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PC-2 Saturation Gold

PC-27 Tourmaline

PC-35 Oil Spot

PC-43 Toasted Sage

PC-55 Chun Plum

PC-1 Saturation Metallic

PC-25 Textured Turquoise

PC-34 Light Sepia

PC-42 Seaweed

PC-53 Ancient Jasper

PC-57 Smokey Merlot

PC-46 Lustrous Jade

PC-36 Ironstone

PC-28 Frosted Turquoise

PC-4 Palladium

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PC-59 Deep Firebrick

PC-48 Art Deco Green

PC-37 Smoked Sienna

PC-29 Deep Olive Speckle

PC-12 Blue Midnight

PC-60 Salt Buff

PC-49 Frosted Melon

PC-39 Umber Float

PC-30 Temmoku

PC-20 Blue Rutile

Application Notes @ Potterschoice.info

PC-50 Shino

PC-40 True Celadon

PC-32 Albany Slip Brown

PC-21 Arctic Blue

Potter’s Choice

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PC-41 Vert Lustre

PC-33 Iron Lustre

PC-23 Indigo Float

Cone 5-6


Bailey Gas and Electric Kilns

Manual and Programmable Gas Kilns “The Midwest Clay Guild is one of the oldest artist cooperatives in the US. In 2012, we moved into our new facility providing more space for our membership. Our old gas kiln was hand made, and we wanted a state-of-the-art kiln to attract new members. “After thorough comparisons of commercial gas kilns, we purchased a Bailey FL DLX 28/18. The Bailey staff was very helpful in every respect, from installation to firing techniques. In no time, we were getting consistent, beautiful results. We were stunned when we realized that a cone 10 reduction firing cost only $12. Our old kiln cost us $90! We also discovered it was much cheaper to fire a bisque load in the Bailey gas kiln compared to our electric kilns. “We couldn’t be happier. Our Bailey is easy to fire, super efficient and the beautiful results have attracted many new members to our guild.” Dana Shearin (president) and Jill Birschbach (studio manager) of the Midwest Clay Guild Evanston, Ill. To see examples of the beautiful work produced at the Midwest Clay Guild, go to: www.midwestclayguild.org

Bailey “Double Insulated” Top Loaders, have 32% less heat loss compared to conventional electric kilns. Revolutionary Design There are over 12 outstanding features that make the Bailey Thermal Logic Electric an amazing design. It starts with the Bailey innovative “Quick-Change” Element Holder System. And there’s much more. Look to Bailey innovation when you want the very best products and value.

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No other oval kiln can match the features of the Cone Art BX4227D Oval !

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editor Sherman Hall managing editor Jessica Knapp associate editor Holly Goring editorial assistant Erin Pfeifer administrative specialist Linda Stover technical editor Dave Finkelnburg online editor Jennifer Poellot Harnetty Advertising/Classifieds advertising@ceramicsmonthly.org telephone: (614) 794-5834 fax: (614) 891-8960 classifieds@ceramicsmonthly.org telephone: (614) 794-5843

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Publisher Charles Spahr Editorial Advisory Board Linda Arbuckle; Professor, Ceramics, Univ. of Florida Scott Bennett; Sculptor, Birmingham, Alabama Val Cushing; Studio Potter, New York Dick Lehman; Studio Potter, Indiana Meira Mathison; Director, Metchosin Art School, Canada Phil Rogers; Potter and Author, Wales Jan Schachter; Potter, California Mark Shapiro; Worthington, Massachusetts Susan York; Santa Fe, New Mexico

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Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by Ceramic Publications Company; a subsidiary of The American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. The publisher makes no claim as to the food safety of published glaze recipes. Readers should refer to MSDS (material safety data sheets) for all raw materials, and should take all appropriate recommended safety measures, according to toxicity ratings. subscription rates: One year $34.95, two years $59.95, three years $89.95. Canada: One year $49, two years $89, three years $135. International: One year $60, two years $99, three years $145. back issues: When available, back issues are $7.50 each, plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); and $9 for shipping outside North America. Allow 4–6 weeks for delivery. change of address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, P.O. Box 15699, North Hollywood, CA 91615-5699. contributors: Writing and photographic guidelines are available online at www.ceramicsmonthly.org. indexing: Visit the Ceramics Monthly website at www.ceramicsmonthly.org to search an index of article titles and artists’ names. Feature articles are also indexed in the Art Index, daai (design and applied arts index). copies: Authorization to photocopy items for internal or personal use beyond the limits of Sections 107 or 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 0009-0328, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923, USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, or for advertising or promotional purposes, or to republishing items in whole or in part in any work in any format. Please direct republication or special copying permission requests to the Publisher, The Ceramic Publications Company; a subsidiary of The American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082, USA. postmaster: Send address changes to Ceramics Monthly, P.O. Box 15699, North Hollywood, CA 91615-5699. Form 3579 requested. Copyright © 2013, The Ceramic Publications Company; a subsidiary of The American Ceramic Society. All rights reserved. www.ceramicsmonthly.org


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contents april

2013

volume

61,

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editorial 8 From the Editor Sherman Hall 10 Letters

techno file 12 Shrinkage by Dave Finkelnburg

There are many conditions that contribute to shrinkage faults as ware dries, but there is no single remedy that will cure the destructive warping and cracking that occurs. However, there are basic principles to guide you and minimize problems caused by shrinkage.

tips and tools 14 Sgraffito Tools by Nancy Gallagher

When clay-working tools wear out, it’s not always easy, or cheap, to replace them. So why not try to make a tool to fit your exact project needs, and your budget?

exposure 16 Images from Current and Upcoming Exhibitions

reviews 44 Go East: Canadians Create in China

An exhibition at the Gardiner Museum in Toronto, Canada, explores the connections between pieces made by nine contemporary Canadian ceramic artists who have been influenced by their travels to China. Reviewed by Heidi McKenzie

52 No Rules: Contemporary Clay

A group exhibition of works that redefine ceramics was shown at the Elmhurst Art Museum in Elmhurst, Illinois. It was a fitting pairing, as the museum is sited in a house designed by Mies Van Der Rohe, who redefined architecture. Reviewed by Emily Schroeder Willis

resources 77 Call for Entries

Information on submitting work for exhibitions, fairs, and festivals.

