DK-5500
Middlefart, Denmark; website; telephone
45 6441 4798; fax 45 6441 4796.
The Potteries Museum and Art Gallery, Bethesda St., Hanley,
Stoke-on-Trent ST1 3DE, England; website
museums/pmag/; telephone 44 1782 232323; fax 44 1782
Barrett Marsden Gallery, 17-18 Great Sutton St., London EC1V
ODN, England; telephone 44 207 336 6396; fax 44 207 336 6391
British Museum, Great Russell St., London WC1B 3DG, England;
website; telephone 44 171 636 1555.
Broadway Ceramics, 67 Broadway Market, London E8, England
telephone 44 171 923 0595.
Betties Gallery, 80 Christchurch Rd, Ringwood, Hampshire
BH25 5NG, England; telephone 44 1425 470410; fax 44 1425
Alpha House Gallery, South St., Sherborne, Dorset DT9 3LU,
England; website; telephone 44 1935
814 944; fax 44 1935 816 717.
Labernum Ceramics, Yanwath, Nr. Penrith, Cumbria, CA10 2LF,
England; website;
telephone 44 1768 864842.
Maison de la Terre, Parc de la Beaume, 26220 Dieulifit, France.
Maison de la Ceramique, 25 Rue Josue Hofer, 68200 Mulhouse,
Galerie Capazza, Grenier De Villatre, 18330 Nangay, France;
telephone 33 48 51 80 22; fax 33 48 51 83 27.
Contemporary Applied Arts, 2 Percy St., London W1P 9FA,
England; website; telephone 44 207 436 2344.
Musee des Arts Decoratifs, 107 Rue de Rivoli, 75001 Paris,
France; website; telephone 33 1 44 55 57 50;
fax 33 1 44 55 57 84.
Craft Potters Association, 21 Carnaby St., London W1V 1PH,
England; website;
telephone 44 171 437 6781; fax 44 171 287 9954.
Terra Viva Galerie, Rue de la Fontaine, F-30700 Saint Quentin la
Poterie, France; website;
telephone 33 4 66 22 48 78; fax 33 4 66 03 11 21.
Crafts Council Gallery, 44A Pentonville Rd., Islington, London
N1 9BY, England; website; telephone
44 171 278 7700; fax 44 171 837 6891.
Musee National de Ceramique, Place de la Manufacture, 92310
Sevres, France; telephone 33 41 14 04 20.
Galerie Besson, 15 Royal Arcade, 28 Old Bond St., London
W1X 3HB, England; website;
telephone 44 171 491 1706; fax 44 171 495 3203.
Victoria & Albert Museum, Crafts Council Shop, S. Kensington,
London SW7 2RL, England; website; telephone
44 171 938 8500; fax 44 171 938 8379.
Oxford Gallery, 23 High St., Oxford 0X1 4AH, England;
telephone 44 865 242731.
Plymouth Arts Center, 38 Looe St., Plymouth, Devon PL4 PEB,
Artizana, the Gallery, The Village, Prestbury, Cheshire SK10
4DG, England; website; telephone/fax
44 1625 827582.
October 1999
Galerie L’Arbre De Lune, Rue Amiral de Courbeys,
F-30700 Uzes, France; website; telephone/fax 33 4 66 03 29 81.
Musee Magnelli, Musee de la Ceramique, Place de la Liberation,
06220 Vallauris, France.
Keramik-Galerie Hilde Holstein, Schnoor 5-7, Bremen, 28195
Germany; website
galerien.html#keramik; telephone 49 421 32 48 85;
fax 49 421 34 26 45.
Hetjens-Museum, Deutsches Ke rami km use urn, Schulstrasse 4,
Diisseldorf, Germany; website
amt61.htm; telephone 49 211 89 94210; fax 49 211 89 29166.
Keramion Museum, Zeitgenossische Keramische Kunst,
Bonstrausse 12, Frechen, D-50226 Germany; telephone 49
2234 505 286.
Keramikmuseum Westerwald, Lindenstrasse, D-56203
Hohr-Grenzhausen, Germany: telephone 49 26 24 94 60 10;
fax 49 26 24 9 46 01 20.
Loes & Reinier, Korte Assenstrasse 15, Deventer NL7411 JN,
Netherlands; 31 570 61 3004.
Galerie Handwerk Koblenz, Rizzastrasse 24-26 Postfach 929,
Koblenz, D-5400 Germany; telephone 49 261 398 277;
fax 49 261 398 993.
Museum het Princessehof, Grote Kerkstraat 11, DZ
Leeuwarden, 8911 Netherlands; website
-denouden/musprinc.html; telephone 31 58 212 7438;
fax 31 58 212 2281.
Galerie B15 Neue Keramik, Baaderstrasse 15, Munich, D-80469
Germany; telephone 49 89 202 1010; fax 49 89 642 1445.
Galerie Amphora, Van Oudenallenstraat 3, 6862 CA
Oosterbeek, Netherlands; telephone 31 26 333 3685.
Europees Keramisch Werkcentrum, Zuid-Willemsvaart 215,
5211 SG ’s-Hertogenbosch, Netherlands; telephone 31 73 612
4500; fax 31 73 612 4568.
Pembroke Studio/Gallery, 1 Pembroke, Carlow, Ireland; website; telephone 353 503 41562; fax
353 503 41562.
Museo Internazionale delle Ceramiche (Faenza), Via Campidori
2, Faenza 48018, Italy;;
telephone 39 546 21240; fax 39 546 27141 20125.
The Strathearn Gallery & Pottery, 32 W. High St., Crieff,
Perthshire PH7 4DL, Scotland; website;
telephone 44 1764 656100; fax 44 1764 656563.
Royal Museum of Scotland, Queen St., Edinburgh EH1 1JD,
Scotland; website
details/m 183scot.htm; telephone 44 131 225 7534.
National Museum of Modern Art, Kyoto, Enshoji-cho Okazaki,
Sakyoto-ku, 606-8344 Kyoto, Japan; website;
telephone 81 75 761 4111.
Scottish Gallery, 16 Dundas St., Edinburgh EH3 6HZ, Scotland;; telephone 44 131 558 1200;
fax 44 131 558 3900.
Shigaraki Ceramic Cultural Park, 2188-7 Chokusi, Shigaraki-cho,
Koka-gun, Shiga-ken 529-1804 Shigaraki, Japan; website; telephone 81 748 83 0909;
fax 81 748 83 1193.
Art Affairs, Lijnbaansgracht 316, 1017 WZ Amsterdam,
Netherlands; website; telephone 31 20 620
6433; fax 31 20 638 1630.
Galerie Carla Koch, Prinsengracht 510, Amsterdam KH 1017,
Netherlands; website; telephone
31 20 639 0198.
Galerie De Witte Voet, Kerkstraat 135, Amsterdam 1017GE,
Netherlands; website; telephone/
fax 31 20 625 8412.
JBK(gallery), Korte Leidsedwarsstraat 157-159, Amsterdam
1017RA, Netherlands; website; telephone 31
20 624 9871; fax 31 20 421 7585.
Galerie Keramaikos, Oranjestraat 121, Arnhem 6812 CN,
Netherlands; website; telephone/fax
31 26 446 0595.
Museu de Ceramica, Av. Diagonal 0686, Barcelona, Les Corts,
Pedrables, 08034 Spain; website; telephone 34 3
932801621; fax 34 3 932054518.
Museu de ceramica de Manises, carrer Sagrari, 22, 46940
Manises, Spain; telephone 34 961 52 10 44; fax 34 961 52 04 53.
Musee de Carouge, Mairie de Carouge, CH-1227 Carouge,
Musee Ariana, 10 ave. de la Paix, Geneva 1202, Switzerland;
website; telephone 41 22 8 54 50;
fax 41 22 8 54 51.
National Museum & Gallery of Wales, Main Building, Cathays
Park, Cardiff CF1 3NP, Wales; website
nmghome.html; telephone 44 1222 397951; fax 44 1222 373219.
Aberystwyth Arts Centre, University of Wales, Dyfed SY23 3DE,
Wales; website; telephone
44 1970 622882; fax 44 1970 622883.
Terra Gallery, Oude Delft 87, 2612 BD Delft, Netherlands.
“Plastique ceramique,”
approximately 75 inches in
length, glazed stoneware, by
Philippe Lambercy; at Musee
Ariana, Geneva, Switzerland.
Not for Any of the
Tea in China
The Art of Leopold Foulem
by Louana M. Lackey
inadian artist Leopold Foulem
(winner of the $25,000 Jean A.
Chalmers National Crafts Award
in 1999) likes to work in series of be­
tween 15 and 25 pieces. Two of his
latest are jar and teapot forms; one se­
ries is completely monochromatic, the
other mounted in metal and decorated
with decals. Underlying the “Mono­
chrome Abstractions” series is the idea
that the pot has now become an ab­
straction “because in ceramics we deal
with reality. A pot is a reality. Its not an
abstraction in itself—it only becomes
an abstraction if it has been modified.”
For him, bases are among these
modifications. The base “establishes a
October 1999
distance between the tabletop and the
vessel,” Foulem explains. “The base dis­
tances the vessel from its daily use. Oth­
erwise, the vessel by itself would just
become an object; it wouldn’t have the
same conceptual premise.”
He has modified and, as usual, ne­
gated the function until all that remains
is the idea of the pot—a stereotype.
The colors of these abstracted pots are
stereotypes as well, referring to several
monochrome traditions within ceram­
ics history, including Chinese imperial
yellow and Persian turquoise.
The shapes of these abstractions are
also derived from sources within ce­
ramics history. Specific sources. Foulem
can point to the page in the book where
he found each prototype.
Finally, the title is important. In or­
der to avoid description, a piece is called
“Abstraction” and a number, plus the
name of the color, as painters do when
putting numbers on their paintings; for
example, “Abstraction 1011 (Yellow).”
Sources for the second series are from
18th-century Chinese porcelains ex­
ported to foreign markets. At first glance,
the series appears to be Qing-dynasty
porcelains—famille rose, famille verte,
famille noire—beautifully mounted in
gilt-bronze or silver settings. This is an
illusion. When we look again, we see
that the handsome ormolu-mounted
teapots are neither Chinese nor porce­
lain, nor is the metal precious. Nor are
they really teapots.
“Covered Jars” are not even contain­
ers. They are Foulem s idea of the es­
sence of meaning of a teapot or jar. He
has changed their meaning as completely
as the meanings of vessels were changed
in 18th-century Europe, when it was
common for the owner of a precious
porcelain from the Orient to take it to a
marchand-mertier to have a gilt-bronze
or silver base made for it, making it
even more valuable. The process could
even change the function of the vessel
entirely. For example, some vases be­
“Ming Teapot in Gothic Silvered Mounts,” 131/4 inches in height, whiteware
with low-fire glazes and decals, and found objects.
came pitchers just by the form of their
gold or silver settings.
Foulem does not use precious metals
for his “ormolu mounts.” Rather, he
assembles them from bits and pieces of
silver-plated, factory-made objects he
finds at flea markets, garage sales, an­
tique stores and pawnshops. Originally,
these objects might have held fruit or
flowers or even Pyrex casseroles. He col­
lects everything he sees that has
possibilities—lids, handles and many,
many bases.
Flea markets are his passion. “I go to
flea markets on a regular basis. I find it
very stimulating, and I find it very calm­
ing. I would rather go to a flea market
than to a museum. If I go to New York
City, I have to go to the flea market
before I go to the Met or to MOMA or
anything. I can make more discoveries;
I find it more challenging.”
Most of the time, his flea-market
purchases must be modified so he can
use them as a base for a teapot or other
vessel. He often uses parts from more
than one source and relies on his part­
ner, ceramics artist Richard Milette, for
help in assembling the settings, since
the melting points of the very soft metal
and the solder are the same. “They’re
very difficult to put together, so it be­
comes very touchy.” Once the separate
parts have been assembled, he has the
finished form replated with brass or
nickel. “I have them nickeled instead of
silvered because if I had them silvered,
they would tarnish.”
Foulem works in white earthenwares,
low fired in an electric kiln. The “Mono­
chrome Abstractions,” based on cylin­
der, sphere and cone forms, are wheel
thrown in parts. Teapots and other ves­
sels that will be mounted are made from
slabs. He rolls out a number of slabs at a
time, covers them with plastic and keeps
them on shelves in his studio until he is
ready to “use them as I would use sheets
of plywood to make furniture or any­
thing else. I measure the metal parts
and make a paper template a bit larger
than the base because of shrinkage.”
When the forms are ready to be
trimmed, he uses the wheel for round
pieces and a Surform rasp for the square
ones. He trims them to a slightly larger
“Famille Verte Teapot with Back Handle in Mounts,” 81/4 inches in height.
size than the metal base, again allowing
for shrinkage, then adds a spout if he is
making a teapot.
Once the pots are bisqued, Foulem
coats them with a shiny, opaque, white
or yellow commercial glaze, depending
on the ground color needed, and fires
them again. Finally, he adds decoration
in the form of decals, also commercial,
bought in sheets. He cuts out the de­
sired motifs, then puts them in warm
water for a few minutes until the decal
separates from the back sheet and he
can slide it onto the vessel. After the
decal is properly positioned, he uses a
squeegee to remove water and air
bubbles. When dry, the pots are fired
again. Sometimes, he adds either china
paint or metallic luster, then the piece
October 1999
“Large Teapot with Peacocks in Bronzed Mounts,” 11½
inches in height, decaled whiteware, and found objects.
“Yellow Oval Teapot with Wide Flowered Band in Silvered Mounts,” 7½ inches in height.
must be fired again at a lower tempera­
ture. If he adds more china paint, or
more gold or silver luster (as more than
one coat is often needed), yet another
firing is required.
A French-Canadian with an M.F.A.
from Indiana State University, Foulem
lives in Montreal, where he teaches at
the Cegep de Saint-Laurent. During the
academic year, he has little time to do
his own work, but in the summers he
goes to New Brunswick to work in­
tensely in his studio. He has time to do
a lot of thinking while he works, and
much of this thinking is about art. He
thinks that art has to do with abstract
ideas. “A painting is not a real thing; its
an idea of a landscape; its an idea of a
person. But a pot is a reality, which is
why I don’t think that a pot by itself
could be art. I don’t think art has to do
with beauty. I think art has to do with
ideas, with theory. I think if there is no
theory, there is no art.”
According to Foulem, there are two
kinds of artists: those who are theoreti­
cians; and those who are virtuosos, and
simply reinterpret the theory. They don’t
paint just to make a beautiful land­
scape; they have color theory. They have
compositional theory, but it is still based
on some intellectual premise.
He doesn’t believe that a functional
pot, or any pot, can be art in our soci­
ety, as it can be in the Orient, where
languages make no distinction between
“art” and “craft.” But he does believe “a
pot or a teapot can become art, depend­
ing on the intent, the context and the
content of the work,” Foulem says.
“When we look at a pot, we ask, ‘Is it
art?’ A lot of people are worried about
that. But when they look at a painting,
they ask, ‘Is it good?”’
Pricing is another issue. Foulem re­
members when he was making cups 25
years ago: “You had to sell your cups
cheaper than someone could buy one at
K-Mart, and mine were handmade!”
He went to several department stores
searching for ceramic objects that were
sold for $1000. He found figurines, in a
limited edition of 1000, priced at $1000
apiece. He found Boehm porcelain birds
in a limited edition of 500 that cost
$1200 each.
“I just got fed up. And I said why do
people pay $1000 for that figurine,
there’s a thousand of them, and my
thing, I’ve just got one of it. And I said,
that’s it, I’m going to sell it for a reason­
able price. The people who know will
say it’s worth that much, and the people
“Abstraction 2351
(Turquoise),” 81A inches in
height, glazed whiteware.
who don’t know will say, if it’s priced at
$1000, it must be good.”
Admittedly, Foulem’s work is hard
to sell “because no one understands it.”
If he were to start over he doesn’t think
he would go into ceramics. That doesn’t
mean he thinks working in another me­
dium would be any easier, but it would
probably be easier than ceramic art.
“People who collect craft don’t really
go for this because it’s not craft,” Foulem
notes, “and the people who collect art
don’t really go for it, so there’s a gray
zone. I work within the gray zone. I’m
aware of that, and that’s where I want to
be in a way because I think art should
ask questions, more than give answers.”
The author Louana Lackey is Research
Scholar in Ceramics at the Maryland In­
stitute, College of Arty in Baltimore.
October 1999
“Abstraction 1011 (Yellow),” 6¾ inches in height, glazed
whiteware, by Leopold Foulem, Montreal, Quebec, Canada.