78 Classifieds

Looking to buy? Looking to sell? Look no further.

79 Index to Advertisers

spotlight 19

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80 Dinnerware Museum

How many times have you gone into a museum hoping to see some great ceramic pots only to discover a few shards tucked in the back? Well thanks to Dr. Margaret Carney, that’s all about to change.


clay culture 22 Bomb Pots by Debra Chronister

This isn’t what you think. Chronister isn’t talking about those accidental kiln bombs we’ve all experienced in one way or another, but her experience reproducing pots that were actually designed and used as explosive weapons over 300 years ago.

26 The Last Sane Man by Mark Hewitt

Michael Cardew’s life and career has had a huge impact on innumerable potters as well as the studio ceramics field as a whole. A new biography sheds light on Cardew’s complexities, convictions, and creativity.

28 Tableware Design by Linda Bloomfield

A new book traces the relationship between studio pottery and industry in Britain and the United States.

studio visit 30 Betsy Williams, Dixon, New Mexico

From studying Russian to day trading for a Japanese bank to working as a fulltime potter in a secluded mountainous studio in New Mexico, Williams has had a varied career path. She has also carved out an extraordinary space to make not only pots but a life as well.

features 34 Mineo Mizuno: Water, Silence, Zero by Kathleen Whitney

Despite huge differences in scale and surface, a focus on the element of water has unified Mineo Mizuno’s sculptural work over the last decade.

39 Sanam Emami: Channeling the Silk Road by Glen R. Brown

Pattern and form inspired by historical European, Islamic, Japanese, and Chinese ceramics meld together in Emami’s utilitarian forms.

48 Infinite Interpretations by Christina Bryer

Think thin porcelain. Now think even thinner porcelain. These translucent plates are a slip-casting marvel but not nearly as impossible to make as you would think.

57 Summer workshops

Need a creative recharge after a long winter? Check out the more than 300 workshops being offered this summer at locations near and far.

recipes 51 Basic Porcelain Slip

cover: Detail of Mineo Mizuno’s 23577 x Zero, 4 ft. ½ in. (1.2 m) in diameter, 2009. right: Sanam Emami’s tulipiere,13 in. (33 cm) in height, porcelain, silk-screen transfers, 2010. Photo: E. G. Schempf.

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from the editor respond to shall@ceramicsmonthly.org

It seems like I’ve been glazing for two weeks. It’s only been two hours. It’s been so long since I’ve glazed any ware—and such a long time since I made and bisque fired the pieces I’m glazing—that it feels like starting from scratch. This time lapse introduces a considerable disconnect into my making process, and it forces me to pretty much rediscover my thinking about how I’m going to glaze these pieces. I can recall having ideas about glazing and the finished surfaces when I was making the work, but I don’t necessarily recall those plans or ideas two or three months later. Now, in some ways

I’ve done so far, what I might keep for the next pieces, and which pieces I need to wipe off and try glazing again. I can’t decide if having a plan and pushing through several pieces assembly line style is better, or coming at each one anew is the better way to go. Having ten mugs come out of the kiln successfully but all the same is satisfying in a way that is completely different from the excitement of six of them not really working out, two of them being pretty good, one being very successful, and one just knocking my socks off. If I don’t think about the return on investment (primarily of time), but rather the creative risk versus reward, the latter is always preferable—but it can be exhausting. Hopefully I can find a good middle balance, because, while it’s nice to know I can fire a whole kiln load of pots with predictable It used to be that, for every hour I spent glazing, I spent 20 minutes looking back and forth between these two sets of shelves in my studio, trying to come up with a plan. Now, I just dive right in, knowing success, it gets old faster than I that sometimes the best way to figure out the glaze for a piece is to get it wrong a few times. thought it would, and no one wants to be bored unloading a kiln. I suppose part of this phenomenon has to do with the question we often forget to ask ourselves when we are working on perfecting technique: “What would you make if you could make whatever you wanted to?” I tend to add to this, “with only a few hours a week in the studio,” and then I add, “in a 20-yearold kiln with tired elements,” and then I get over myself a this might be a good thing, since it forces me out of any routine I little bit and realize that I am lucky to have the time and equipment may have developed without realizing it, but it also means I may I have. What would I make? Exactly what I’m making. I’ve made miss the opportunity to really integrate the surface and form. What my choices, and the work I make is the result of those choices. I I mean is that I “knew” the forms better when I was making them, think this is true for all of us, whether we’re in full-time production and that knowledge is not always concrete or linear, making it more or making one-offs on a very part-time schedule. difficult to pull it back from memory (intellectual memory at least). The more distance there is between forming and glazing, the more awkward the glazing process can be. So I’ve started to make extras that are intended to be used as “warm ups” when I start to glaze. Now, after two hours of glazing duds, I feel like I have a sense of where I was going with these forms, and maybe just a little better understanding of how best to glaze them. And I’m also tired, so I think I’ll go have a nice refreshing beverage and think about what Sherman Hall

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America’s Most Trusted Glazes™

Cone 05-10 “I love their versatility. I use them on leather hard or bisque fired clay, watered down for watercolor effects or at full strength for an intense pop of color. They look great with or without glaze and because they don’t flux out, they are perfect for the bottoms of pieces too!” Chandra DeBuse Kansas City, MO

Garden Treat Server V-343 Chartreuse V-387 Bright Red V-370 Velour Black White Stoneware Cone 6

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More About Chandra www.ceramicsmonthly.org