Simply Red
by David Hendley
Just the words
“copper red” will
capture the atten­
tion of most pot­
ters working at
stoneware tem­
peratures. A lot has
been written about
copper red glazes
since the 1970s, but
much of the information
presented is contradictory.
Because it is such a hard-toperfect glaze, it would seem logi­
cal that a precise and complicated
glaze recipe would be required to pro­
duce good results. But I have found
“Dinner Plate,” 11 inches in diameter,
that more complicated does not always
Simply Red Glaze and rutile slip,
mean better.
fired to Cone 10 in reduction, by
For some reason, most copper red
David Hendley, Rusk, Texas.
glaze recipes I have seen include small
amounts of zinc oxide and barium car­
bonate, yet I have often wondered what Sanders give an indication as to why
purpose they served. With help and en­ these ingredients were important.
Likewise, in Clay and Glazes for the
couragement via e-mail from glaze con­
sultant Ron Roy, I decided to test five Potter, in the section on reduction glazes,
variations of my best and most reliable Daniel Rhodes included a “typical” cop­
recipe to see what would happen if zinc per red recipe that used zinc oxide. He
and barium were omitted. Although I discussed the alkalines, magnesium and
had already modified the recipe over calcium fluxes, and their effects on the
glaze, but gave no reason why the zinc
the years, mostly in an attempt to re­
duce crazing on my clay body, this glaze, was included.
The Studio Potter magazine “copper
known as “Chun Red,” has been passed
among potters for several decades.
red issue” (Vol. 8, No.l, 1979) also
When I first started experimenting presented recipes that included zinc and
with copper red glazes in the 1970s, I barium, but with no indication as to
referred to Herbert Sanders’ book Glazes why. One exception was the George
for Special Effects. It included dozens of Wettlaufer recipe; he stated that “an
recipes, and every single one used zinc addition of 5% zinc oxide seems to help
and barium. Nowhere in the text did
deepen the color.”
“Research on
Copper Reds
and Celadons”
by C. Lauth and
G. Dutailly, pub­
lished in 1888,
was the first mod­
ern scientific study
of copper red glazes.
Robert Tichane, quot­
ing from this study in
his book Reds, Reds, Cop­
per Reds, says that Lauth and
Dutailly found that “zinc as­
sociated with barium gives the
most beautiful reds.” Perhaps this is
the reason that, 100 years later, potters
are still using zinc and barium in their
copper red recipes.
Tichane speculated that, because sul­
fur gives a bad livery color to copper red
glazes, perhaps Lauth and Dutailly used
zinc and barium to chemically tie up
the sulfur. He also states that, although
a 1% or less addition of zinc will not
change the color enough to notice, it is
undesirable because of its effect on color
and its volatility.
My motivation for testing what
barium carbonate and zinc oxide con­
tribute to copper red glazes was both
economic and safety related. Zinc oxide
is one of the more expensive fluxes used
in ceramics. Some authors, such as Ian
Currie in Stoneware Glazes, a Systematic
Approach, and Frank Hamer in The
Potters Dictionary of Materials and Tech­
niques, contend that zinc oxide is a
worthless addition to any reduction glaze
because it is volatilized at a low tem­
perature and thus adds nothing to the
In the variations where barium car­
final glaze. Barium carbonate, on the bonate and zinc oxide were eliminated,
other hand, is dangerous to the potter whiting (calcium carbonate) was in­
in its raw state and to the final user of creased to replace the lost fluxes. In the
the ceramic product if the glaze leaches. variations where barium carbonate was
Obviously, we potters would be better replaced with strontium carbonate, a
off if we could achieve the same glaze ratio of ¾ strontium to 1 barium was
results without using zinc oxide and used, with calcium carbonate replacing
barium carbonate.
the extra ½ in the ratio.
Strontium carbonate has recently
Tin oxide and copper carbonate,
been suggested as a nontoxic substitute treated as additives, were not included
for barium carbonate, so it was used in in the empirical formulas (see chart).
two of the five variations tested (see Given that some authors maintain that
Recipes chart). All five were tested over zinc oxide is vaporized in a Cone 10
several firings. Glaze 1 included barium reduction firing, the recipes that include
carbonate and zinc oxide. In Glaze 2, zinc oxide were calculated to both in­
strontium carbonate replaced the barium clude and exclude it as a flux.
carbonate. Glaze 3 replaced barium car­
One-thousand-gram test batches of
bonate with strontium carbonate, and each of the five glaze variations were
omitted zinc oxide. Glaze 4 included made at the same time, using the same
barium carbonate, but omitted zinc ox­ materials. Seven bisque-fired test tiles
ide. Glaze 5 omitted both barium car­ were glazed with each glaze variation.
bonate and zinc oxide.
The tiles were dipped in the glaze, then
the top halves were dipped again for a
thicker coating.
Over the next several months, a set
of the five variations was included in
each firing of my kiln, a 40-cubic-foot
wood-fired downdraft. The five tiles in
each firing were grouped in a tight circle
with their bases touching. I attempted
to achieve uniformity between firings,
but firing a wood kiln, even with years
of experience, is necessarily an impre­
cise science.
My basic firing schedule was approxi­
mately 3 hours of oxidation to Cone
010, followed by 1 hour of heavy re­
duction to Cone 1, and 3 to 4 hours of
light to medium reduction to Cone 10.
At a “flat” Cone 10, the kiln was sealed
shut at the fireboxes and chimney, and
allowed to cool slowly for approximately
48 hours.
The purpose of this exercise was not
to measure objective results, such as glaze
“Pair of Mugs,” 5 inches in height, with Simply Red (variation 5) glazed interiors;
yellow inclusion stain and polychrome slips were applied to the exteriors.
October 1999
Test tiles for the five glaze variations from seven firings. Firing conditions seem to create more variations
than glaze composition, as indicated by greater variations within the same columns than variations within
the same rows. For example, all glaze variations produced nice copper reds in the seventh firing, but all
variations were “bleached” of color in the fourth firing.
fit and durability; the necessarily sub­
jective criteria were color, surface qual­
ity and, most subjective of all, beauty.
After spending literally hours studying
the test tiles, I could not discern any
positive variations in the glazes that re­
sulted from the different recipes. Usu­
ally, in the world of scientific
methodology, a result of no positive
differences among the variables is bad
news, because the point of an experi­
ment is to identify and document
cause and effect. The results from my
tests indicate that the addition of small
amounts of zinc oxide and/or barium
carbonate to a copper red glaze makes
no difference in the appearance of the
fired glaze.
As is usually the case with copper red
glazes, there were plenty of variations
between the test tiles. There were defi­
nite variations between the test tiles from
different firings, but the variations were
consistent among the different glaze
variations in the same firing. This indi­
cates that the firing is much more im­
portant than minor variations in the
glaze composition.
There were also differences that can
only be described as random; in one
firing, Glaze 1 may have looked slightly
better than the others, but in the next
firing, Glaze 3 would look better, and
so on, with no discernible pattern.
For close to a year since the conclu­
sion of my glaze variations tests, I have
been using Glaze 5 (no barium carbon­
ate, no strontium carbonate, and no
zinc oxide) on my production pottery.
With a nod to that 1980s band, I have
named it Simply Red. Comparing these
pots to those produced during the sev­
eral years I used Glaze 1 (with barium
carbonate and zinc oxide), I can discern
no difference since the switch. Another
benefit of Glaze 5 is that it has a slightly
lower expansion than the other varia­
tions. Copper red glazes are prone to
crazing because they generally have low
levels of alumina and silica, so the higher
levels of alumina and silica in Glaze 5
make it less susceptible to crazing.
All this adds up to good news for
potters who want to remove expensive
and hazardous materials from their cop­
per red glazes. ▲
October 1999
by Isamu Mizoguchi
Nanban flower vase, by Naoki
Kawabuchi, Nara, Japan.
n order to translate the word Nanban
into English, a little history is neces­
sary. In ancient China, the word
Nanban referred to the peninsula of
Indo-China, Thailand and the South­
east Asian islands. The word Nanban is
composed of two Chinese characters.
The first means southern and the sec­
ond, barbarians.
Between the 14th and 19th centu­
ries, almost all products from Europe,
such as delftware and wine, were im­
ported through southern ports of Japan
via the southern islands. These imports
were commonly called Nanban as well.
The snake kiln was used in Japan for
Although the term has been used
to identify ceramic objects since a period of about 1000 years. They were
the 15th century, Nanban does used to fire unglazed ware, as well as
not represent a specific period Shino (a kind of feldspathic glaze), KiSeto (pale yellow), Seto-guro (black) and
or kiln location. Even now,
Japanese critics are divided other types of glazes, commonly reach­
on what exactly constitutes ing temperatures of 1150°C (2102°F).
Nanban pottery, because It wasn’t until the 15 th century that
there are no identifying most Japanese potters switched to the
characteristics to desig­ Noborigama-style kiln because it al­
lowed them more control over the firing.
nate this type of ware.
Some pieces are made from
stoneware, some earthen­
ware. Forms and colors
are changeable, and
there is no stamp of
Used in Japan
since the beginning
of the tea ceremony,
Nanban pottery
has been infused
with an extraordinary aura.
{The Book of
Tea by Kakuso
Okakura is a
examination and
explanation of the
tea ceremony and
the philosophy of the
Japanese aesthetic.)
ware is wood fired in a
“snake” kiln, a half-tube design
that was brought to Japan from
Korea in the mid fifth century. The Wood-fired vase by Naoki Kawabuchi.
design and size of the snake kiln al­
lowed potters to move from earthen­
ware temperatures to stoneware
temperatures. The kiln was also airtight,
allowing them to take full advantage of
a true reduction firing.
Preparing to load Kawabuchi’s snake kiln; heat from propane burners placed at the first firing
port during stacking evaporates any ground water that has soaked into the walls and floor.
Proper firing of the snake kiln is path is left, then two more pieces, and kiln. Between each of these stacking
difficult. My teacher, Naoki Kawabuchi, another path, etc. This ensures that each levels, a space about 1 foot wide is left.
has been firing his snake kiln for 25 piece in the kiln will come into contact This allows for stoking wood as the
years, yet he believes he is still learning with the flame, and will be oxidized firing progresses.
how to fire it properly. There is a Japa­ and reduced repeatedly as the firing
The kiln must be thoroughly dried
nese saying, “If a potter fires the snake progresses. The ware is standardized in during stacking because ground water
kiln, he loses his money, house, prop­
shape and size, so the kiln may be stackedsoaks into the walls and floor when it is
very tightly, which is not only economic not in use. Four propane burners are
erty, family, etc.”
Kawabuchi s snake kiln is 10 meters but also ensures that the fire is forced to placed at the first firing port while the
(approximately 33 feet) long. It is a follow the carefully planned flame paths. stacking takes place. During the day,
The clay used in Kawabuchi s work­ only two of the burners are used. At
half-tube form, with a total rise over the
10 meters of about 1 meter, and can shop is of a delicate character. It con­
night, all four burners are lit to help dry
hold between 2000 and 4000 pieces. tains laterite, a red soil found in hot the kiln. The Nanban potters are care­
These are simple unembellished forms subtropical zones. The iron and other ful to allow plenty of fresh air into the
used for tableware, common household metallic oxides found in this material kiln to avoid carbon-monoxide poison­
functions, and some are specifically de­ no doubt enhance the fired color of the ing during stacking.
Nanban ware.
Once the kiln is completely stacked,
signed for the tea ceremony.
Loading the kiln takes about two
The pots are loaded into the kiln a slow-burning fire using large pieces of
weeks. The first week is devoted to clean­from the first side door (see page 75), wood is started outside the lower stoke
ing the shelves, then preparing the kiln, then carried down through the kiln to hole (A). As the temperature rises, the
pots and wood. During the second week, the first and second stacking areas. Once fire is moved inside the kiln. When the
ware is carefully placed in the kiln. As these are stacked, the ware is carried up first firebox starts to fill with coals, stok­
the Nanban potter loads the kiln, the the kiln to the fifth level, then the stack­ ing is moved to the upper stoke hole of
path of the flame through the ware is ing commences downward to the door. the first chamber (B). The atmosphere
carefully considered. Two pieces are The sixth and seventh stacking areas are in the kiln during initial stoking is oxi­
stacked next to each other, then a flame loaded through the top side door of the dizing. As stoking commences in the
October 1999
The kiln is stacked on seven levels, separated by spaces of about 1 foot wide
to accommodate stoked wood as the firing progresses.
Initially, a slow-burning fire, using large pieces of wood, is started
outside the lower stoke hole.
upper hole, a slight reduction starts to
take place. When not in use for stoking,
port (B) is kept closed to encourage the
heat to move up the kiln.
When the first level reaches 1100°C
(2012°F), stoking commences through
the first side port (C). After three days
of firing, the temperature reaches 900°C
(1652°F) in the first level. There is about
100°C (212°F) drop in temperature be­
tween each level; i.e., when level one is
900°C, level seven is 300°C (572°F).
When the first level reaches 1150°C
(2102°F), we start to stoke in the sec­
ond side port (D). It is impractical to
use cones in the kiln; therefore, thin
conelike strips of Nanban clay are used
to help judge the firing temperatures
and the maturity of the ware.
Upon reaching temperature in the
second level, stoking commences
through the third port (E). In levels one
and two, the temperature is kept be­
tween 1000°C (1832°F) and 1150°C
(2102°F). If the goal was only to raise
the temperature, it would be best to
feed about five pieces of wood every
Stoking the fourth level while using the “Wood-Pig” method at the fifth level.
few minutes. What is actually wanted is
more akin to a Swedish sauna, where
one jumps between a hot bath into a
cold bath, thereby invigorating the body.
To achieve this effect, the kiln is
overstoked every 30 to 50 minutes. As
this wood burns, the temperature
fluctuates about 200°C (392°F). This
varying of the temperature seems to
help produce a very hard finished body,
even though the maximum firing tem­
perature is only 1150°C (2102°F).
When stoking begins in the fourth
level, the first stacking area has reached
a temperature of about 1100°C
(2012°F), which is held for about two
days. At this point in the firing, the
careful cycle of reduction and oxida­
tion, which makes the Nanban ware so
distinctive, begins. The first stoke hole
is crammed with wood to the roof three
times and allowed to burn down three
times. A wall of coals is formed and
thick soot is deposited on the ware. The
temperature of the chamber is not mea­
sured, since the clays maturity has al­
ready been achieved. The temperature
October 1999
Sealing the kiln with soil.
of the first chamber drops significantly
as a result of the heavy reduction.
When the third level reaches 1100°C
(2012°F), stoking commences through
the fourth port. Stoking continues until
the fourth level reaches 1150°C
(2102°F), while maintaining between
900°C (1652°F) and 1000°C (1832°F)
in level three. When the fourth level
reaches temperature, the third port is
filled with wood three times to build a
third wall of charcoal. Once this stok­
ing is complete, the stoke hole is closed
and sealed with clay.
At this point, there are embers up to
the ceiling in levels one and two. The
temperature initially drops in these
chambers to 700°C (1292°F), then rises
to 900°C (1652°F). As the wall of em­
bers between the stacking areas burns
sired colors to appear on the surface of
the ware.
If the damper is closed too soon,
smoke remains in the kiln. As a result,
the pottery turns a uniform green color.
If the damper is closed too late, the
pottery turns a dark brown color. The
timing of the closing is based on the
combination of pots, placement, the to­
tal number of pieces in the kiln, and the
Timing the clamper closing is critical to success.
condition of the wood.
It is very difficult to read the kiln
after it is placed in such a heavily reduc­
ing atmosphere. Even though the pots
are covered with a layer of soot, some­
down, the atmosphere in that portion els. In fact, it usually takes one night times the smoke is undetectable by the
of the kiln gradually changes from heavy and half of the next day for this level to naked eye, which compounds the prob­
reach temperature. The snake kiln is lem of timing the closing of the damper.
reduction to oxidation.
This process of stuffing the lower the epitome of “no pain, no gain.” An As a rule, the damper is left open be­
stoke hole full of wood when the next easy firing almost invariably produces tween 7 and 13 hours after the firing
stacking area reaches temperature is con­ bad colors; a tortuous firing always pro­ has been completed.
At this point, nearly 6 tons of wood
tinued. After filling the stoking area three duces nice colors.
The last frontier is bringing the sev­ have been burned in the kiln. Three
times with wood, the stoke hole is closed
exhaustive weeks have been spent pre­
and sealed with clay. This process is enth level to maturity. Since the dis­
tance between this level and the chimney paring and firing a kiln filled with a
continued through level five.
At this point, the firing reaches a is minimal, both the sixth and seventh years work.
After cooling for a week, the kiln is
turning point. Levels one through five levels are worked simultaneously. At
are all in heavy reduction, so it is very maturity, both levels are loaded with opened. Only then do the Nanban pot­
difficult to raise the remaining two lev­ wood three times. That wood is allowed ters know if they were right or wrong in
to burn to coals each time, then the the decisions made during the firing.
els to temperature.
To gain temperature in the last three stoke hole is finally sealed.
Once all the levels have reached the The author Isamu Mizoguchi is a gradu­
stacking areas, a stoking method called
the “Wood-Pig” is used—small bundles maturing temperature, the doors and ate of the sculpture program at Nihon
University in Tokyo, Japan. He has ap­
of wood are hung in the stoke hole and windows are sealed with soil. It is im­
allowed to burn until they fall into the portant to note that the natural cracks prenticed himself to Naoki Kawabuchi, to
kiln. The problem with “Wood-Pig” in the outer surface of the kiln are val­ study traditional Nanban ceramics. In
stoking is it increases the flow of air ued for the way they allow air to enter 1998, Mizoguchi came to the United
through the kiln. The lowered pressure the kiln in the final oxidation stage of States shortly after a Nanban firing was
completed. It was three weeks before news
creates an oxidation atmosphere that the fire.
The last job is closing the damper. of the firing was delivered by e-mail “It
prevents the required soot and smoke
from accumulating on the pots. The The importance of timing in closing was the best firing in over three years. ”
ideal situation would be a flame that the damper can t be overstressed. A year s Mizoguchi s visit to the United States
work can be lost if a mistake is made. and the University of Alabama was ar­
threads through the ware slowly.
Firing the Nanban kiln is like climb­ The pots are covered with a film of ranged by Dave Pike and W. Lowell Baker
by way of an initial contact through
ing famous mountains; to get the tem­ soot. As the kiln rests, the natural oxi­
perature to rise properly takes a tremen­ dation of the air as it is pulled through Clayart. During his stayy he produced and
dous amount of energy. For whatever every remaining crack in the kiln, strips exhibited over 150 pieces of the Nanban
reason, the temperature does not climb the soot film from the pots. This par­
style. Both Pike and Baker assisted him in
easily between the fourth and fifth lev­ tial, uneven reoxidation allows the de­ preparing this article.
Kawabuchi’s snake kiln is
10 meters long, with a total
rise of about 1 meter; it
can hold between 2000
and 4000 pieces.
Once the kiln is loaded, a
fire is started outside the
lower stoke hole (A); when
the first level reaches
1100°C (2012°F), stoking
commences at the first
side port (C).
To encourage a
temperature fluctuation of
about 200°C (392°F), the
kiln is overstoked every 30
to 50 minutes.
Cramming the ports with
wood and allowing it to
burn down three times
forms a wall of coals.
October 1999
Call for Entries
Application Deadlines for Exhibitions,
Fairs, Festivals and Sales
International Exhibitions
October 8 entry deadline
Omaha, Nebraska “Winterfest II ’99” (Novem­
ber 1-22), open to works in all media. Juried from
slides. Entry fee: $30 for up to 3 slides; $5 each
additional slide. Awards. For prospectus, send SASE
to Period Gallery, 5174 Leavenworth, Omaha
68106; e-mail [email protected]; telephone
(402) 556-3218.
October 15 entry deadline
Warrensburg, Missouri “Greater Midwest Inter­
national XV” (January 24-February 25, 2000).
Juried from up to 2 slides per entry. Fee: $25 for up
to 3 entries. Juror: Billi R. S. Rothove, gallery
coordinator, Arrowmont School of Arts and Crafts,
Gatlinburg, Tennessee. Awards: four totaling $ 1600
and additional exhibition contracts. For prospec­
tus, send business-size SASE by October 5 to Gallery
Director, Central Missouri State University, Art
Center Gallery, Warrensburg 64093; or telephone
(660) 543-4498.
October 31 entry deadline
Trois-Rivieres, Quebec, Canada “9th Biennale
Nationale de Ceramique 2000” (June 9-September
3, 2000, then traveling), open to artists residing in
Canada; artwork must pertain to the theme of
“voyage.” Juried from 3 slides of up to 3 works;
include a technical description of each work and a
written text explaining how the work explores the
theme of voyage. Entry fee: Can$25. Awards:
Can$8000. For registration form, contact Biennale
Nationale de Ceramique, 864, rue des Ursulines,
PO Box 1596, Trois-Rivieres, Quebec G9A 5L9;
e-mail [email protected]; telephone
(819) 691-0829; or fax (819) 374-1758.
November 8 entry deadline
Omaha, Nebraska “Spiritual II ’99” (December
4-26). Juried from slides. Fee: $30 for up to 3 slides;
$5 for each additional slide. Cash awards. For
prospectus, send SASE to Period Gallery, 5174
Leavenworth, Omaha68106; telephone (402) 5563218; e-mail [email protected]
December 17 entry deadline
Rochester, New York “Porcelain 2000” (March
3-April 1, 2000), open to functional porcelain forms
by artists residing in Canada, Mexico and the United
States. Juried from slides. Juror: Val Cushing. Fee: $20
for up to 5 entries. Awards: $2000. For prospectus,
send SASE to Porcelain 2000, Esmay Fine Art, 1855
Monroe Ave., Rochester 14618.
December 31 entry deadline
Montemor-o-Novo, Portugal “Dwelling,” third
earthen sculpture (terra cotta) symposium (August
2001), open to ceramics sculptors from around the
world. Juried from a sketch mentioning the final
size of the work, the clay (terra cotta or raw clay),
quality and quantity of materials, number of assis­
tants needed, description of the work following the
symposium’s theme and forming techniques. Ap­
plicants selected from this first phase must present
a three-dimensional model by the end of September
2000. The final selection will consist of 7 artists who
will work on their proposals during August of2001
Convento, Convento de S. Francisco, Carreirade S.
[email protected];
66 891 222.
January 8, 2000, entry deadline
Omaha, Nebraska “All Media II 2000” (Febru­
ary 7-28, 2000). Juried from slides. Entry fee: $30
for up to 3 slides; $5 for each additional slide. Cash
awards. For prospectus, send SASE to Period Gallery,
[email protected];
February 8, 2000, entry deadline
Omaha, Nebraska “Contemporary II 2000”
(March 6-27, 2000). Juried from slides. Entry fee:
$30 for up to 3 slides; $5 for each additional slide.
Cash awards. For prospectus, send SASE to Period
Gallery, 5174 Leavenworth, Omaha 68106; e-mail
[email protected];
February 14, 2000, entry deadline
Baldwin City, Kansas “The 2000 International
Cone Box Show” (Spring 2000), open to works that
fit into a large Orton cone box (3x3x6 inches).
Juried from actual works. Jurors: Nina Hole, Den­
mark; Richard Notkin, Montana; Jeff Oestreich,
Minnesota. For prospectus, send SASE to Cone Box
Show, Inge G. Balch, Baker University, Art Dept.,
PO Box 65, Baldwin City 66006.
United States Exhibitions
October 13 entry deadline
Alexandria, Virginia “Time Will Tell” (Novem­
ber 24-January 2,2000), open to works in all media
referring to the passage of time. Juried from slides.
Fee: $25 for 3 slides. Juror: Wendell Castle. For
prospectus, send SASE to Target Gallery, 105 N.
Union St., Alexandria 22314; telephone/fax (703)
549-6877; e-mail [email protected]
October 15 entry deadline
El Cajon, California “Viewpoint: Ceramics
2000” (January 24-February 26, 2000). Juried
from slides. Fee: $20 for up to 3 entries. Juror:
Lloyd E. Herman, craft exhibition curator and
$750, $500. For application, contact Grossmont
College Hyde Gallery, 8800 Grossmont College
Call for Entries
Dr., El Cajon 92020-1799; or telephone (619)
November 15 entry deadline
Lindsborg, Kansas “Aesthetics 2000” (February-March 2000), open to works in all media.
Awards. For prospectus, send SASE to Aesthetics,
300 N. Main, Dept. WIA, McPherson, KS 67460.
December 1 entry deadline
St. Louis, Missouri “Show Me the Shoe” (Janu­
ary 15-May 1, 2000), open to works in all media
relating to the theme of shoes. Juried from slides or
photos. Cash awards: $500, $300 and $200. For
further information, contact Jean Steck, Assistant
Director, City Museum, 701 N. 15th St., St. Louis
63103; e-mail [email protected]; see website; or telephone (314) 2312489, ext. 113.
Wilmington, Vermont “Prevailing Winds: Cur­
rent Trends in Contemporary American Ceramics”
(January 14-March 29, 2000). Juried from slides.
Juror: Beth Ann Gerstein, executive director, the
Society of Arts and Crafts, Boston. For prospectus,
send SASE to Young and Constantin Gallery, PO
Box 882, Wilmington 05363; or telephone (802)
December 4 entry deadline
National” (opens February 28, 2000). Juried from
3 slides. Juror: Bill Griffith, assistant director,
Arrowmont School of Arts and Crafts, Tennessee.
For entry form, contact Dennis Sipiorski, Nicholls
State University, Dept, of Art, PO Box 2025,
Thibodaux 70310; e-mail [email protected];
telephone (504) 448-4597; fax (504) 448-4596.
December 15 entry deadline
New York, New York “Artists on Their Own”
(February 24-March 25, 2000), open to artists
creating ceramic and ceramic/mixed-media works,
who are presently without exclusive gallery affiliation
and not selected for last year’s exhibition. Juried
from slides. Entry fee: $20. For prospectus, send
#10 SASE to Jane Hartsook Gallery, Greenwich
House Pottery, 16 Jones St., New York 10014.
December 31 entry deadline
St. Cloud, Minnesota “What Is Art?” (March 431, 2000), open to all 2- and 3-dimensional work
(no larger than 24x24x60 inches). Juried from
slides (with #10 SASE). Entry fee: $25 for up to 3
slides. 30% commission. For further information,
contact St. Cloud Community Arts Council, Attn:
What Is Art?, PO Box 323, St. Cloud 56302-0323;
[email protected];
at; telephone (320) 257-3108.
January 1, 2000, entry deadline
Los Angeles, California “Erotic Teapot Show II”
(February 1-28, 2000). Juried from slides or pho­
tographs. Entry fee: $15 (with SASE). For further
information, contact Parham Gallery, 2847 S.
Armacost, Los Angeles 90064; or telephone (310)
January 15, 2000, entry deadline
Lancaster, Pennsylvania “8th Annual Strictly
Functional Pottery National” (April 14-June 11,
2000). Juried from slides. J uror: Ken Ferguson. For
prospectus, contact Caroline Henderson, Director
SFPN, Market House Craft Center, PO Box 204,
East Petersburg, PA 17520.
January 21, 2000, entry deadline
Cambridge, Massachusetts “Cambridge Art As­
sociation National Prize Show” (May 3-30, 2000),
open to all media except installation and video.
Juried from slides. Juror: Carl Belz, director emeri­
tus, Rose Art Museum, Brandeis University. Awards:
best of show, $2000; plus 10 other awards. For
prospectus, send SASE to Cambridge Art Associa­
tion, National Prize Show, 25 Lowell St., Cam­
bridge 02138.
January 28, 2000, entry deadline
Lincoln, California “Feats of Clay XIII” (May
6-28, 2000). Juried from slides. Fee: $1511 entry;
October 1999
Call for Entries
$25/2; $30/3. Late entry deadline: February 28,
2000; add $5 onto entry fee. Juror: Catharine
Hiersoux. Awards: approximately $9000 in place,
purchase and merit awards. For prospectus, send
legal-size SASE to Lincoln Arts, PO Box 1166, Lin­
coln 95648.
February 1, 2000, entry deadline
Duxbury, Massachusetts “The Yixing Effect”
(May 13-September 16, 2001), open to artists
whose work is inspired by the Yixing pottery tradi­
tion. Juried from 6 slides, resume and brief artist’s
statement. Contact Catherine Mayes, Contempo­
rary Curator, The Art Complex Museum, PO Box
2814, Duxbury 02331.
Regional Exhibitions
January 15, 2000, entry deadline
Littleton, Colorado “Rocky Mountain Region
Cooperative Member’s Exhibition” (March 15-31,
2000), open to members of working clay coopera­
tive studios in the provinces and states of the Rocky
Mountain region. Juried from slides. Juror: Pete
Pinnell, assistant professor of art, University of
Nebraska, Lincoln. Contact RMR Co-op Exhibit,
c/o Tim Young, 1808 Old Squaw Pass Rd., Ever­
green, CO 80439; telephone (303) 674-4040; e-mail
[email protected]
Fairs, Festivals and Sales
October 15 entry deadline
Forest Hills, New York “7th Annual Central
Queens Y Holiday Craft Fair” (November 28).
Juried from slides and/or photos. For further infor­
mation, contact Susan Kiok, Central Queens Y,
67-09 108th St., Forest Hills 11375; telephone
(718) 268-5011, ext. 233.
December 3 entry deadline
Gainesville, Florida “ 14th Annual Hoggetowne
Medieval Faire” (February 11-13, 2000). Juried
from slides. Booth fee: $115. For further informa­
tion, contact Linda Piper, (352) 334-5064.
March 1, 2000, entry deadline
Salina, Kansas “Smoky Hill River Festival—
Fine Art/Fine Craft Show” (June 10-11, 2000).
Juried from 6 slides. Entry fee: $15. Booth fee: $200
for a 10x10-foot space. No commission. Awards:
$5800 in merit and purchase awards. For further
information, contact Karla Prickett, Festival Coordinator/Visual Arts, PO Box 2181, Salina 674022181; e-mail [email protected]; see website at;
(785) 826-7410; or fax (785) 826-7444.
Salina, Kansas “Smoky Hill River Festival—
Four Rivers Craft Market” (June 9-11, 2000).
Juried from 6 slides. Entry fee: $15. Booth fee: $100
for a 10x 10-foot space or 10%, whichever is greater.
Awards: $1300 in merit awards. For further infor­
mation, contact Karla Prickett, Festival Coordinator/Visual Arts, PO Box 2181, Salina 67402-2181;
[email protected];
(785) 826-7410; or fax (785) 826-7444.
For a free listing, please submit informa­
tion on juried exhibitions, fairs, festivals
and sales at least four months before the
event’s entry deadline (add one month for
listings in July and two months for those in
August). Regional exhibitions must be
open to more than one state. Mail to Call
for Entries, Ceramics Monthly, PO Box
6102, Westerville, OH 43086-6102, e-mail
to [email protected] or fax to
(614) 891-8960.
the bristles pulled free, I made several new different pads—from fine to coarse—and
inserts by insetting clay in the recess and there is a punch-out in the center of each that
From Readers
texturing it. After each clay insert had dried,is usually thrown out. Generally, they would
gladly save these punch-outs for you. Used
it was bisque fired.
The bisqued insert can be “glued” in verypads are also handy for cleaning up greenware
securely with slip, but can be removed withata various stages of production.—-Joel Pfeiffer,
Salt-Firing Effects
For salt firing, try using the trace mineralfettling knife to insert a replacement.—AndiHartland, Wis.
Fasinpour, Dayton, Ohio
salt given to livestock. Interesting glaze effects
Marking Lids
may result because it contains traces of co­
To mark slabs for handbuilt gallery lids on
Free Cleaning Pads
balt.—Mike Knox, Lacrosse, Wis.
Check with the maintenance department oddly shaped pieces, use water-washable
at your local schools or neighboring busi­ (kids’) markers to color the vessel rim, then
Favorite Paddle
My new favorite paddle is made from annesses to see if they use floor-scrubber ma­ drop your slab on the rim and press lightly.
old wooden hairbrush. When the insert withchines to strip floors. Such machines use When you remove the slab, you will have a
marker outline for the lid.—Andrew Francis,
Housatonic, Mass.
Wooden Paddles
Great wooden paddles can be made from
pallet wood. It’s free, resists water and is
already cut to width. Make a handle by
cutting two L-shapes with a coping saw. A
cross-cut saw can be used to score patterns in
the wood.—David Hooker, Spartanburg, S. C.
No More Sticking
When cutting clay from the bottom out­
side edge of a wheel-thrown form by slicing
downward with a wooden tool to the wheel
head, be sure to trickle water down the tool
into the cut before scraping off the ring of
excess clay. The film of water will prevent the
excess clay from sticking to the form.—Don
Davis, Asheville, N. C.