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letters

email editorial@ceramicsmonthly.org

Thank You to a Student I have been teaching high school pottery for thirteen years in Orlando, Florida. I had the privilege of being taught pottery by Tim Ludwig when I was in high school at Spruce Creek High School in Port Orange, Florida. When I was in my fourth year teaching high school pottery, one day I spent my lunch consoling another art teacher who was having a hard time believing that her students appreciated the hard work that she puts

in every day to teach them drawing and two-dimensional design. I told her that high school kids do appreciate what we do, but it is not in their nature to thank us or show gratitude. When I sat down after school to read the “Letters��� in the March 2004 issue of Ceramics Monthly, a heading caught my eye that said, “Thank You to a Teacher.” I thought to myself, “Wow! What a cool thing to do; thanking their pottery teacher.” As I read the next few lines I realized that it was one of my students thanking me. I broke down. What a nice thing to do. I called my Mom to tell her and then I called Mr. Ludwig to thank him. Amazing. I feel that the silica-stars have aligned in my classroom, and it is time for me to thank a student. Breanne Rappa is an

example of why I teach pottery. She has been one of the most dedicated, talented, tenacious, and skilled clay artists that have come through these studio doors. She inspires others in the studio to steer clear of the bare-minimum and to create artwork that pushes the boundaries of their abilities. Bree, you have the drive and talent to do whatever you want when you graduate this June. I wish you the best of luck in your adventures. Thank you. Chad Allman, Orlando, Florida One of the best ways to thank a student is to tell them about Ceramics Monthly’s Undergraduate Showcase, which will appear in the September issue. And one of the best ways to thanks a teacher is to send your work in! See below for details.—Eds.

Undergraduate Showcase

to appear in the September 2013 issue of Ceramics Monthly

Open to all undergraduate students enrolled in ceramics classes at accredited post-secondary educational institutions, including 2013 graduates. To be considered, please submit the following materials: • Up to five (5) professional-quality digital images (300 ppi resolution) on CD and a complete description of each work submitted • A full-size color print (as large as the image will print at 300 ppi) of each image. Images should print to at least five (5) inches in the smallest dimension; because accepted images are published, larger is better. • Full contact information including email address • 500 words discussing the body of work you are submitting • Institution at which you study and instructor name(s)

Mail to: Undergraduate Showcase, Ceramics Monthly 600 N. Cleveland Ave., Ste. 210 Westerville, OH 43082

Arrival deadline: June 24, 2013 Do not submit materials in binders or folders. E-mailed submissions and submissions of more than five images will not be considered. Submitted materials will not be returned. Due to the volume of submissions, we are unable to acknowledge receipt of materials. Notification of acceptance will be sent via email by the end of July.

Do you know a deserving undergraduate? Do they need a nudge? Pass this along and help them get the recognition they deserve.

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TECHNO FILE

Shrinkage

by Dave Finkelnburg

Most of us learn the hard way that clay shrinks as it dries and is fired. Cups with cracked handle attachments, S cracks in the bottom of bowls or on platters, you name it. Fortunately learning more about the physical effects of shrinkage can save us all a lot of headaches. The First Law of Clay says that all ceramics are weak in tension compared to their relatively high strength in compression. As an example, you can stack 25 to 30 times as much weight on top of a brick before it is crushed as you can hang from the same brick before it gives out. This huge difference between tensile and compressive strength, typical of all brittle materials, is why a drying crack is always caused by the two sides of the crack being pulled away from each other. Warping during drying is always caused by tension pulling the clay away from its intended shape. So what makes clay bodies shrink when drying and when firing and how are these two stages different? Clay shrinks in drying because the water in the body takes up space. Mass is reduced as water evaporates. It’s that simple. Clay shrinks in firing because the clay and flux materials melt (but usually the grog and/or quartz does not melt, even at high temperatures) and transform into glass and a crystal called mullite. This melting makes the body denser, and to become denser it must shrink. Low-fired bodies don’t shrink much in firing and aren’t as dense because they don’t form much glass and form no mullite at all.

This simple illustration of a plate form shows the shrinkage forces that will act to crack and warp the plate. The rim is exposed to air on both sides so the rim dries (and shrinks) faster than the center, while the center, even if the foot is sitting on a porous surface, has significant air movement on only the top side. The image here shows how faster drying of the rim will tend to warp the rim upward. That creates tension in the center of the plate and tends to form an S crack. Since the rim is in tension, in extreme cases radial cracks can form from the rim toward the center of the plate. Cracking and warping caused by shrinkage can occur both in drying and firing. The remedies, however, must be different. Here are some possible remedies to prevent these faults during firing. Clay forming and assembling processes must keep the clay density as uniform as possible. Uniform thickness of the form also helps reduce cracking, particularly with rapid firing. Otherwise the thinnest parts will heat up fastest, and thus fire to maturity and shrink first, while thicker parts will lag behind, thus setting up a different rate of shrinkage in different portions of the piece—similar to what happens to wet greenware in a drafty room.

Taking a Tip From Industry Clay bodies, shapes and forms, weather conditions, and various forming techniques all contribute to warping and cracking as ware dries and shrinking occurs. Because there are an infinite variety of forms and processes, there is no single remedy that will cure these troubling faults. However, there are basic principles to guide the artist and minimize problems caused by shrinkage during drying. First, the shrinkage must be managed so that it occurs uniformly—at the same rate in every part of the ware. This is, of course, easier said than done. When diagnosing shrinkage and warping, the point to examine is where the fault occurred. That point was literally pulled out of shape or pulled apart by the clay shrinking. Here is where we can take a tip from the whiteware industry. Industrial ware dryers minimize shrinkage problems by controlling both temperature and humidity at the same time. The humidity in the dryer is held near 100% while the temperature is raised to about 180°F (safely below the boiling point of water). Once the internal temperature of the ware is judged to be about the same as the air in the dryer, the humidity is gradually reduced and drying begins. The humidity-controlled air is circulated continuously within the dryer during this drying phase so that all parts of the ware dry