Oversized Lids
To throw an oversized lid for a jar, I prefer
to start it upside down by throwing the lip of
the lid that fits down inside a jar. Once it is
stiff, I turn it over and add soft coils to throw
the top of the lid, then collar in to close.
Making lids in this manner allows me to
define shape easily.—Neely Hachtel,
Springfield, Mo.
Easy Removal
To easily remove a freshly thrown pot
from the wheel head, cut off with a wire
lubricated by a handful of water. Then, using
fully dry hands dusted with talc or any pow­
dered clay, gently lift the pot from the wheel
head. (Lift from the bottom for best re­
sults.)—Amy Duvendack, Toledo, Ohio
Share your ideas with others. Ceramics
Monthly will pay $10 for each one published.
Suggestions are welcome individually or in
quantity. Include a drawing or photograph to
illustrate your idea and we will add $10 to the
payment. Mail to Ceramics Monthly, PO Box
6102, Westerville, Ohio 43086-6102, e-mail
to [email protected] or fax to
(614) 891-8960.
Events to Attend—Conferences,
Exhibitions, Workshops, Fairs
California, Los Angeles March 31-April 4, 2000
National Art Education Association (NAEA) Con­
vention. Location: Westin Bonaventure Hotel and
Suites. For further information, contact the Na­
tional Art Education Association, 1916 Associa­
tion Drive, Reston, VA 20191-1590.
Colorado, Denver March 22—25, 2000 “Higher
Ground,” 34th National Council on Education
for the Ceramic Arts (NCECA) conference. Con­
tact Regina Brown, Executive Secretary, NCECA,
PO Box 1677, Bandon, OR 97411; telephone
(800) 99-NCECA.
Maryland, Baltimore May 19-21, 2000 “Craft
Business Institute” will include sessions on marketing-oriented topics for artists with Wendy
Markusen, Courtney Peterson, and gallery own­
ers Donna Milstein and Steve Swan. Contact
the Rosen Group: e-mail [email protected];
see website at; tele­
phone (410) 889-2933; or fax (410) 889-1320.
Maryland, Easton October 22-23 “Third An­
nual Maryland Clay Conference” will include
slide lecture and demonstrations by Michael
Sherrill; plus sale of works by Sherrill and con­
ference participants. Fee: $50; Academy and
Clay Guild members, $45; student discounts
available. Contact the Academy of the Arts (410)
822-0455. Or contact Virginia Perram, Clay
Guild president, (410) 745-6496.
Michigan, Detroit area October 15 “Michigan
Mud V,” including demonstrations and slide
Clendenin, John Glick, Eva Kwong, Jae Won Lee,
Nawal and Karim Motawi, Robert Piepenburg,
Susanne Stephenson, Doug Wendyker, and Jane
White. Fee: $8. Sponsored by the Michigan Pot­
ters Association. Contact AdeleBarres, 1201 Miller,
Ann Arbor, MI 48103; telephone (734) 6638269; or e-mail [email protected]
New York, Alfred July 9-12, 2000“ Fractography
of Glasses and Ceramics IV.” Contact Dr. James
Varner, Alfred University: telephone (607) 871 2414;
[email protected]
on Color in Wood-Fired Ceramics” will include
lectures, demonstrations, workshops, firings and
exhibitions. Contact Susan Nicholls, Wellington
B. Gray Gallery, School of Art, Jenkins Fine Arts
27858-4353; telephone (252) 328-6336; fax (252)
Pennsylvania, Erie October 20-23 “Tiles of Erie:
Preservation and Possibilities,” eighth annual tile
symposium, will include slide lectures by Susan
Kemenyffy, Cleota Reed, Michael Sims, and Robert
Winter; tile-making workshops, demonstrations,
For a free listing, submit announcements of
conferences, exhibitions, workshops and ju­
ried fairs at least two months before the
month of opening. Add one month for list­
ings in July: two months for those in August.
Mail to Calendar, Ceramics Monthly, PO Box
6102, Westerville, OH 43086-6102, e-mail to
[email protected] or fax to
(614) 891-8960.
antique/contemporary tile sale, tours. Fee: $280;
single-day passes: $100. Contact Tile Heritage, PO
Box 1850, Healdsburg, CA 95448; telephone (707)
431-8453; fax (707) 431-8455.
Canada, Ontario, Toronto October 1—3 “Interna­
tional Creators ’99” conference will include pre­
sentation by figurative ceramist Philip Eglin (on
October 2). Fee: Can$25 (approximately US$17)
plus GST; students/seniors, Can$15 (approxi­
mately US$10) plus GST. For further informa­
tion, contact Jean Johnson, Harbourfront Centre,
(416) 973-4928.
Solo Exhibitions
Hirondelle; at gallerymateria, 4222 N. Marshall
California, Berkeley through October30Julia Gal­
loway; at Trax Gallery, 1306 Third St.
California, Davis October 8-November 9 Susan
Shelton, “Altar Ego: Ceramic Sculpture for Days
of the Dead”; at the Artery, 207 G St.
California, San Francisco through October 30
Michael Lucero, sculpture. November 4—30Steven
Montgomery, sculpture; at Dorothy Weiss Gal­
lery, 256 Sutter St.
October 19—November 27 Hsin-chun Lin, sculp­
ture; at Evolving Space, 536 Pacific Ave.
California, Santa Monica October 2—30 Ralph
at Frank Lloyd Gallery, 2525 Michigan Ave., B5b.
Colorado, Denver October 16-March 26, 2000
Charles Simonds. November 20—October 1, 2000
Takashi Nakazato, “Contemporary Pottery from
an Ancient Japanese Tradition”; at the Denver Art
Museum, 100 W. 14th Ave. Pkwy.
Florida, Winter Park through October 31 Barbara
Sorensen, “Sculpture as Environment”; at the
Cornell Fine Arts Museum, Rollins College.
Illinois, Chicago through October 2 Suze Lindsay.
Ellen Shankin. October 9—November 7 Robin
Murphy; at Lill Street, 1021 W. Lill.
through October 9 Anthony Caro, ceramic sculp­
ture. October 15—November 13 Richard Shaw; at
Perimeter Gallery, 210 W. Superior St.
Iowa, Iowa City October 1-7Cherf Long, pottery;
at AKAR Gallery, 341 E. College St.
Massachusetts, Boston October 9—November 30
Brother Thomas, “Creation Out of Clay”; at Pucker
Gallery, 171 Newbury St.
at Ocmulgee Pottery and Gallery, 317 High St.Rte. 1A.
Massachusetts, Worcester October 9-November
20 “Imagine Inventing Yellow,” pottery, poetry,
prose and paintings by M. C. Richards; at Worces­
ter Center for Crafts, 25 Sagamore Rd.
Michigan, Detroit through October 30 Jennifer
Everett; at Pewabic Pottery, 10125 E. Jefferson Ave.
through November 7“Joseph Theodore Deck: The
Art of Ceramics in Nineteenth-Century France”;
at Detroit Institute of Arts, 5200 Woodward Ave.
October9—January2, 2000“‘I made this jar...’ The
Life and Works of the Enslaved African-American
Potter, Dave”; at the Charles H. Wright Museum
of African-American History, 315 E. Warren Ave.
Michigan, East Lansing October 3-November 29
David Stabley, “Through the Door: Fantasy Land­
scapes on Clay and Paper”; at Mackerel Sky Gal­
lery of Contemporary Craft, Ann Street Plaza, 217
Ann St.
Michigan, Ypsilanti October 6-29Roberta Griffith,
sculpture and mixed-media installations; at Ford
Gallery, Eastern Michigan University, Ypsilanti.
Norman Holen, “Expressions in Graphite and
Clay”; at the Gage Gallery, Augsburg College,
2211 Riverside Ave.
through October 30 Jun Kaneko; at the Northern
Clay Center, 2424 E. Franklin Ave. Continued
Missouri, St. Louis through October31 Russ Wrankle,
M.F.A. exhibition; at Craft Alliance, Stix Friedman
Gallery, 6640 Delmar Blvd.
Nevada, Las Vegas through November 7 “Nancy
Selvin: The Object as Still Life”; at Charleston Heights
Arts Center Gallery, 800 S. Brush.
New Mexico, Albuquerque October 1—December
31 Mia Blocker, handbuilt stoneware vessels; at
Framing Concepts Gallery, 5809-B Juan Tabo
Blvd., NE.
New York, New York through October 9 Steven
Heinemann; at Nancy Margolis Gallery, 560 Broad­
way, Ste. 302.
through October 9 Charles Bryant. October 14—De­
cember 11 Stacy Cushman; at Greenwich House
Pottery, 16 Jones St.
through October /^Robert Brady, sculpture. Richard
Shrewsbury, sculpture. October22-December4Arthur
Gonzalez, “TheCadenceofStupidity.” Chris Gustin,
vessels; at John Elder Gallery, 529 W. 20th St.
October 27-November 18 Axel Salto, “Forces of Na­
ture”; at Antik, 104 Franklin St., between Church
and W. Broadway.
New York, Piermont October 28—November 14
Rosemary Aiello, “Creations from Fire IV”; at the
Piermont Fine Arts Gallery, 218 Ash St.
New York, Port Chester through October 24
Christina Bertoni, “Working from the Midpoint.”
October 30-November 28 Robert Mueller, “The
Fruits of My Passion”; at the Clay Art Center, 40
Beech St.
Ohio, Youngstown through November 2 “The
Stonewares of Charles Fergus Binns: Father of
American Studio Ceramics”; at the Butler Insti­
tute of American Art, 524 Wick Ave.
Oregon, Lincoln City through October / Jim Kraft,
vessels; at Freed Gallery, 6119 S.W. Hwy. 101.
Pennsylvania, Philadelphia October 1-24 Leroy
Johnson, resident artist; at the Clay Studio, 139 N.
Second St.
Pennsylvania, Pittsburgh through October 13
Glenn Davis; at the Clay Place, 5416 Walnut St.
Texas, Dallas through October23 Marla Ziegler; at
Craighead-Green Gallery, 2404 Cedar Springs,
Ste. 700.
November 12-December 18 Fred Herbst, “The Inti­
mate Table”; at Corwin Fine Arts, 6337 Anita St.
Texas, San Antonio November 5—26 Kris
Cummings, “Locks, Chains and King Babies,”
clay and mixed media; at One9zero6 Gallery, 1906
S. Flores.
Wisconsin, Madison October 1-21 Samantha Cotterill. November 19-December 2 David Milne,
“Talking Tablets”; at Higher Fire Clay Studio,
2132 Regent St.
Group Ceramics Exhibitions
Alabama, Mobile through October30“A Bunch of
Guys Named Steve,” ceramics by 7 Alabama art­
ists; at Cathedral Square Gallery, 260 Dauphin St.
California, Richmond through November 13 “Bay
Area Selections—Ceramics: The First Annual Ernie
Kim Award,” with works by Susannah Israel and
Lawrence LaBianca; at the Richmond Art Center,
2540 Barrett Ave.
Colorado, Denver through August 27, 2000 “The
Clay Vessel: Modern Ceramics from the Norwest
Collection, 1890-1940”; at the Denver Art Mu­
seum, 100 W. 14th Ave. Pkwy.
Florida, St. Petersburg through October30 “Flora
and Fauna,” sculpture by 9 artists; at the Florida
Craftsmen Gallery, 501 Central Ave.
Georgia, Athens through December .5“Earth, Fire
and Spirit: African Pottery and Sculpture”; at the
Martha and Eugene Odum Gallery of Decorative
Arts, Georgia Museum of Art, the University of
Illinois, Chicago October 9-November 7 “Seren­
dipity: The Magic ofWood-fired Ceramics,” with
works by Mark Hewitt, Chuck Hindes, Randy
Johnston, Jan McKeachie-Johnston and Ben Owen
III. November 20-December 31 Works by Mary
Barringer, Nicholas Joerling, Matthew Metz and
Linda Sikora. “24th Annual Holiday Show”; at
Gallery 1021, Lill Street, 1021 W. Lill.
Indiana, Bloomington November 1-30“Plate and
Platter Show”; at Local Clay at the Uptown Cafe, 102
E. Kirkwood.
November 5—30“Whimsical to the Sublime: Clay in
Miniature,” works by guest artist Fong Choo and by
Local Clay Ceramic Guild members; at Rosemary
Miller Gallery, John Waldron Arts Center, 122 S.
Walnut St.
Iowa, Iowa City through October3 “Functional Fire:
Wood-fired Cup Show”; at Iowa Artisans Gallery,
117 E. College St.
through October 30 “International Juried Wood-fire
Exhibition”; at Studiolo Gallery, 415 S. Gilbert St.
through December 15 International invitational of
wood-fired works; at the University of Iowa Museum
of Art, 150 N. Riverside Dr.
Kansas, Manhattan October 18-November5“Clay
on the Wall”; at the Kansas State University Gal­
lery of Art.
Massachusetts, Ipswich November 13-December
31 “Holiday Traditions,” functional pottery; at
Ocmulgee Pottery and Gallery, 317 High St.
Massachusetts, Lexington October 5-30“The State
of Clay”; at the Lexington Arts and Crafts Society,
130 Waltham St.
Massachusetts, Northampton through October 3
“China Painting Today.” October 9-November 7
Ceramics by Paul Dresang, Mark Shapiro and Michael
Simon. November 20—December 31 “Holiday Show”;
at Ferrin Gallery, 179 Main.
Michigan, Detroit through October 30 “Body
Parts,” works by Rose Dalessandro, Wouter Dam,
Kathy Dambach, David Humphrey, Sergei Isupov,
Michael Rees, James Shrosbree, Kiki Smith and
Christie Wright; at Pewabic Pottery, 10125 E.
Jefferson at Cadillac.
Michigan, Dexter through October 15 “Out of
Clay II”; at Susannah Keith Gallery, 8099 Main St.
Michigan, University Center October 4-28 Ce­
ramics by GuyAdamec, John Glick, Craig Hinshaw
and Elizabeth Lurie; at Saginaw Valley State
University’s Art Gallery.
New Jersey, Clinton November 14—January 9,
2000 “Mud Like a Blessing: Elemental Clay
Sculpture,” with works by Peter Callas, Sara
D’Allesandro, Shellie Jacobson, Jim Jansma and
Lauren Silver; at Hunterdon Museum of Art, 7
Lower Center St.
New Mexico, Santa Fe through October 1 “New
Mexico Clay ’99.” October 8-29“Student Exhibi­
tion”; at Santa Fe Clay, 1615 Paseo de Peralta.
New York, Albany through September 13, 2000
“From the Collections: The Weitsman Stoneware
Collection”; at the New York State Museum,
Empire State Plaza.
New York, Alfred through December 16 “The
Alfred Asia Connection: The Asia Alfred Reflec­
tion”; at the International Museum of Ceramic Art
at Alfred, Ceramic Corridor Innovation Center,
Rte. 244.
New York, Long Island October 13—December 5
Exhibition of works by 16 past, present and future
workshop presenters; at the Islip Art Museum,
Dowling College.
New York, New York through October 9 “Placings,
Part I: Wall and Floor,” works by Greenwich
House faculty. October 14—November £T“Placings,
Part II: Table and Shelf,” works by Greenwich
House faculty; at Jane Hartsook Gallery, Green­
wich House Pottery, 16 Jones St.
through October24“Discovering the Secrets of SoftPaste Porcelain at the Saint-Cloud Manufactory, ca.
1690-1766”; at the Bard Graduate Center for Stud­
ies in the Decorative Arts, 18 W. 86th St.
October 5-30“’99 East and West Clayworks Exhibi­
tion,” works by Wendy Foster, Gil Hong Han, Jong
Sook Kang, Patricia La, Heyung Bok Lee, Doris
Licht, William C. McCreath and Evan Rosenthal; at
SOHO 20, 545 Broadway, Third FI.
North Carolina, Asheville through October 2
“Odyssey Center Annual Instructor Exhibit.” Oc­
tober 21—December 11 “Ritual at the Table: Contem­
porary Ceramic Dinnerware”; at Odyssey Gallery,
242 Clingman Ave.
North Carolina, Charlotte October 1—29 Works
by John Goodheart and Ole Morten Rokvam; at
Gallery W.D.O., Ste. 610 at Atherton Mill, 2000
South Blvd.
North Carolina, Cornelius October 15—November
/7“Earth Connection,” sculpture by Clara Couch
and Alice Ballard Munn; at Christa Faut Gallery,
19818 N. Cove Rd., Ste. E3, Jetton Village, Lake
North Carolina, Durham October31—December 7
“Contemporary Ceramics 1999: The Work of
African American Ceramic Artists”; at the North
Carolina Central University Art Museum.