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uniformly. When the ware is bone dry, it is removed from the dryer and sent to the kiln. Any steps the potter can take to mimic an industrial ware dryer and drying in the studio, in other words to make drying more uniform, will minimize warping and cracking from drying shrinkage. Air movement from heating systems, fans, doorways, etc. are obvious potential causes of irregular drying. Covering ware with two or three layers of cheesecloth is an excellent way to stop drafts of air around the ware. In some cases, an additional layer of light plastic may be required to slow drying. Where there are thick and thin parts on the same piece, the potter will frequently have to make a particular effort to slow drying on the thin sections to allow the thicker clay to dry as fast. Wrapping specific parts of ware—platter rims or pitcher handles for example—in light plastic or painting them with wax resist will slow drying at those points. Just turning forms over so the base is exposed to the air while the rim is against a solid surface can prevent some drying problems. The goal is always to manage drying at vulnerable points to allow the rest of the ware to dry at a similar rate.


Calculating Shrinkage All clay bodies shrink as they dry. The easiest way to measure dry shrinkage is to make a test tile, carefully measure how long it is while it is still wet, and then dry it completely and measure its length again. The difference in the length of the tile between wet and dry stages is the dry shrinkage. This shrinkage number divided by the original wet tile length is the fraction of the length that the tile shrank. The fraction multiplied by 100 is the shrinkage in percent of the original tile length. A shrinkage tile can also be fired and one can use the same method to calculate percent shrinkage from wet to fired and from bone dry to fired, provided the length measurements are made at each stage. Many clay body manufacturers report the shrinkage of their clay

bodies in percent. High-shrinkage bodies will be more likely to crack and warp in drying and firing than low-shrinkage bodies.

Percent shrinkage = 100 × (starting length – length after shrinking)⁄ starting length Another way to state this is % shrinkage = 100 × change in length⁄ starting length Note the greater the change in length due to shrinkage, the greater the % shrinkage.

Know your Clay Body’s Shrinkage by Paul Andrew Wandless

Make a 12-inch clay ruler using the clay body of your choice. Roll out a slab, smooth the surface, and then use a combination of a clear graph ruler (which is two inches wide) and a carpenter’s square to measure and cut the slab to 12 inches tall and wide enough to accommodate the number of rulers you wish to make (1). Use a dull pencil to emboss vertical lines on the smoothed out slab. When the ruler lines are done, mark the surface with horizontal lines spaced 1 inch apart (2). Make sure to keep the drawn lines parallel to each other (and perpendicular to the lines separating each ruler). Use a sharp knife to cut out the clay rulers. Dry the rulers sandwiched between drywall and place newspaper between the individual rulers. A little weight can be placed on top to help keep them flat while drying.

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Once bone dry, measure to see how much shrinkage occurred from the green stage and record this measurement. Bisque fire the bar and measure it again to see how much shrinkage occurred from the previous measurements. Finally, fire the ruler to the clay body’s maturing temperature and take a last measurement for the complete shrinkage of the body. You’ll find most of a clay body’s shrinkage occurs between the greenware and the bone dry stages. Line up a green ruler, a bone dry ruler, and a bisqued ruler to see the rate of shrinkage at each stage. Paul Andrew Wandless’ article, Making a Clay Ruler, was originally published in the May/June 2010 issue of Pottery Making Illustrated, pp. 41–42.

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TIPS AND TOOLS

Sgraffito Tools

by Nancy Gallagher

Clay is rough on tools. Fortunately some of the most used tools in the box are quick and cheap to assemble right in your own studio.

Bend various-sized staples to the shapes that will work best for your sgraffito work.

Like many ceramic artists, I enjoy trying new tools. I do, however, get weary of buying replacements. Not long ago, a classmate asked me to pick up some clay carving tools for her while I was at the store, as hers had become dull. As I was not familiar with the type of tool, I took one with me as an example. “Hmm,” I thought, as I rolled it over in my hand, “not much to it but a blunt stick and a bit of wire.” After finding them at my local clay store, and seeing the price, I set out to make my own. Start by gathering dowels, pencils, or brushes that can be used for tool handles and taper the ends with a pencil sharpener just a bit so the edges don’t cut into your clay surface while you’re working. Drill a 1⁄16 th-inch hole into the tapered end.

Smaller Carving Tools

A steel measuring tape is easily cut into thin strips with scissors.

Both utility staples as well as office staples make excellent carving loops. A straightened utility staple makes a great traditional needle-type stylus for sgraffito, which creates nicely tapered lines when the chiseled edge is held at an angle. An office staple is easy to bend into a small carving loop. Using a pair of needle-nose pliers, bend the staples to the shapes that will work best for your sgraffito work. Put a small dab of Gorilla Glue in each drilled hole, then insert the wire shape into the hole. Note that Gorilla Glue expands while it dries. Dry the tool in an upright position for 12 hours. I use a small block of clay to support my tools while they dry.

Larger Carving Tools

Assorted handles fitted with various metal tips.

For creating thicker lines or carving away larger areas of clay, I like to use loop tools made with spring steel from a measuring tape. Cheap measuring tapes from a dollar store work fine for this process and one tape will make hundreds of tools! Unscrew the back of the tape with a Phillips-head screwdriver. Remove the inside tape— remove it slowly as it is under pressure and the steel edges are sharp. The tape is easily cut into thin 1-inch strips at varying widths with a household scissors. Cut a ¼-inch-deep slit into the end of your dowel. Loop your strip of steel tape so the ends meet, dip the ends in Gorilla Glue, and place them into the slotted end of your dowel. Let the tool dry upright for 12 hours. For my needs, both the smaller and larger tools work best with leather-hard clay.

Materials and Tools:

Bent and shaped office and utility staples carve lines of varying width.

Loop tools work well for thicker lines and for carving away larger areas of clay.

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• Dowels, pencils, or old paintbrushes (keep the brush end intact and use it to whisk clay bits away while carving) • Utility and office staples • Tape measure (with a steel tape) • Phillips-head screwdriver • Drill and 1⁄16 -inch drill bit • Needle-nose pliers • Pencil sharpener • Gorilla Glue

Send your tip and tool ideas, along with plenty of images, to editorial@ceramicsmonthly.org. If we use your idea, you’ll receive a complimentary one-year subscription to CM!


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exposure for complete calendar listings see www.ceramicsmonthly.org

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1 Elisa DiFeo’s oval dish, 10¾ in. (27 cm) in length, porcelain, glaze, fired to cone 6. 2 Kelly O’Briant’s grater, 8½ in. (22 cm) in height, coiled and pinched porcelain, glaze. 3 Ben Carter’s pitcher, 10 in. (25 cm) in height, Yixing stoneware, porcelain slip, underglaze, fired to cone 6. 4 Sandi Pierantozzi’s Orbit Vase, 7 in. (18 cm) in height, porcelain. 5 Rachel K. Garceau’s “Now I Am” Stacking Boxes, 17 in. (43 cm) in height, porcelain, copper wash, steel. 6 Emily Reason’s vase, 11 in. (28 cm) in height, thrown and carved porcelain. “In The Mix,” at Crimson Laurel (www.crimsonlaurelgallery.com) in Bakersville, North Carolina, through April 30. 4

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1 1 Katriona Drijber’s wine ewer, 9 in. (23 cm) in height, soda-fired porcelain, 2011. 2 Thomas Edwards’ Ridge, 22 in. (56 cm) in height, porcelain, concrete, 2012. 3 Andrew Avakian’s vessel, 9 in. (23 cm) in length, terra cotta, 2012. “Beyond the Brickyard: Fifth Annual Juried Exhibition,” at Archie Bray Foundation for the Ceramic Arts (www.archiebray.org) in Helena, Montana, through April 6. 4 Matthew Blakely’s Eskdale Blue Jar, 13 in. (33 cm) in height, Dartmoor clay, glazes based on Eskdale pink granite, underlying dark engobe based on Langdale slate, 2012. “Ceramic Art London 2013,” at the Royal College of Art (www.ceramics.org.uk) in London, England, April 12–14.

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1 1 Justin Lambert’s Dinner Plate, 10½ in. (27 cm) in diameter, stoneware, fired in an anagama kiln, 2012. 2 Adam Field’s Serving Platter, 14 in. (36 cm) in diameter, porcelain with incised pattern, celadon glaze, fired to cone 11 in reduction, 2013. 3 Megan Mitchell’s plate, 10½ in. (27 cm) in diameter, wheel-thrown porcelain, silkscreen transfer, slip inlay, fired to cone 9 in reduction, 2013. “Dish It Up: Dinner Plate Show,” at TRAX Gallery (www.traxgallery.com) in Berkeley, California, through April 21. 4 Phil Rogers’ bottle, 10 in. (25 cm) in height, stoneware with hakeme and incised decoration, ash and nuka glazes. Photo courtesy of Pucker Gallery. “Search for the Authentic: New Pots by Phil Rogers,” at Pucker Gallery (www.puckergallery.com) in Boston, Massachusetts, through April 1.

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1 Ian McDonald’s 3 Level Vessel, 10 in. (25 cm) in height, stoneware, glaze, 2012. Photo: John Janca, courtesy of Rena Bransten Gallery. “Ian McDonald,” at Rena Bransten Gallery (www.renabranstengallery.com) in San Francisco, California, July 11–August 17. 2 Todd Volz’s 2BAS-11, 16 in. (41 cm) in height, stoneware, latex hose, metal chain, 2011. 3 Peter Christian Johnson’s Arc #4, 24 in. (61 cm) in length, ceramic, stain, paint, 2012. “Peter Christian Johnson and Todd Volz,” at Santa Fe Clay (www.santafeclay.com) in Santa Fe, New Mexico, through April 20.

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clay culture

bomb pots

by Debra Chronister

We’ve all made bomb pots; those that were so thick at the bottom that they blew up when fired, causing destruction and a lot of cleanup. There is one potter who intentionally makes pots meant to be blown up. On the historical timeline of weapons development, there have been any number of odd implements and devices invented and used, based on the then-current technology and the materials available. Firepots (think ceramic grenades) have been used since the times of the Byzantine Empire, and were used up until the 1600s until they were replaced by small, cast-iron grenades, likely late in the 17th century. They were even included in the arsenals brought over to the Americas on sailing ships during the Age of Exploration. A ceramic artist and professor, Debra Chronister has reverse engineered a specific kind of fire pot, one with a hollow, cast-iron grenade inside, that was developed toward the end of the 1600s and whose destructive power was not completely understood or documented. We spoke to her about the project. Firepots are rare beasts. The only firepots ever found intact and loaded were discovered in 1995 in the shipwreck of the La Belle— part of an ill-fated fleet of ships led by Robert Cavalier, sier de La Salle, which sank in Matagorda Bay along the Texas coast in 1687 after sailing from France. There is only one engraving (or drawing) that shows firepots in use. Their varied and multi-functional shapes make it difficult to discern a typical storage jar from a firepot unless it’s loaded. The combination of ceramic and cast-iron seems to have been an experimental technology during this time; however ceramic incendiary/explosive devices had been in use since the Byzantine era.

1 1 The historical firepot No. 4243 at the Museum of the Coastal Bend in Victoria, Texas, that captured Debra Chronister’s imagination and continues to stump her students when she asks them to guess its function. Courtesy of the Museum of the Coastal Bend, Victoria. 2 Debra Chronister throwing firepots in her studio. The greenware firepots in the background show the way she experimented with different shapes, and with different styles and numbers of handles.