North Carolina, Raleigh October 1—31 Ceramics
by Shar Christman and Walter Marinetti. Novem­
ber 1—30 Works by Tammy Leigh Brooks and
other artists from her pottery; at Collective Arts
Gallery and Ceramic Supply, 8801 Leadmine Rd.,
Ste. 103.
North Carolina, Salisbury October 1-November
28 Pottery by Mark Hewitt, Sean Kenny, Ben
Owen III and Brent Smith; at Waterworks Visual
Arts Center, 1 Water St.
North Carolina, Winston-Salem through March
26, 2000 “Presidential China Exhibit”; at the
Gallery at Old Salem, Frank L. Horton Museum
Center, 924 S. Main St.
Oklahoma, Stillwater October 22—November 29
“Prairie Fire,” works by Bede Clarke, Keith Ekstam,
Kevin Hughes, Howard Koerth, Malcolm E.
Kucharski, Jeff Johnston, Lisa Lockman and Marcia
Polenberg; at Gardiner Art Gallery, Oklahoma
State University.
Pennsylvania, Chester Springs through October 2
“Habit to Ritual: Pots for Living,” juried show of
works by 29 artists. “Studio Days ’99,” curated
show of works by 15 ceramics artists; at Chester
Springs Studio, 1668 Art School Rd.
Pennsylvania, Erie October 20—March 5, 2000
“Poems in Clay: Arthur Osborne’s ‘Plastic Sketches’
for the Low Art Tile Works,” exhibition of deco­
rative, low-relief, sculptural clay images produced
in the 1880s; at the Erie Art Museum, 411 State St.
Pennsylvania, Philadelphia October 1-24 “Redware: Tradition and Beyond.” October 1-31
“Spaces: Interior, Exterior and Internal.” Novem­
ber 5—14“ The Art of Pouring”; at the Clay Studio,
139 N. Second St.
Pennsylvania, Pittsburgh through November 10
Denise, Joshua and Nathan Green, “The Green
Room”; at the Clay Place, 5416 Walnut St.
Texas, San Antonio through November 27 “'The
Potters of Mata Ortiz”; at the Southwest School of
Art and Craft, 300 Augusta.
Vermont, Waterbury Center through October 15
“The Dinner Table.” October 15-November 30
“Recent Transplants,” pottery by Diane Rosenmiller and Nicholas Seidner; at the Vermont Clay
Studio, Rte. 100.
Virginia, Alexandria through October 25 “Soups,
Stews and Other Brews,” functional works by Kiln
Club of Washington members; at Scope Gallery,
Torpedo Factory, Studio 19, 105 N. Union St.
Virginia, Arlington through October 23 “Pottery
for Pleasure and Use,” works by 15 potters; at Ellipse
Arts Center, 4350 N. Fairfax Dr.
Wyoming, Buffalo through November 12 Ceram­
ics by Tom and Jean Latka; at Margo’s Pottery and
Fine Crafts, 26 N. Main.
Wyoming, Cheyenne October 6—27“Potters from
the Archie Bray Founation”; at the Laramie County
Community College, Fine Arts Gallery, 1400 E.
College Dr.
Ceramics in Multimedia
Arizona, Mesa October 12-November 13 “’99
Cups”; at Galeria Mesa, Mesa Arts Center, 155 N.
Center St.
Arizona, Tucson through November 2 “Dia de Los
Muertos,” featuring ceramics by Susie Ketchum.
November 13-January 1, 2000 “Annual Holiday
Exhibition,” including ceramics by B. Jackson
Medford; at Obsidian Gallery, St. Philips Plaza,
Ste. 90, 4340 N. Campbell Ave.
California, Los Angeles October 16—November 21
“Teapot Whimsy ’99”; at Parham Gallery of Fine
and Exotic Teapots, 2847 S. Armacost.
California, Mill Valley November 2-December 28
“Clay and Glass in the Garden,” selected work by
members of the Association of Clay and Glass
Artists of California; at Mill Valley Sculpture
Gardens, 219 Shoreline Hwy.
“Material Witness: Masters from California Crafts,”
with ceramics by Ralph Bacerra, Christina Bertoni,
Armin Muller, Richard Notkin, Ruth Rippon and
Peter Voulkos; at Crocker Art Museum, 216 O St.
California, San Diego through October 17“The Art
of Craft: Contemporary Works from the Saxe
Collection”; at the M.H. de Young Memorial
Museum, Golden Gate Park, 75 Tea Garden Dr.
through January 30, 2000 “Arrows of the Spirit—
North American Indian Adornment from Prehistory
to the Present.” through 2001 “Folk Art of Mexico”;
at the Mingei International Museum, Balboa Park,
1439 El Prado.
California, Santa Ana October 29-January 28,
2000 “Shamans, Gods and Mythic Beasts”; at the
Bowers Museum of Cultural Art, 2002 N. Main St.
Colorado, Denver through October 3 “White on
White: Chinese Jades and Ceramics from the Tang
through Qing Dynasties”; at the Denver Art Mu­
seum, 100 W. 14th Ave. Pkwy.
Connecticut, New Canaan through October 8“USA
Craft Today ’99”; at Silvermine Guild Arts Cen­
ter, 1037 Silvermine Rd.
Connecticut, New Haven November 13—Decem­
ber 24 “The 31st Annual Celebration of American
Crafts”; at the Creative Arts Workshop, 80
Audubon St.
D. C., Washington through January 2, 2000 “The
Golden Age of Chinese Archaeology: Celebrated
Discoveries from the People’s Republic of China”;
at the National Gallery of Art, East Bldg.
October 17-]Tanuary 17, 2000 “Treasures from the
Royal Tombs of Ur”; at the Arthur M. Sackler
Gallery, Smithsonian Institution.
Florida, DeLand October 29-January 2, 2000
“Head, Heart and Hands: Native American Craft
Traditions in a Contemporary World”; at the
DeLand Museum of Art, 600 N. Woodland Blvd.
Florida, Largo through November 7“Florida and the
Southeast: The Gulf Coast Museum of Art Collec­
tion”; at the Gulf Coast Museum of Art, 12211
Walsingham Rd.
Hawaii, Honolulu throughJanuary 16,20l90“Hawai’i
and Its People”; at Honolulu Academy of Arts.
Illinois, Chicago October 8-January 2, 2000
“Arthur Wesley Dow and American Arts and
Crafts”; at Terra Museum of American Art, 666 N.
Michigan Ave.
October 15—November 13 “Masters of Craft”; at
Perimeter Gallery, 210 W. Superior St.
Iowa, Sioux City through January 16, 2000 “Images
of Iowa”; at Sioux City Art Center, 225 Nebraska St.
Kentucky, Louisville through October 23 Dual
exhibition with ceramics by Sarah Frederick; at the
Kentucky Art and Craft Gallery, 609 W. Main St.
through November 17 “Form vs. Function,” in­
cluding wood-fired stoneware by Yuki Muroe and
Gil Stengel; at Images Friedman Gallery, 833 W.
Main St., Second FI.
Louisville, Monroe November 2—28 “Friends,”
including sculptural forms by Arlene Cason; at the
Ouachita River Art Gallery, 211 Trenton St.
Massachusetts, East Otis through October3“Light
’em Up”; at the Clayground, 436 N. Blandford Rd.
Massachusetts, New Bedford October 7-January
9, 2000 “Stop Asking/We Exist: 25 AfricanAmerican Craft Artists”; at the New Bedford Art
Museum, 608 Pleasant St.
Massachusetts, Worcester through October 17“Sea­
son to Taste”; at the Worcester Center for Crafts,
Gallery Gift Store, 25 Sagamore Rd.
Mississippi, Biloxi October22—December31 “Sev­
enth Annual Ohr Juried Exhibit”; at the Ohr
Museum, 136 G. E. Ohr St.
Missouri, Joplin November 12—December 19“Na­
tional Contemporary Craft Competitive”; at Spiva
Center for the Arts, 222 W. Third St.
Missouri, St. Louis through October 31 “Tea n’
Trompe: The Influence of Traditional Trompe
l’Oeil Teapots on Contemporary Crafts.” Novem­
ber 5—December 30 “Fourth Annual Menorah In­
vitational.” “35th Annual Holiday Exhibition”; at
Craft Alliance, 6640 Delmar Blvd. Continued
October 1999
Missouri, Springfield through August 1, 2000
“Outdoor Sculpture Competition”; at the Open
Air Sculpture Gallery, Federal Historic District.
November 10—December 4 “Alternatives in Metals
and Clay,” with ceramics by Inge Balch, Richard
Bivins, Cameron Crawford, Lisa Lockman, Albert
Pfarr and Greig Thompson; at the Art and Design
Gallery, Southwest Missouri State University.
Montana, Browning through November 13 “16th
Annual Summer Sales Exhibit”; at the Museum of
the Plains Indian.
Montana, Helena through October 31 “ANA 28,
National Juried Exhibition”; at the Holter Mu­
seum of Art, 12 E. Lawrence St.
Nebraska, Omaha October 2-23 “Miniatures II
’99.” November 1—22 “Winterfest II ’99”; at Pe­
riod Gallery, 5174 Leavenworth.
Nevada, Reno through October 4 “Wild Women
Exhibition and Sale”; at the Nevada Museum of
Art, 160 W. Liberty St.
New Jersey, Boonton October 1-31 “It’s Raining
Cats and Dogs”; at MudWorks, 720 Main St.
New Jersey, Loveladies through October 12 Con­
temporary crafts; at the Long Beach Island Foun­
dation of the Arts and Sciences, Craft Gallery, 120
Long Beach Blvd.
NewMexico, Santa Fe through November 7“ Home
and Garden Decor Show,” including birdbaths
and ceramic sculptures by Lorraine Lipani; at the
Village Crossroads, 901 W. San Mateo.
New York, Albany through September 13, 2000
“From the Collections: Treasures from the Wunsch
Americana Foundation”; at the New York State
Museum, Empire State Plaza.
North Carolina, Asheville November 20-January 9,
2000 “New Members of the Southern Highland
Craft Guild”; at the Folk Art Center, Milepost 382,
Blue Ridge Pkwy.
North Carolina, Carrboro through October 2 “Cel­
ebrating Hispanic Art,” including ceramics by the
potters of Mata Ortiz. October 5—30 “Autumnal,”
including ceramics by Doug Dotson. November 3December 4“Black &C White & Color,” dual exhibi­
tion with ceramics by Roni Petterson; at Green Tara
Gallery, 118 E. Main St.
North Carolina, Waynesville through November 2
Three-person exhibition including ceramics by
Brandon Dodson; at Twigs and Leaves Gallery, 98
N. Main St.
Ohio, Columbus November 4—January 8, 2000
“Transcending Traditions: Ohio Artists in Clay
and Fiber,” with ceramics by George Bowes, Kristen
Cliffel, Rebecca Harvey, Eva Kwong, KirkMangus
and Kelly Palmer; at the Riffe Gallery, Vern Riffe
Center for Government and the Arts, State and
High sts.
Oregon, Eugene November 2—January 29, 2000
“La Petite VII, Small Format Competition”; at
Alder Gallery, 2399 Hwy. 99 N.
Oregon, Portland through October3“The Inquisi­
tive Object: A Biennial Review of Northwest Art
and Craft”; at the Oregon College of Art and Craft,
8245 S.W. Barnes Rd.
Pennsylvania, Philadelphia October 10—January
2, 2000 “Worldly Goods: The Arts of Early Penn­
sylvania, 1680-1758”; at the Philadelphia Mu­
seum of Art, Benjamin Franklin Pkwy.
Pennsylvania, Pittsburgh through October 10“Sha­
mans, Gods and Mythic Beasts”; at the Frick Art
Museum, 7227 Reynolds St.
Vermont, Burlington through October24“Art and
the Written Word”; at the Vermont State Craft
Center, 85 Church St.
Wisconsin, Racine through November 7 “The
Collector’s Eye: Recent Gifts to the Permanent
Collection”; at the Charles A. Wustum Museum
of Fine Arts, 2519 Northwestern Ave.
Wyoming, Buffalo November 26-December 31
Dual exhibition including ceramics by Margo Brown;
at Margo’s Pottery and Fine Crafts, 26 N. Main.
Fairs, Festivals and Sales
Alabama, Springville October 1—3 “Harvest Festi­
val.” November 5-7“Harvest Hollow”; at Home­
stead Hollow.
California, Berkeley November 27—28, December
Open Studios,” self-guided tour of over 100 art­
ists’ studios. For map, send SASE to Artisans Map,
1250 Addison St., #214, Berkeley 94702; or pick
up map at same address. For other map-distribution points, telephone (510) 845-2612.
California, Los Angeles November 6-7 “Ninth
Annual Intertribal Marketplace”; at the Southwest
Museum at LACMA West, corner ofWilshire Blvd.
and Fairfax Ave., Museum Row.
California, Northridge November 6—7“Fall Fest
’99”; at Grand Salon, California State University
Northridge, 18111 Nordhoff St.
California, San Diego October 2 “Mudfest ’99,”
pottery-making contests and sale of ceramics; at
Balboa Park.
California, San Francisco (Daly City) November
19—21 “Contemporary Crafts Market”; at the Cow
Palace, 2600 Geneva Ave., Daly City.
California, Santa Monica November 5-7 “Con­
temporary Crafts Market.” November 11-14“Arts
of Pacific Asia”; at the Santa Monica Civic Audi­
torium, 1855 Main St.
Connecticut, Guilford November 6—December 23
“Artistry—A Holiday Festival of Craft”; at the
Guilford Handcraft Center, 411 Church St.
27-December 11 “Wesleyan Potters 44th Annual Exhibit and
Sale”; at Wesleyan Potters, 350 S. Main St. (Rte. 17).
D.C., Washington November 19-21 “ 1999 Wash­
ington Craft Show”; at the Washington Conven­
tion Center, 900 Ninth St., NW, at Metro Center.
Florida, Gainesville November 13-14 “18th An­
nual Downtown Festival and Art Show”; downtown.
Florida, Tampa October30-31 “CraftArt ’99 Festi­
val”; at Plant Park, University of Tampa, downtown.
Illinois, Chicago November 5-7“SOFA Chicago”;
at Navy Pier.
Illinois, Evanston November 12— I^Midwest Clay
Guild’s 27th annual exhibition and sale; at Mid­
west Clay Guild, 1236 Sherman Ave.
Illinois, Winnetka November 6— 7 “The Modern­
ism Show: An Exposition and Sale of 20th Century
Design, 1890-1960”; at the Winnetka Commu­
nity House, 620 Lincoln St.
Indiana, Bloomington November 12—13 “Local
Clay Annual Holiday Show and Sale”; at Har­
mony School, 909 E. Second St.
Indiana, French Lick October 16-17“French Lick
Springs Resort Fine Arts Festival”; at French Lick
Springs Resort, 8670 W. State Rd. 56.
Maryland, Gaithersburg October 15-17 “24th
Annual National Art and Craft Festival”; at the
Montgomery County Fairgrounds.
Michigan, Detroit October 16 “Annual Raku
Party”; at Pewabic Pottery, 10125 E. Jefferson at
Michigan, East Lansing November 11—13 “An­
nual Fall Sale”; at All Saints Episcopal Church,
800 Abbott Rd.
Mississippi, Biloxi October22-24“ 1999 Ohr Fall
Festival of Arts”; downtown.
Missouri, St. Louis October 2-3 “Historic Shaw
Art Fair”; the Shaw neighborhood, Near South Side.
Nevada, Hawthorne October 2 “Walker Lake Arts
Festival”; at Walker Lake.
New Jersey, Flemington October 9-10 “Flemington Crafts Festival”; at the Flemington Fair­
New Jersey, Millville October 2-3 “Festival of
Fine Craft”; at Wheaton Village.
New Mexico, Abiquiu October 9-10 “Abiquiu
Studio Tour ’99,” studio tours of 40 artists. Maps
are available at area businesses and studios.
New Mexico, Alcalde October 2-3 “Espanola Val­
ley Arts Festival”; at the Northern New Mexico
Community College, Espanola campus.
New Mexico, Roswell November 12-14 “The
Gallery Walk,” Pecos Valley Potters Guild annual
art sale; at Roswell Convention and Civic Center.
New York, Herkimer November 13-14 “23rd
Annual Herkimer County Arts and Crafts Fair”; at
Herkimer County Community College.
New York, New York December 2-5 “Made in
Clay,” benefit exhibition and sale of work by
invited alumni and current members; at Green­
wich House Pottery, 16 Jones St.
North Carolina, Asheville October 21-24 “Craft
Fair of the Southern Highlands”; at Asheville Civic
Center, Haywood St.
North Carolina, Carrboro October 15-17 “Val
Cushing Exhibition &C Sale,” benefits Orange
County Dispute Settlement Center; at North Caro­
lina Craft Gallery, 212 W. Main St.
North Carolina, Winston-Salem November 18—
21 “36th Annual Piedmont Crafts Fair”; at M.C.
Benton Convention Center, downtown.
Oregon, Salem October 23 “Harvest Moon Festi­
val,” fund-raiser; at Salem Art Association, 600
Mission St., SE.
Pennsylvania, Erie October23 “Antique and Con­
temporary Tile Festival and Sale”; at East High
School, 1001 Atkins St.
Pennsylvania, Lancaster November27-28 “Holi­
day Craft Fair”; at Franklin and Marshall College.
“Philadelphia Museum of Art Craft Show”; at the
Pennsylvania Convention Center, 12th and Arch sts.
November 14 Auction of ceramics from “The Art
of Pouring” exhibition (see Group Exhibitions); at
the Clay Studio, 139 N. Second St. For further
information, telephone (215) 925-3453.
Pennsylvania, Richboro October 15-17 “State
Craft Festival”; at Tyler State Park.
Texas, Gruene (New Braunfels) October23-24“Sev­
enth Annual Texas Clay Festival”; at Buck Pottery.
Washington, Spokane October 8—10 “Inland Craft
Warnings”; at Spokane County Fair and Expo Center.
Green/Dodgeville October 15-17 “The Fall Art
Tour,” visit studios of 43 artists. For brochures,
contact the Cornerstone Gallery in Baraboo (608)
356-7805, the Johnston Gallery in Mineral Point
(608) 987-3787, and the Jura Silverman Gallery in
Spring Green/Dodgeville (608) 588-7049. Or see
website at
California, Oakland October Seven-day firing of a
350-cubic-foot anagama with Ryusei Arita. For
brochure, telephone Ryusei Arita (510) 652-2525
or fax (510) 540-4842.
California, San Diego November 5— ^Demonstra­
tion and slide presentation on folded forms, large
stretched pots and colored clay with Virginia
Cartwright. Fee: $45; members, $35. Contact
Ceramic Artists of San Diego, do 4259 Feather
Ave., San Diego 92117. Or telephone John Conrad
at Mesa College, (619) 627-2610.
Connecticut, Brookfield October 2-3 “Printing
with Clay” with Mitch Lyons. October 9 “Cone 6
Glazes and Clay Bodies” with Jeff Zamek. October
76-I7“Wood/Salt Firing” with Roger Baumann.
October 23—2^“Slabs, Slumping” with Anna Siok.
October 30—31 “Colored Porcelain” with Naomi
Brookfield Craft Center, PO Box 122, Rte. 25,
Brookfield 06804; telephone (203) 775-4526; or
Connecticut, Danbury November 6-7“ Glazing with
Passion” with David Frank; participants must bring
October 1999
Cone 6 bisqueware. Advance registration required.
Contact the Wooster Community Art Center, (203)
Connecticut, New Canaan November 6-7“Search­
ing for Beauty in the Domestic Landscape,” handson workshop with Alleghany Meadows; fee: $150.
Contact the Silvermine Guild Arts Center, 1037
Silvermine Rd., New Canaan 06840; or telephone
(203) 966-9700.
D.C., Washington October 25-24 Demonstration,
slide presentation, discussion with Linda Christianson.
Fee: $100. November J^Demonstration/discussion
with Ian Gregory. Fee: $65. Contact Hinckley Pot­
tery, 1707 Kalorama Rd., NW, Washington, D.C.
20009; or telephone (202) 745-7055.
Florida, Atlantic Beach October 16—17 “Thrown,
Altered and Decorated” with Suze Lindsay. For
further information, contact Atlantic Beach Pot­
ters: e-mail [email protected]; telephone
(904) 249-4499.
Florida, Pensacola October 4—9 “Studio Architec­
tural Ceramics Workshop” with Peter King and
Xinia Marin, constructing a full-scale architectural
piece, tile making and glazing, sink building, plas­
ter pouring, and pricing. All skill levels. Fee: $550,
includes materials, 2 dinners and breakfast. Con­
tact Peter King or Nancy Lauck Solano, Stonehaus,
2617 N. 12th Ave., Pensacola 32503; e-mail
[email protected]; see website
stonehaus; telephone (850) 438-3273; fax (850)
Georgia, Athens October 30—31 Demonstration
and slide lecture with Ron Meyers. Fee: $60, 2
days; $35, 1 day. Contact GOOD DIRT: Athens’
Ceramic Workcenter, 510B N. Thomas St., Ath­
ens 30601; telephone (706) 355-3161.
Georgia, Atlanta October 30—31 “Business Confi­
dence for Artists: Making the Change from ‘Starv­
ing Artist’” with Ricky Frank. Fee: $120; mem­
bers, $ 100. Contact the Spruill Center for the Arts,
5339 Chamblee Dunwoody Rd., Atlanta 30338;
or telephone (770) 394-3447.
Indiana, Bloomington November 6 “Teapots in
Miniature,’’demonstration/slide lecture with Fong
Choo. Fee: $25; students, $15. Contact Roger
Meridith, John Waldron Arts Center, 122 S.
[email protected]; telephone (812) 334-3100.
Maine, Portland October 9 “Sculptural Vessels”
with Lucy Breslin. October 12 or November 19
“Cone 10 Glazes.” October 13 “Mask Making”
with Amy Schusser; 6-9 P.M. “Kids’ Mask-Mak­
ing Workshop” with Amy Schusser; 3:30—5 P.M.;
fee: $12. November 13 “Tile-making Techniques”
with Melody Bonnema. November 20 “Cone 06
Glazes.” Fee (unless noted above): $35. Contact
Portland Pottery School and Supply, 118 Wash­
ington Ave., Portland 04101; or telephone (207)
Handbuilding Techniques” with Lana Wilson.
Fee: $180; members, $160. October 23-24 “Clay
Monoprinting” with Mitch Lyons. Fee: $140;
members, $ 120. November 13-14“On the Wheel”
with Phil Rogers. Fee: $180; members, $160. For
further information, contact Baltimore Clayworks:
see website; or tele­
phone (410) 578-1919.
Maryland, Frederick October 16-17“Understand­
ing Glazes” with Pete Pinnell. Fee: $115. Novem­
ber 4-7 “Kilnbuilding Workshop” with Ian Gre­
gory and Phil Rogers. Fee: $285. December 2—5
Michaud. Fee: $195. Contact Hood College Ce­
ramics Program, 401 Rosemont Ave., Frederick
21701; telephone Joyce Michaud (301) 696-3456;
or fax (301) 846-0035.
Massachusetts, Somerville October 1, 15 and 29
Workshop focusing on techniques and forms with
Carole Ann Fer. Fee: $20 per session; $50 for all 3.
October 3 “Working on the Potter’s Wheel,” par­
ent/ child workshop with Jennifer Thayer. October
22 Slide presentations with David Orser and Adero
Willard. No fee; potluck dinner following. No­
vember 13 “Holiday Objects,” parent/child work­
shop with Jennifer Thayer. December 12 “A Day to
Play with Clay” with Jennifer Thayer. Fee: $25.
02145; see website; telephone
(617) 628-0589; or fax (617) 628-2082.
October3-i?“Earthenware and Majolica: Terra-cotta Pottery” with
Sharon Pollock-DeLuzio. October9—11 “Tiles: For
Large Installations or Small Projects” with Sharon
Pollock-DeLuzio. October 11—17 “The Multifac­
eted World of Clay” with Bob Green. “Mosaics:
Ancient Art Form/20th-Century Applications” with
Tina Gram. October 17—23 “Portraits and Self-Por­
traits in Clay: A Sculpting Workshop” with Christo­
pher Gowell. October 24—30 “Clay Tiles for Large
Pieces or Small Projects” with Sharon PollockDeLuzio. Contact Horizons, 108 N. Main St.,
Sunderland, MA 01375; e-mail [email protected]; see website at; tele­
phone (413) 665-0300; or fax (413) 665-4141.
Massachusetts, Worcester October 16'“Two Teapot
Artists from Yixing” with Lu Wenxia and Lu Jianxing.
November 13—14 “Vessels that Pour” with Susan
Beecher. For further information, contact Worcester
Center for Crafts, 25 Sagamore Rd., Worcester 01605;
e-mail [email protected]; see website at; telephone (508) 7538183, ext. 3003; or fax (508) 797-5626.
Workshop” with Dick Cooter. Fee: $240, includes
presentation with Bob Briscoe. Fee: $80. Contact
Dustin Johnson, the Duluth Art Institute, 506 W.
Michigan St., Duluth 55802; or telephone Dustin
Johnson (218) 733-7560.
New Mexico, Santa Fe October 3—4 Raku
kilnbuilding workshop. November 14—18 Work­
shop on handbuilding, glazing and raku firing.
December 5—9 Workshop on glazing, raku
kilnbuilding and firing. Contact Mario Quilles,
A.I.R. Studioworks, (505) 438-7224.
October 9Slide lecture with Jun Kaneko. Fee: $5.
Contact Santa Fe Clay, 1615 Paseo de Peralta,
Santa Fe 87501; telephone (505) 984-1122.
New Mexico, Taos October 4-8 “Knowing Clay:
Art of the Earth,” coiling, pinching, slab building,
texturing, burnishing, terra sigillata, etc., with
Ginger Mongiello. Beginning through advanced.
Fee: $405, includes materials. Contact Susan
Mihalic, Taos Institute of Arts, 108 Civic Plaza
Dr., Taos 87571; e-mail [email protected]; tele­
phone/fax (505) 758-2793.
New York, Long Island October23—24Hands-on
workshop with Ron Meyers. Fee: $125, includes
clay and firing. Contact Woody Hughes, Islip Art
Museum, (516) 224-5402.
New York, New York October 4, November 1 and
6 “Raku Workshop: Handbuilding and Wheel
Throwing” with Bobbie Hodges. Fee: $210. Octo­
ber 16—17 “Functional Teapots!” with David
Wright. Fee: $185; members, $150. November
13-14 “The Clay Narrative: Symbol and Object”
with Elyse Saperstein. Fee: $185; members, $170.
Contact the Craft Students League/YWCA/NYC,
610 Lexington Ave., New York 10022; telephone
(212) 755-4500.
October 20 Demonstration with Lu Wen Xia. Fee:
$10. October 27 “The Vessel: From Container to
Aesthetic Object,” slide lecture with Elaine Levin.
Fee: $10. November 10Slide lecture with Kathleen
Moroney. Free. For reservations/information, con­
tact Greenwich House Pottery, 16 Jones St., New
York 10014; telephone (212) 242-4106.
October 21-22 “Slips and Engobes in the Electric
Kiln” with Mary Barringer. Fee: $ 160. Contact the
92nd Street Y, (212) 996-1100.
October 29, November 5, 12 and 19 “Tile-Making
Workshop” with Frank and Polly Ann Martin.
Fee: $200.
New York, Port Chester October 2 “Heart to Hand”
with Christina Bertoni; fee: $85. October 17 or No­
vember 13 “Raku” with Robert Mueller; fee: $60 per
session. Participants should bring 6-8 bisqued pieces.
Contact the Clay Art Center, 40 Beech St., Port
Chester 10573; or telephone (914) 937-2047.
New York, Rosendale October 2—3 “Integrating
Form and Surface in the Electric Kiln” with Mary
Barringer. October 16—17 “Clay Monoprinting”
with Nancy Barch. October 23-24 “Simple Mold
Making” with Danielle Leventhal. Contact Women’s
Studio Workshop, PO Box 489, Rosendale 12471;
[email protected];
e-mail; telephone (914) 658-9133;
fax (914) 658-9031.
New York, White Plains November 10 “Searching
for Beauty in the Domestic Landscape” with
Alleghany Meadows. November 18 “Nerikomi—
Handbuilding with Colored Clay” with Naomi
Lindenfeld. Contact Westchester Art Workshop,
Westchester County Center, White Plains 10606;
or telephone (914) 684-0094.
North Carolina, Bailey November 6-7 A session
with Robin Hopper. Fee: $135. Contact Dan
Finch Pottery, (252) 235-4664; or see website
North Carolina, Charlotte AWem^er 6-7“ Wheelthrown Altered and Assembled Utilitarian Pottery”
with Leah Leitson. Fee: $65. Location: Clayworks.
Limited to 40 participants. Contact Louise Lawson,
(704) 332-3973.
North Carolina, Little Switzerland October 1925 Workshop with Lynn Merhige, handbuilding,
throwing, glazing, raku firing, exploring sculptural
space, form and texture. Beginning through ad­
vanced. Fee: $445, includes materials, firing, lodg­
ing and meals. Contact Rita van Alkemade, Office
Ringling School of Art and Design, 2700 N.
Tamiami Trail, Sarasota, FL 34234; e-mail
[email protected];
(941) 955-8866;
fax (941) 955-8801.
North Carolina, Penland March 12-May 5, 2000
“Making Your Own Pots” with Sandi Pierantozzi
and Neil Patterson. Send 5 slides or photos ofwork
plus a brief statement explaining your interest in
the class. Fee: $4375; includes application fee. Day
students: $2935; includes application fee. Regis­
tration deadline: October 11. Contact Penland
School of Crafts, PO Box 37, Penland 28765;
telephone (828) 765-2359; or fax (828) 765-7389.
Ohio, Westerville October 15—16 A session with
Don Reitz. Fee: $155, includes lunch. Contact
[email protected]; see website at;
or telephone Michael O’Toole, (614) 794-5824.
Oklahoma, Norman October 16-17Slide lecture,
demonstration on building figurative sculptures/
wind instruments, plus musical performance, with
Brian Ransom. Fee: $64, includes registration fee.
Slide lecture and performance (October 17) free.
Contact Susan Taylor, the Firehouse Art Center,
444 S. Flood, Norman 73069; telephone (405)
Oregon, Salem October 1-3 “Salt Firing” with
Craig Martell; participants should bring at least 6
bisqued pieces (3 cubic feet). Fee: $85; SAA mem­
bers, $75. October 15-16“Raku Firing” with Mike
and Michele Gwinup; participants should bring
4—5 bisqued pieces or 1—2 pieces will be provided.
Fee: $85; SAA members, $75. Contact Karl
Knudson, M. T. Sherman Community Ceramics
Center, 1220 12th St., SE, Salem 97302; e-mail
[email protected]; telephone (503) 581-7275; or
fax (503) 581-9801.
October 1999
Pennsylvania, Erie October 19—20“Getting from
the 2 to the 3: Various Approaches to Relief
Tilework” with Angelica Pozo. Location: Erie Art
Museum’s ClaySpace Studio. Limited space. Con­
tact Tile Heritage, PO Box 1850, Healdsburg, CA
95448; telephone (707) 431-8453; or fax (707)
October 19—20 and24“Raku.: Pressed and Direct”
with Susan and Steven Kemenyffy. Contact Tile
Heritage, PO Box 1850, Healdsburg, CA; tele­
phone (707) 431-8453; or fax (707) 431-8455.
October 23 “Tiles of Erie,” 8 3-hour tile-making
workshops with Andy and Eileen Anderson,
Veronique Blanchard, Erika Bonner, Debra Felix,
Gloria Kosco, Katia McGuirk, and Anne and Ed
Nocera. Preregistration required. Contact Tile
Heritage, PO Box 1850, Healdsburg, CA 95448;
telephone (707) 431 -8453; or fax (707) 431-8455.
Texas, Houston October 9— 10 Altering and sur­
facing thrown forms with Ron Meyers. Fee: $30;
Texas Clay Artist Association members or Univer­
sity of Houston-Clear Lake Art Association mem­
bers, $25; includes lunch. Contact UHCL Art
Association, Box 198,2700 Bay Area Blvd., Hous­
ton 77058-1090; for further information, tele­
phone (281) 283-3342.
November5—6K session with Susanne Stephenson.
Fee: $48. Contact RoyHanscom, Art Dept., North
Harris College, 2700 W. W. Thorne Dr., Houston
77073; telephone (281) 618-5609.
Texas, Ingram January 5, 12, 19 and 26, 2000
“Techniques in Clay” with Janice Joplin. Fee:
$175, includes materials and lab fee. Registra­
tion deadline: December 5, 1999. February 1, 8,
15 and 22, 2000 “Wheel Throwing” with Joe
Frank McKee. Fee: $146, includes materials and
lab fee. Registration deadline: December 30,
1999. Late registration accepted if space allows.
Contact Hill Country Arts Foundation, PO Box
1169, Ingram 78028; telephone (800) 459-HCAF
or (830) 367-5120.