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The old story of the disastrous La Salle expedition is that he was searching for the mouth of the Mississippi river but overshot it. Apparently the mishap was intentional; La Salle had a secret mission. The Sun King, Louis XIV, was funding his opulent lifestyle (think Versailles) and was spending a fortune. Literally. It appears he sent La Salle to lay siege to the Spanish silver mines further west. The firepots were intended to blow up walls and doors of buildings—a lightand-run sort of device. This clearly did not happen. But, when the shipwreck was excavated in the 1990s and the artifacts were brought to local museums, one of them landed in the Museum of the Coastal Bend (MCB), on the campus of Victoria College, where I teach. I got involved with the firepot project through serendipity and work. Someone at the Texas Historical Commission (THC) in Austin had seen a 25 minute video on regional ceramics that I recorded at the MCB. Eric Ray, a maritime archaeologist, then working with the THC via the Corpus Christi Museum of Science and History, was writing the chapter on firepots. He discussed his desire to blow up a few of them on high-speed video to document their effectiveness and needed explodable versions. In the video, it is clear how passionate I am about a particular firepot, which I call “my pet firepot” (the one in the museum’s collection (No. 4243)), so I was contacted through the museum to see if I would be willing to volunteer for the project. Just to be able to add “bomb-maker” to my resume was worth it. I marveled over the mysterious firepot No. 4243 for months before I learned its function. It was too big for a drinking vessel, too small and unstable for a chamber pot. It clearly had one handle, but the area where the top of the handle was attached was oddly large. Then, volunteer archeological stewards at the MCB told me that the pot had held an incendiary fluid, a wick was inserted through the lid, and the device would have been used for ship-toship warfare. Wow! A ceramic Molotov cocktail! Cool! While that theory makes sense, I found out that it was erroneous, as there is no sup2 porting data. Through Ray, I


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3 Eric Ray weighing a firepot filled with gunpowder and an iron grenade prior to detonation at the bomb range. 4 A loaded firepot set up on the bomb range for one of the test detonations. Plywood figures were set up at varying distances to record the damage caused by the explosion. 5 Another firepot from the La Belle shipwreck. This example shows the cork lid and wooden wick holder added to each ceramic firepot. Courtesy of the Corpus Christi Museum of Science and History. 6 This shard, shown with Chronister’s boot for scale, was one of the largest shards found on the bomb range after the explosion of a well-compressed firepot.

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learned that the firepots in the La Belle were found packed with black powder and iron grenades, and that they more likely were used for land siege instead. I still use this firepot in my ceramics classes to allow the students the opportunity to puzzle through its parts. Very few arrive at its intended function! Firepots in general are lead-glazed earthenware, varying in size to hold 1–3 pounds of black powder and sometimes a cast-iron grenade. Although they were discolored by the mud in which they were buried for more than three centuries, firepot No. 4243 was glazed in a style typical to the Saintogne region of France, then known for its pottery. Saintonge buff-colored earthenware was dipped/sloshed with white slip, and the interior and upper portion of the exterior was glazed in a translucent green lead glaze. Details vary widely from pot to pot—some have round beefy rims and feet, some have flattened rims and no foot. Some have one handle, others two, some four. Some handles are attached to the rim, others below. The finished firepot would be loaded with a hollow 70- to 90-mm diameter iron sphere (grenade), which was filled with black powder, then nested into more black powder in the firepot. A large cork disc plugged the opening, and a heavy, coarse fabric

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covering was tied over the top. A fuse apparatus of carved wood held the wool or fiber fuse in place. The cork and cloth wrap apparently helped gain greater compression, which translates to more explosive power. It may seem odd that all of the pots were from one region of France. La Salle sailed from the port at Rochefort, France, and loaded his ships with the local wares, which happened to be Saintongeware. There was apparently a thriving industry since Saintongeware was traded widely across Europe, and some styles seem little changed over the centuries. Although stoneware was in use at this time, this earthenware seemed to be the popular daily ware, perhaps because of the availability of materials. Saintongeware is so distinctive in appearance that the dishes aboard the ship helped identify the newly discovered shipwreck as a French vessel. Eric Ray and I both believe that these firepot forms evolved from traditional storage vessels, and certainly any storage vessel that could be tightly corked would serve as a firepot. I think the variety was introduced to see which styles were most effective. When it came time to create replicas of Saintongeware firepots for Ray to use in his research, I made meticulous measurements of my pet firepot (with increased dimensions to allow for 12.5%