Texas, San Antonio October #-70“Table Ware,”
slide lecture and workshop with Alec Karros.
Workshop fee: $182, includes lab fee. Slide
lecture is free. November 12— I^“Handbuilding:
References and Sources” with Thomas Kerrigan.
Workshop fee: $192, includes lab fee. Slide
lecture is free. Contact the Southwest School of
Art and Craft, 300 Augusta, San Antonio 782051296; e-mail [email protected]; telephone (210)
224-1848; fax (210) 224-9337.
Utah, Bluff October 2—9 “CeramicslThe Power
of Tradition: A Journey in Clay from Past to
Present” with Anita Griffith. Contact Horizons,
108-P N. Main St., Sunderland, MA 01375; e-mail
[email protected];
website; telephone (413) 665-0300;
or fax (413) 665-4141.
Virginia, Arlington October 8—9 A session with
Sandy Simon. Contact the Lee Arts Center, 5722
Lee Hwy., Arlington 22207; telephone (703) 2285256; e-mail [email protected]
Washington, Seattle October 22-24 “Sculptural
Vessels,” slide lecture and demonstration with
Adelaide Paul. Workshop fee: $95; members, $85.
Slide lecture (October 22): $4. October 29-30
“Ceramic Figures,” slide lecture and demonstra­
tion with Akio Takamori. Workshop fee: $65;
members, $55. Slide lecture (October 29): $4.
Contact Seward Park Art Studio, 5900 Lake Wash­
ington Blvd., S, Seattle 98118; telephone (206)
Wisconsin, Rhinelander October 30-31A session
with Paul Soldner. Fee: $50. Contact Treatzie
Dali, PO Box 518, Nicolet College Technical,
Rhinelander 54501; e-mail [email protected];
or telephone (715) 365-4556.
International Events
Austria, Vienna October 12-December 23 “With­
out Corset—Ceramics of the Wiener Werkstatte
1917-1932”; at the Galerie bei der Albertina,
Lobkowitzplatz 1.
Belgium, Brasschaat November 2—4 “Decoration
Techniques for Porcelain” with Peter Lane. No­
vember 2-5 “The Magic of Decalcomania” with
Giovanni Cimatti. For further information, con­
tact Atelier Cirkel, Miksebaan 272, B-2930
[email protected];
telephonelfax (3) 633 05 89.
Belgium Torhout October 16— I7“Kerathor,” ce­
ramics festival; at Groenhove, Bosdreef 5.
Belgium, Zulte October 17-November 28 Exhibi­
tion of ceramics by Claudi Casanovas; at Centrum
Goed Werk, Moerbeekstraat 86.
Canada, Alberta, Red Deer through October 8
“Three of a Kind,” ceramics by Mel Bolen, Charley
Farrero and Anita Rocamora; at Old Court House
Gallery, Red Deer and District Allied Arts Coun­
cil, 4836 Ross St.
Canada, British Columbia, Victoria October 2-3
Demonstration of neriage (or millefiori) with
Michael Haley and Susy Siegele. Fee: Can$100
(approximately US$65), includes lunch. For fur­
ther information, contact Meira Mathison, 650
Pearson College, Victoria V9C 4H7; e-mail
[email protected];
391-2420; fax (250) 391-2412.
Canada, Ontario, Toronto through October2Chris
Thompson, raku vessels. October 7-30 Leopold L.
Foulem, ceramic and found-object sculpture. No­
vember 4-20 Greg Payee, multiple-part ceramics;
at Prime Gallery, 52 McCaul St.
through January 2, 2000 “Maya Universe,” over
150 ceramic, carved stone and shell artworks; at
the George R. Gardiner Museum of Ceramic Art,
111 Queens Park.
October 13—l6F\isioris “Pottery and Glass Sale”;
at the Barbara Frum Atrium, CBC Broadcasting
Centre, 250 Front St., W.
Canada, Ontario, Waterloo through November 28
Marilyn Levine retrospective; at the Canadian
Clay and Glass Gallery, 25 Caroline St., N.
Canada, Quebec, Lachine through October 23
Diane Brouillette, “Evenements brefs: tasses,
tables”; at Musee de la Ville de Lachine.
England, Chichester October 15-17 Workshop
on throwing and turning for beginners with Alison
Sandeman. October 24—27 Raku and low-fired
ceramics with John Dunn. October30Glazing day
with Gordon Cooke. October 31-November 4
Simple mold making, including sprig molds, with
Gordon Cooke. November 5—7Ceramie sculpture
(tree forms) workshop with Tessa Fuchs. Novem­
ber 7-11 Making and decorating tiles with John
Hinchcliffe. November 19—21 Coil-built pots with
colored-slip decoration with Carolyn Genders.
November 26-28 Making and decorating simple
Hinchcliffe. December 10—12 “Master Potter Se­
ries No. 7” with Antonio Salmon, a new approach
to exploring forms for burnished and smoke-fired
ceramics. For further information, contact West
Dean College, West Dean, Chichester, West Sus­
sex POl8 OQZ; e-mail [email protected];
see website at; telephone
(243) 811 301; fax (243) 811 343.
England, Cinencester through October30“Pots with
a Tale to Tell”; at the Brewery Arts Gallery.
England, London through October 3 “The Great
Antiques Fair”; at Earls Court 1, Warwick Rd.
through October /^Hans Vangso, new work. October
20-November 17 “A Celebration of 20th-Century
Studio Ceramics.” November 23-January 21, 2000
“Commemorative Mugs for the Millennium”; at
Galerie Besson, 15 Royal Arcade, 28 Old Bond St.
through November 28 “Prestigious Pots—Ceramics
of the Yuan and Early Ming Dynasties.” through
January 2000 “A Grand Design: The Art of the
Victoria and Albert Museum.” October 13-April
23, 2000 “Mao: From Icon to Irony”; at the
Victoria and Albert Museum, South Kensington.
October 12—17 and 19-24 “Chelsea Craft Fair”; at
Chelsea Old Town Hall, King’s Rd., Chelsea.
October 22-February 20, 2000 “Gilded Dragons:
Buried Treasures from China’s Golden Ages”; at the
British Museum.
November 5-December 10 “Vision of the East,” exhi­
bition of decorative arts; at Partridge, 144-146 New
Bond St.
November 11—12 “Forms and Transformations: Re­
cent Developments in the Study of Tibetan Sculp­
ture,” Sotheby’s Institute Symposium. For informa­
tion, telephone (171) 293-6125.
November 14“Red Guards in the Sunset: Art and Life
in the Cultural Revolution,” lecture. November 16
Auction of Chinese ceramics and works of art; at
Christie’s, 8 King St; telephone (171) 839-9060.
November 7 £T Auction of Chinese and Japanese ce­
ramics, textiles and works of art. November 17 Auc­
tion of Chinese ceramics and works of art; at Sotheby’s,
34-35 New Bond St.; telephone (171) 293-5000.
November 19 Auction of Chinese and Japanese ce­
ramics and works of art; at Phillips, 10 New Bond St.;
telephone (171) 629-6602.
November 19 “Gilded Dragons—Buried Treasures
from China’s Golden Ages” lecture with Carol
Michaelson. Location: British Museum. For tickets,
telephone (171) 499-2215.
November24—.28“20th Century at Olympia,” sale of
art, furniture, jewelry, etc.; at Olympia 2 Exhibition
Centre, Hammersmith Rd.
October 1999
November 25 “Collecting Clarice Cliff,” lecture with
Len Griffin; at Olympia 2 Exhibition Centre,
Hammersmith Rd. No fee. For reservations, tele­
phone (171) 370 8345.
England, Oxford October 6—December 30 “The
Sculptural Heritage of Tibet,” Buddhist art from
the Nyingjei Lam Collection; at the Ashmolean
October 18—November 17 Three-person exhibition
with porcelain vessels by Sarah-Jane Selwood. No­
vember 22-January 5, 2000“ Wrapping Up the Year,”
three-person exhibition with stoneware vessels by
Sutton Taylor; at Oxford Gallery, 23 High St.
France, Paris October 8—31 Ceramics by Enrique
Mestre; at Galerie Ortilles Fourcat, 40, rue
France, Saint Quentin la Poterie through January
9,2000“ 10 Ans de Ceramique-Passion,” works by
38 ceramists; at Terra Viva Galerie, Rue de la
France, Vallauris through October 3 “Picasso,
L’Homme au mouton.” “Portanier, un magicien
des couleurs.” “Deux designers a Vallauris: Francois
Bauchet and Ronan Bouroullec”; at Musee Na­
tional Picasso, Musee Magnelli, Musee de la
Ceramique, place de la Liberation.
Greece, Island of Evia Autumn Workshops with
Alan Bain, handbuilding, throwing, glazing, terra
sigillata, kiln design, raku/pit/black/saggar firings,
reduction stoneware, etc. Instruction in English,
little French and Greek. All skill levels. Fee/week:
£275 (approximately US$435); includes materi­
als, firing, trips on island, lodging and meals.
Contact Alan Bain, Kalamondi Pottery, 340 05
near Limni, Evia.
Italy, Faenza through January 2, 2000 “Interna-
tional Exhibition of Ceramics 1999.” “Artisti dal
Mondo”; at the International Museum of Ceramics.
Mexico, Oaxaca November 8—13 or February 7—
12, 2000 “Pre-Columbian Wood-Firing Work­
shop,” exploring tumblestack surface firing, sunken
chamber reduction firing, stone kiln firing with
tannin staining. Fee: US$595, includes materials,
lodging, most meals, local transportation and
museum entry fees. For further information, con­
tact Eric Mindling/Rachel Werling, Manos de
Oaxaca, AP 1452, Oaxaca, Oax., CP 68000,
Mexico; e-mail [email protected]; see website; fax (52) 952141 86.
Mexico, San Marcos December 6-11 or January
24-29, 2000 A workshop with Zapotec master
potters, mining and processing clay, handbuild­
ing, decorating with slip, burnishing, quick
firing. Fee: US$595, includes materials, lodg­
ing, most meals, local transportation, museum
entry fees. For further information, contact Eric
Mindling/Rachel Werling, Manos de Oaxaca,
AP 1452, Oaxaca, Oax., CP 68000, Mexico;
e-mail [email protected]; see website at; fax (52) 95 21 41 86.
Mexico, Tonaltepec February 28-March 4, 2000
“Tonaltepec Workshop,” digging clay, forming
vessels, firing the ancient Tonaltepec kilns, post
firing hot staining. Fee: $540, includes materials,
lodging, most meals, local transport, museum en­
try fees. Contact Eric Mindling/Rachel Werling,
Manos de Oaxaca, AP 1452, Oaxaca, Oax., CP
68000, Mexico;
e-mail [email protected];
see website at; or fax
(52) 95 21 41 86.
Netherlands, Amsterdam through October 10
“Keranova,” works by 36 emerging ceramics artists
and designers; at Galerie Vromans.
Netherlands, Delft through October 2 Tjok
Nagy, ceramic boxes and objects. November 27January 8, 2000 Ross Emerson, candleholders,
clocks and plates; at Gallery Terra Keramiek,
Nieuwstraat 7.
Netherlands, Deventer through October 2 Exhibi­
tion of salt-glazed ceramics by Richard Dewar,
Francois Gallisaires, Sandy Lockwood, Peter
Meanley, Paulien Ploeger, and Franz Ruppert and
Eva Muellbauer. October 10-November 5 Ceram­
ics by Sandy Brown; at Loes and Reinier, Korte
Assenstraat 15.
Netherlands, Oosterbeek through October 11 “In
Relation with Nature,” ceramic sculpture and in­
stallations by Ingrid Berkens, Ron Meerts and
Sandra Mudde. October 23—November 21 “Ab­
stract Compositions in Clay X,” works by Wouter
Dam, Manja Hazenberg and Beatrijs van Rheeden.
Exhibition of colored porcelain by Mieke Everaet;
at Galerie Amphora, van Oudenallenstraat 3.
Puerto Rico, Santurce through October 15 “VI
Bienal de la Ceramica Contemporanea Puertorriquena y Entrega de Los Premios Casa
Candina”; at Museo de Arte Contemporaneo,
Parada 26½, Universidad del Sagrado Corazon.
Scotland, Edinburgh October21-January 8, 2000
“Ceramic Contemporaries 3,” works by emerging
ceramists; at the City Art Centre.
Scotland, Glasgow November 20—December 23
“The Plate Show”; at Collins Gallery, University
of Strathclyde, 22 Richmond St.
Spain, Manises November 19-January 31, 2000
“4th Biennal Europea de Ceramica”; at the Museu
de Ceramica de Manises.
Switzerland, Carouge October2—November28“Prix
de la Ville de Carouge 1999”; at Musee de Carouge.
Switzerland, Geneva through October 4 Ceramics
by Philippe Lambercy; at Musee Ariana, Avenue
de la Paix 10.
October 1999
alkalies into the batch, deflocculation (hard
settling) can be a problem. This type of glaze
can sometimes be reformulated to replace the
Answered by the CM Technical Staff
material that is providing the soluble alkalies.
Kaolin can be replaced with ball clay, and
can be added to provide better flota­
Q What glaze additives (such as Veegum T) are
the most effective in making a glaze brushable? tion. This should be done on a molecular basis
How much is usedper 1000grams of glaze? Glazeto make sure the glaze looks the same.
Ron Roy
settling between use is another problem. Are there
other choices besides Epsom salts, and how much
Scarborough, Ontario
should I use per batch?—M.L.
To answer your first question, one of the
best products for making a glaze brushable Q
is Is it possible to get the specificformulation (or
close) for Cliff Lee's glorious yellow
glycerin, which is available at your local phar­
macy. The best way to find out how much isglaze? I have access to Cone 10 reduction (porce­
lain and stoneware), as well as Cone 6 oxidation
right for you and your glaze is to add it gradually
(porcelain and stoneware).— E.K.
to the wet, sieved glaze.
You did not say whether you are starting Yellow glazes can be achieved with certain
prepared stains or wood ash, rice hull
with 1000 grams dry or wet. The first thing oxides,
do is mix the dry ingredients with water andash, etc. Temperature, atmosphere and, of
sieve twice through 80 mesh. Then add 20%course, the underlying clay body, play a major
glycerin by wet volume; e.g., if your glaze role in color development. Glazes that contain
amounts to 20 ounces, then add 4 ounces vanadium stain, by itself or in combination
with copper carbonate, can produce successful
glycerin. Stir well and try it out. If it’s still not
brushable enough, add another 2.5% (in thisyellows in an electric kiln. Yellows may be mor
difficult to produce in a gas kiln, but combina­
case, 0.5 ounce), mix well and try again. Keep
tions of rutile, iron oxide, titanium dioxide or
adding in small increments until you are satisfied,
stains could yield the desired result. Success
but don’t use any more glycerin than you need
depends on the glaze base and the amount of
for workability! It will only thin out the glaze.
Matt iron yellows are easier to pro­
Keep track of how much you had to add so reduction.
duce than gloss, but the surface could be more
won’t have to figure this out again, and be sure
to keep the glaze containers well sealed. mottled than you desire.
For your second question, Epsom salts are I would suggest that you begin with one or
very good for keeping glazes in suspension.two
Theglaze bases at the temperature or atmo­
sphere you prefer. Design a series of tests using
best way to prepare Epsom salts is as follows:
both oxides and commercial stains, either by
Dissolve 4 tablespoons in a cup of boiling-hot
themselves or in combinations, at varying per­
water, sieve any undissolved out and store the
centages. Here is a selection of base glazes that
remainder in a squirt bottle. Add 1 table spoon
to a 5-gallon bucket of glaze and stir well. you may wish to experiment with:
Let the glaze sit for 15 minutes, then stir
Base Glaze 1
again. If it has thickened a bit, that may be
(Cone 4-6)
enough. You will be able to tell if it has worked
when you go to stir the glaze up again after Custer
a day. Feldspar................................ 24
Don’t add anymore Epsom salts than youF-38 Frit (Fusion)............................ 33
absolutely have to. Soluble materials in glazes
Ball Clay.......................................... 10
can lead to problems. Again, keep a record Flint..................................................
how much you had to add to make the glaze
behave so you will know approximately how
For white, add 10% Zircopax.
much you will need next time.
The trick is to get the batch to stay sus­
Base Glaze 1
pended long enough to glaze, say, ten pots
(Cone 9-10, reduction)
without stirring. All glazes will settle out be­
Whiting...................................... 19.6%
tween glazing sessions; that is normal. If they
Custer Feldspar.......................... 27.5
cake hard at the bottom of the bucket, then Edgar Plastic Kaolin.................. 20.0
some sort of action is needed.