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clay culture Through the research process, and then through seeing the various forms detonated, I learned that the shapes were significant in several ways. The sturdy handle attachments on the single- and double-handled firepots were necessary because of the weight of the iron grenade and black powder (think of heavy sand). The flared, flattened rims with handles attached below were easiest to secure the fabric cover to. When loaded, they were so sturdy they didn’t break when thrown 30 feet or so onto dirt. They just rolled. One broke at about a 50-foot toss. The manner of packing made a huge difference in the compression and thus the explosive capacity. A tight cork and wrap resulted in tinier fragments. The bottoms of the pots Glazed firepot replicas made by Chronister with a lead-free version of the Saintongeware-green glaze. survived best, I imagine due to the insulating effect of the ground. shrinkage) resulting in a map to throw by. The first few were The handles on many of the firepots seemed absurd! Especially laboriously thrown to dimension before I lightened up. I used odd were the firepots with four tiny, loopy handles. I think that, a white earthenware body to avoid the extra step of the white on those with four, the handles were possibly used to thread a rope slip, which I (erroneously) thought was an aesthetic choice by for carrying multiple firepots without toppling. This could possibly the Saintonge potters to make the green crisper in appearance. be for throwing greater distances, sling-style; however, there’s no The Saintonge green glaze varied tremendously across the wares evidence for this that I know of. produced by that region. I selected my target for the Saintonge I learned a great deal from the documentation of exploding my green glaze from a beautiful plate relic found on the La Belle. On firepots. First, the project was fun until I saw the human silhouprevious sculptural work, I used a lead glaze that replicates the ette on the bomb range peppered with pieces of my firepot, and I Saintongeware green perfectly, but I experimented until I came up realized the damage they could cause. For those nearby, the blastwith a lead-free version. After seeing the other firepots in Corpus pressure wave would rupture soft tissue. The flying shards would Christi, I wondered if I shouldn’t make them look like relics… have caused nasty wounds even from afar. Some shards blew over stain them, use a matte glaze… I’m so glad I didn’t! The green the top of the 12-foot-high berm around the bomb range from 50 and white shards were easier to find after exploding so we could yards away! When the compression was tight, most of the ceramic map the dispersal pattern. was literally pulverized so small as to be undetectable. The flying I wondered at length about the fact that the bomb pots were bits of powder would penetrate the skin and enter the blood stream glazed. I think this is one reason why Ray believed they were simple resulting in a slow and painful death. storage pots on a military tour of duty. I originally thought that, I still cherish firepot No. 4243 at the Museum of the Coastal well, if you’re a Saintonge potter, you make the object in SainBend. I marvel over the skill of the potter who made the walls so tonge style—no matter what the function is. You make it with very thin, and the rim so very substantially round, and made the buff clay, white slip, and a green translucent glaze. I also thought lovely Dolly Madison swirl when the pot was cut from the wheel. that all earthenware would be quite porous. I was wrong on both As much as I adore the green translucent glaze that I concocted, counts! What I learned is that black powder must be kept dry in I prefer the aged dramatic surface of the original pot with all its order to function. Once it is damp, it doesn’t like to detonate. stains and history. The glaze was not to keep a liquid in, but to keep it out! Glaze crazes, and low-fired ceramic is still absorbent, so moisture might Check out the video footage of the firepot test explosions on YouTube, still creep in during an ocean voyage, except for the extra step that which were uploaded by the Corpus Christi Museum: Saintonge potters typically included: Once the form was thrown http://www.youtube.com/watch?NR=1&v=jhHWRs0eITM and dried, it was dipped in terra sigillata that tended to plug the larger pores in the clay and decreased the absorbency typically the author Debra Chronister is an artist, a yoga instructor, and a found in earthenware. professor of ceramics at Victoria College in Victoria, Texas.

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“brent® CXC… solid fun!” Amy Smith Lincoln, NE

More About Amy

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clay culture

the last sane man

by Mark Hewitt

Michael Cardew’s complex, yet creative life and career had a huge impact on innumerable potters and the modern studio ceramics movement. His legacy continues to inspire and intrigue potters today. Tanya Harrod has written the first great biography of a potter, The Last Sane Man: Michael Cardew: Modern Pots, Colonialism and the Counterculture. Harrod, an Oxford-educated Ph.D. art historian who is author of The Crafts in Britain in the 20th Century, and coeditor of the Journal of Modern Craft, is one of a select few highbrow writers who are transforming the critical debate about craft. In recent years their scholarship, elegant prose, and media access have raised the profile of pottery and other crafts. But no one has been more diligent and perceptive than Harrod in her new biography of Michael Cardew. She does not, however, paint a pretty picture, instead she has given us a fearless and lucid account of a perplexing potter whose pots are among the most iconic of the 20th century. Born in 1900, Cardew’s life spans a traumatic century. He was there at the birth of the studio pottery movement, and when he died, in 1983, Cardew was enshrined as one of the Gods of modern pottery. The book’s mesmerizing narrative is framed by magical ob-

All images courtesy of Paul Mellon Centre for Studies in British Art and Yale University Press, London, England (www.yalebooks.co.uk).

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servations about the social, cultural, and economic conditions that created the backdrop for Cardew’s pottery progress. In some ways, Harrod could not have picked a more difficult subject—Cardew is as tricky to contain as quicksilver—in other ways it couldn’t have been easier. His paper trail was simple to follow. From an early age he laid his life bare, writing letters, keeping a diary, and writing articles and books. There is something contemporary about his indulgent confessions of grand passions and unforgivable cruelty; he never denied his feelings. The details she has painstakingly unearthed are riveting. Garth Clark’s indispensible monograph is magnified, and Cardew’s character is more clearly revealed, for, in Harrod, we have a meticulous historian at work. We see early evidence of Michael’s precocious intellect, as well as his ferocious temper, and we meet his refined, musical, quirky family, who had ties to Oscar Wilde and Lewis Carroll. Imagine you lost a favorite brother in the carnage of the First World War, fell in love with another teenage boy, saw the vapidity of your elevated social class, despised the industrial complex, and instinctively recognized the catastrophe of the Anthropocene—our current geological epoch in which humanity is influencing every aspect of the Earth on a scale akin to the great forces of nature. Yet, somehow, you managed to preserve your free spirit, and loved the world so much that you obstinately tried to make it right by making simple useful pots in the most difficult and rigorous way possible. From his virile Winchcombe earthenware, to his incandescent Vume and Abuja stoneware, and even to his strange late Wenford ware, he remained defiant and uncompromising, always intellectually and passionately engaged with his art. Cardew comes across as a quixotic blend of Gauguin, Albert Schweitzer, E.F. Schumacher, and Bela Bartok. Making pots is never a walk in the park, but what if you decided never to go to a ceramic supply company for any of your materials and equipment? Forget prepackaged clays, pure minerals, and easy computer-controlled kilns. What would it be like to dispense with the convenience of potting by numbers? Instead, go out into the landscape and find indigenous minerals yourself and make refractories, clay bodies, and glazes with what you find. And not some “hideous ceramic expression” (as he would dramatically intone with his posh accent) with a “revolting” glaze, but useful, healthy pots brimming with life, covered in the most piercing and luminous glazes you’ve ever seen. Nothing was done the easy way; instead he created humane but woefully inefficient production systems reminiscent of Rube Goldberg. He was hell-bent on a quest for a particular type of ceramic excellence. If Leach was a conduit for a sensibility about ceramic quality rooted in “natural beauty,” as appreciated by medieval Japanese Tea Ceremony masters, then Cardew deconstructed that awareness