Flint............................................ 32.9
If there is not enough raw clay called for in
the recipe, then suspension will probably be a
problem. If there is nepheline syenite, lithium
Base Glaze 2
carbonate or some other material that releases
(Cone 9-10, reduction)
Whiting........................................ 20 %
Have a problem? Subscribers’ questions
Custer Feldspar................................ 35
are welcome, and those of interest to the
Plastic Kaolin........................ 15
ceramics community in general will be an­
Flint.................................................. 30
swered in this column. Due to volume,
letters may not be answered personally.
Mail to Ceramics Monthly, PO Box 6102,
Westerville, Ohio 43086-6102, e-mail to
[email protected] or fax to
(614) 891-8960._____________________
Jonathan Kaplan
Ceramic Design Group
Steamboat Springs, Colorado
October 1999
Continued from page 10
traveling about 30,000 miles a year. My work
would not be possible without the love,
support and help from my wife Beverly. In
addition, I have a team of three part-time
assistants, Ryan McKerley, Anna
Antoniewicz and Holly Rengold. To top it
off, I have the inspiration of five good dogs.
Billy Ray Mangham, San Marcos, Tex.
Observations at War Eagle
There comes a lull in far too many an
outdoor arts and crafts fair when one has the
special moment to simply listen to the folks
conversing in front of the booth. Earlier on
the day of this writing, I watched two fami­
lies become reacquainted. From the begin­
ning, I realized that the families were very
close years ago and this was their first, albeit
chance, meeting since the late 1970s. I didn’t
learn any of their names, but I listened care­
fully because I could.
The two men, now in their fifties, had
worked together in an auto body shop two
decades ago. One had continued with this
line of work, and the other had “moved on”
to be an insurance adjuster. They covered
several topics in just a few short minutes, one
notably was their health. Both complained of
breathing difficulties. There was a third
fellow mentioned who regrettably had passed
away a few years ago from lung cancer. The
dialogue suggested he was a victim of an
occupational hazard, and the two discussing
it seemed aware of but only slightly con­
cerned for their own health.
The father of the man who continued
with the lifelong profession of auto body
work was standing beside his son. He seemed
to be a gentle gentleman in his eighties. I
learned that he had been a minister all of his
adult life, and so had the father of the insur­
ance adjuster; he told the story of his father’s
“Dad said he always wanted to die in the
pulpit, but instead he simply excused himself
from the table one night, left the dining
room, sat down in his favorite chair and it
was over real fast.”
I learned then that the father of the auto
body mechanic had been, long ago, a close
friend of the insurance adjuster’s father. He
began to sob and, with some difficulty, he
pulled out his handkerchief. The insurance
adjuster reassured him that his father’s pass­
ing “must have been with the least amount of
suffering, and so we should save some tears
for our loved ones who do suffer greatly in
their last hour.”
He went on to say, “At least you’re still on
your feet.” The old minister said nothing,
still saddened by his friend’s passing. The old
man’s son said, “Dad had a stroke two years
back and never got his speech back.” I hadn’t
October 1999
noticed this and I don’t believe the insurance
adjuster did either, since he was doing most
of the talking. The insurance adjuster then
said to the older man, “Well, it’s not like you
didn’t get enough words in from the pulpit
before you lost your tongue.” The older man
seemed to cheer up to this chiding.
The “boys” continued talking about
looming retirement, the future of the insur­
ance industry, company politics, and so on.
Meanwhile, “Dad” came over and into our
booth. I simply said to him, “Hi, good after­
noon,” and he audibly replied. Whatever he
said was wholly inarticulate, but I believe I
understood his meaning.
He stood there alone in our booth look­
ing upward at the planters and hummingbird
feeders hanging overhead. His arms were
slightly outstretched and lifted forward. I had
guessed that he was looking beyond my
pottery pieces, way beyond. He remained
transfixed for what seemed a long time. I felt
good about having him in our booth, as if the
booth could give him a hug. He certainly
needed a hug, and the booth wasn’t serving a
greater need in the great scheme of things.
There was calm and quiet for a moment in
the absence of shoppers, then he turned and
left. I felt an emptiness in my booth space
that couldn’t be filled the rest of the day.
Jim Wallace, Eureka Springs, Ark.
Pretentious Descriptions
I like most things about this magazine,
except for the self-absorbed, pretentious arty
waffling that some people use to describe
their work!
Geraldine Dunne, Kildare Town, Ireland
Unique Experiences
I especially enjoy in-depth interviews of
artists sharing their unique experiences and
expressions. General ceramics information
can be found in a variety of other sources,
and need not be presented in Ceramics
Monthly, unless it is a new approach to an
old technique.
Jay Flint, Leverett, Mass.
Good Balance
CM is the single most important publica­
tion to which I subscribe. It has a good bal­
ance of different areas of interest. I especially
like seeing a composite of the artist, the
workplace, the process, glaze recipes and
finished product—particularly in the Cone
10, gas-reduction-fired context.
Jean Wadsworth Cochran, New Haven, Ky.
Ask Away
This informative publication answers my
questions, sometimes even before I ask them!
Tammy Corey, DuPont, Wash.
October 1999
October 1999
10 7
Keeping the Fire Under Control by Cheri Long
In the past 10 to 12 years, the wood- jukebox when I surround myself with
firing aesthetic has become much more anagama-fired pots. It is a comical image,
common in exhibitions and sales galler­ and yet it strikes an uncomfortable chord.
ies throughout the United States. For ex­ Are we trying to become Japanese? If so,
ample, more than half of the pieces in can we? If not, then why do we so desper­
this years “Strictly Functional Pottery ately try to make our work look as if it
National” at the Market House Craft were done by a country potter of the
Center in East Petersburg, Pennsylvania, Momoyama period?
were wood fired. The number of woodEven if we were able (as Western pot­
fired kilns has grown exponentially each ters of the late 20th century) to capture
year. Wood firing is “hot.” It is “in.”
the external form of a Tamba or Bizen
At the same time, the look of Japanese teabowl perfectly, would the “spirit” of
ware fired in similar kilns has also taken the pot speak for its complete heritage?
the U.S. pottery community by storm, We do not have the same religious or
resulting in more and more Japanese- cultural foundation on which to build
inspired pots. The wood-fired teabowl, such objects. We simply have the techni­
the off-centered water jar and the large cal ability and the desire. Is that enough?
storage vessel are common forms to those
The Modern Twist
who fire with wood.
In April 1998,1 attended a workshop
And this makes sense. The informal,
loosely thrown shape of a Japanese teabowlwith Ryoji Koie (see the June/July/Auor water jar certainly does lend itself to gust 1999 CM) at the University of Wis­
the uncontrollable surface variations that consin at La Crosse. Koie does not make
appear as a result of the wood-firing pro­ only tea ceremony wares. He does not
cess; however, it is a fine line that distin­ always fire in an anagama or noborigama.
guishes between having a particular He is a political visionary: a 20th-century
historical style “influence” one’s work and artist who works in clay.
In a conversation with his interpreter,
the actual appropriation of that style.
I would challenge the wood-firing it became clear that Koie was curious
community to keep the fire under con­ about Americans who are infatuated with
trol. By this, I don’t necessarily mean to trying to recreate Japanese pottery. He
rein in the firing process. Rather, I am told me that they are all in kindergarten
if they are attempting to make Japanese
suggesting we take personal, artistic re­
sponsibility for the individuality and pots. Here, they are graduate students
uniqueness of our work, not only by cre­ and professors. Why don’t they make
ating forms in our own voices, but striv­ American pots, he wondered.
At a postworkshop party, Koie and
ing toward the creation of forms that are
meant for a particular type of wood firing. another visiting Japanese artist, a
This includes those anagama enthusiasts swordmaker, entered into a heated de­
who make Japanese-inspired tea ware, as bate. Koie argued that he should leave
well as those who fall into the “mingei- history behind and find his own voice in
sota” aesthetic of noborigama firing. metalsmithing. The swordmaker’s point
Those who fire glazed ware in wood- of view was that it was essential to a
burning kilns are also included—we culture to carry on tradition, to preserve
wouldn’t want to leave out the Oribe and history and to teach the youth their heri­
tage. Neither argued that other artists
Shino traditions.
from other cultures should adopt and
The So-Called Wood-Fire Aesthetic
further Japanese traditions.
Do you remember the popular song
Taking Responsibility for Form
from the early 1980s with the refrain
“I’m turning Japanese. I think I’m turn­
What’s form got to do with it? In his
ing Japanese. I really think so”? This song article “Rekindling the Fire” (Ceramics:
is played again and again on my internal Art and Perception,¥\o. 16,1994),Ameri108
October 1999
can potter Randy Johnston commented
on the history of wood-firing technique:
“The history of the technique, while it
might provide the facts with which we
can become familiar and with which we
could be more comfortable than we are
with the pieces themselves, satisfies little
more than the craving for information
that characterizes the time in which we
live...Surely, these pieces bear the history
of whatever techniques produced them,
but their significance resides more in their
presence than their history. It is an aes­
thetic necessity that transcends historical
discussion. It is the memory of the fire,
not the history of the fire that gives them
living presence. They are evocative, emo­
tive, distinct, alive.”
Johnston does attempt to bring the
wood-fired pot out of its historical con­
text and into its own presence; however,
in concluding that it is the fire that gives
the pieces living presence, he seems to
have left out a vital element—the control
and decision-making of the artist!
It seems to me that a clay artist, in the
making of his or her work, has two im­
mediate responsibilities: the forming of
the object and the firing of the object.
Just as a vessel is not complete before it
has been fired, it is not a complete artistic
expression if only the firing process has
been considered. And both of these
choices are intentional, personal, artistic
decisions. As I mentioned earlier, there is
a fine line between being influenced by a
particular genre and the actual copying
of that genre.
The Right Kind of Form
The Japanese storage vessel, teabowl
and water jar are all appropriate forms for
wood-firing effects; however, they are not
the only forms that are appropriate for
this type of firing. Even if a contempo­
rary artist chooses to use these historic
wares as influences, it is possible to create
a unique artistic statement based on an
objects nature, rather than copying the
objects form.
I believe that the potters of Tamba,
Bizen and Shigaraki were all responsible
for their wares’ formal structure, as well
as the firing. However, these forms were a
result of their culture, their religion, their
customs and their heritage. When we in
October 1999
expressions of their own visions. Once clay and lose sight of the fact that a pot is
those forms take shape in the artists’ a human utterance....It is well to remem­
minds, the next step should be to deter­ ber that each object can only utter what
the West make these forms, they are sim­ mine which firing technique will best the maker puts into it, intentionally.”
ply pots of a Japanese derivation—not serve the form.
Are we still where Rawson saw us eight
years ago? Or are we now ready to rise to
necessarily the artistic vision of a 20thThe Right Kind of Firing
century Western studio potter.
his challenge?
Too often, wood-fire potters become
My argument here, then, is simply to
British curator and author Philip
Rawson addressed this concern in the trapped by the surface qualities they know utter one’s own artistic vision intention­
August/September 1992 issue of Ameri­ will result from the process. Hence, the ally—at every step in the making of an
can Craft: “The modern versions of such forms they create are limited by this sur­ object. To allow the history of the work
to dictate its form, then sit back and
wares are not meant to be used on forms face quality. I would suggest that there
allow the fire to give the piece its
to contain anything much. Instead,
living presence, seems an abdica­
they may be looked at on a shelf in
Form should demand the firing, rather than
tion of artistic responsibility to the
a collection.’ So the potters now
give their main attention to shap­
the firing dictating form.
As wood-fire artists, we have
ing authentic-looking exteriors, and
made an intentional choice. We
consequently the pots lose an ex­
tremely important dimension of formal are many kiln types available, and that prefer to fire our work in a wood-fueled
ceramic interest and underlying spiritual the form should demand the firing, rather Idln. But that choice alone is not enough.
We need to learn to keep the fire under
than the firing dictating form.
Eight years ago, at the “American control, and to remain the only decision­
I would argue that the responsibility
of contemporary potters is to create forms Woodfire ’91” conference hosted by the making force in the creation of the forms
that are of their culture, their religion, University of Iowa, Philip Rawson gave a we choose to submit to the fire.
their customs, their heritage—and to talk entitled “A Good Pot ‘Speaks’ from
make those forms appropriate for the kilns Maker to User.” He began with the ob­ The author Studio potter Chen Long
earned an M.F.A. at the University of
servation “There is a danger that crafts­
in which they will be fired.
I would also suggest that it is the re­ men who do wood firing can become Iowa; she is a former resident of the Archie
sponsibility of 20th-century studio pot­ totally absorbed in the complex process Bray Foundation and now resides in
ters to create forms that are unique of producing amazing objects in fired Marysville, Montana.
Index to Advertisers
A.R.T. Studio.......................................17
Aftosa.................................................. 79
Amaco .................................................25
ACerS.................................... 80, 85, 89
Amherst............................................. 102
Anderson Ranch................................ Ill
Annie’s Mud Pie Shop...................... 104
Antik.................................................... 82
Axner Pottery.......................................81
Bailey Pottery.................. 1, 6, 7, 27, 83
Bluebird............................................ 101
Brent.................................................... 23
Brickyard.......................................... 100
Brown Tool Co................................. 108
Ceramics Studio Supply......................93
Ceramics Monthly........................87, 99
Classified.......................................... 106
Clark Art Glass & Refractories...........78
Clay Art Center................................... 92
Clay Factory...................................... 110
Clay Times.......................................... 96
Clayworks Supplies ......................... 102
Coloramics........................................ 110
Contemporary Kiln..............................80
Continental Clay................................. 10
Corey Ceramic Supply........................ 90
Cornell Studio..................................... 80
Creative Industries...............................86
Del Val.............................................. 102
Dolan Tools.........................................98
Doo-Woo Tools................................ 105
Duralite............................................. 102
Euclid’s............................................... 78
Falcon............................................... 110
Gare.................................................... 11
Geil Kilns............................................ 21
Georgies............................................ 104
Giffin................................................... 77
Gordon Ward Ceramics.......................98
Great Lakes Clay.............................. 103
Hammill &C Gillespie............... 92, 107
Hampshire Woodworking................. 109
Handmade Lampshades ................... 104
HBD ................................................. 102
Highwater Clay................................... 76
Hones, Charles A.............................. 110
ITC...................................................... 95
Jepson Pottery................................30, 31
Kickwheel Pottery.................................2
Krueger Pottery...................................98
L &: L.........................................Cover 3
Laguna Clay....................................... 13
Lark Books....................................... 109
Leslie Ceramic Supply........................ 99
Lockerbie.......................................... 103
Retriever Payment Systems................. 84
Runyan Pottery Supply........................ 94
Martin Street........................................78
Master Kiln Builder.......................... 104
Max Wheel........................................ 110
MBF Productions................................ 80
Miami Clay....................................... 103
Mid-South Ceramic Supply................ 15
Mile Hi Ceramics.............................. 110
Modern Postcard............................... Ill
MPG Corp........................................... 98
Sapir Studio....................................... 101
Scott Creek Pottery.............................. 90
Seattle Pottery................................... 103
Sheffield Pottery.................................. 88
Skutt Ceramic Products............. Cover 4
Smoky Mountain Pottery.................... 78
Southern Pottery..................................80
Spectrum Glazes................................. 26
Standard Ceramic Supply................. 109
Studio Potter..................................... 102
National Artcraft............................... 110
New Mexico Clay................................78
Nidec-Shimpo.............................Cover 2
92nd St. Y......................................... 105
North Star Equipment .................. 19, 99
Ogeechee Pottery Works.....................78
Olsen Kilns....................................... Ill
Olympic Kilns....................................... 8
Tara Productions.................................. 29
Thomas-Stuart................................... 105
Trinity Ceramics.................................. 93
Tucker’s Pottery...................................97
U. S. Pigment ................................... 105
University of Minnesota................... Ill
Venco..................................................... 9
Vent-A-Kiln......................................... 94
Paragon Industries...............................78
Pebble Press ....................................... 80
Peter Pugger...................................... 104
Pine Ridge Pottery............................ 107
Potters Shop...................................... 100
Pottery Making Illustrated.................. 91
Pure & Simple.....................................98
West Coast Kilns............................... 102
Westerwald Pottery........................... 104
Wise Screenprint............................... 104
Wolfe, Jack D...................................... 98
Worcester Center............................... 101
Ram Products ..................................... 98
Young &c Constantin Gallery............. 84
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