Above: Slipware bowls, pitchers and platter by Michael Cardew. Above right: Michael Cardew demonstrating at the wheel.

down to molecular level, and then reconfigured it, in the bush, into an eccentric Oxonian Afro-Anglo-Asian hybrid that is at once profound and awkward. His African pots are high-strung, made of iron-bearing stoneware clays that are dangerously on edge, clad with glazes of unusual tonality and resonance, and marked with strange, idiosyncratic iconography. When he got it right, his pots sing with wonder and kindness. Unlike Thomas Thwaites’ recent attempt to make a modern toaster from scratch, however, (sourcing all the raw materials, and trying to fabricate the thing himself ), Cardew succeeded in making magnificent pots from scratch. Thwaites’ toaster was a project, Cardew’s pots were a life. But Cardew took his family along on this ride, into poverty, then a world war disrupted everything, and he left them all for Africa, where he fell in love with an African man, but kept his wife, and kept quiet. He created for himself, in the sunset of brutal British Imperialism, a redoubt, protected by his “Olympian prose,” with workers at his beck and call, all there, ultimately, to enable Michael’s ceramic passions. It sounds a lot like academia. But when do artistic pursuits become destructive obsessions? When does being true to yourself override being kind to others? When does austerity become masochism? What if you have no entrepreneurial sensibility, and art isn’t about the money, and you have no appetite for brown-nosing hedge fund managers and the glitterati, but nonetheless manipulate the establishment for your own financial and aesthetic ends? Harrod declines moral judgment, her touch is light, leaving Cardew’s conundrums to multiply.

The Last Sane Man is a triumph. My only wish is that the color photographs were better, warmer, and had more detail. I would also have liked to have seen more exploration of the relationship between Cardew, his mother, and his nanny, Mason. All too often owning class mothers are deprived of mothering, shunted aside by convention and nannies, becoming social props for husbands, their bonds with their children severed. I also wonder what Michael’s pots would have been like had he used a rib to shape the outside of his pots, which is a standard Western traditional pottery practice, rather than just using his hands. It’s as though he spent his life playing a violin without a bow. This is particularly interesting given his musicality and because he thought of the potter’s wheel as a musical instrument, not simply a tool. Throwing, for Michael, was a test of art and character, making it necessary to be, as he said, “precise and generous, careful and carefree, severe and kind, ascetic and sensual, austere and indulgent, intellectual and emotional, cool and warm, hard and soft—open to all the influences of the universe and yet at the same moment focused on a single aim: namely to do the job right.” Wenford, in the late 70s, when I apprenticed with Cardew, resembled Fishley Holland’s Arcadian pottery in North Devon, which was described by Cardew’s father in 1909 as, “unspoilt and self sufficient.” Wenford seemed a tiny utopia; austere and frugal, no plastic, radio, or newspaper, with vegetables from the garden, unpasteurized milk and fresh meat from a neighboring farm, and fish delivered from the coast every Friday. We had endless meals and conversations that resembled tutorials, we went on whimsical (continued on page 61) www.ceramicsmonthly.org

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clay culture

tableware design

by Linda Bloomfield

Linda Bloomfield’s new book Contemporary Tableware traces the design and production history of modern tableware, including studio pottery’s influence on industrial manufacturing. In modern times, approaches to making tableware have changed. In the 19th century, at the end of the Industrial Revolution, John Ruskin and William Morris criticized industrially produced wares and inspired the Arts and Crafts movement. They proposed a return to hand-crafted decorative arts, which should be both beautiful and useful. The concept of the handmade object available to all was raised again in the 20th century by potter Bernard Leach, who established the Studio Pottery movement. His vision of the individual artist making pots in a studio or workshop inspired many to become potters in the 1960s and ’70s. Craft has again become popular in the 21st century as people tire of industrially produced wares and crave the qualities of handmade work, realizing that beautifully designed and made tableware can enhance everyday life. Nowadays there are designer-makers who not only make things themselves, but whose understanding of the materials and making processes enables them to design pieces for industrial manufacture. These potters produce thrown or handbuilt prototypes for industrial production, bringing a handmade feel to mass-produced wares. Making by hand can become a fulfilling way of life, although it is hard work to earn a living from a craft. For this reason, many studio potters tire of tableware production and make higher-priced individual pieces instead, encouraged by craft organizations trying to raise the profile of craft to that of art. The resulting pots are often too expensive to use and end up sitting on a shelf, while the humble handmade mug or bowl continues to be used every day. This book aims to showcase the work of those potters who are committed to making tableware.

British Studio Pottery In the 20th century, studio pottery was revived by Bernard Leach (1887–1979), a potter, writer, and philosopher who had lived in the Far East and was interested in Chinese Sung pottery as well as traditional English slipware. He had a great deal of influence on the subsequent growth of studio pottery and established what has become the model for studio potters: the individual artist making pots in a small workshop or studio. He set up a workshop in 1920 in St. Ives, Cornwall, making one-off pieces for exhibition as well as a more affordable range of standard ware for everyday use. Bernard Leach trained a succession of highly successful apprentices and through his book, A Potter’s Book, published in 1940, his ideas spread throughout the world.

1 Photo: Henry Bloomfield

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US Tableware Origins American designers Eva Zeisel and Edith Heath had a great influence on tableware design in the mid-20th century. Zeisel (1906–2011) was almost immediately successful in America after emigrating from Hungary in the 1930s. She designed the first all-white dinner service in the US, which was also exhibited at the Museum of Modern Art in New York in 1946. Her forms were organic with a playful nature, characteristic of mid-20th-centurymodern design (1). Her most popular dinnerware ranges were Hallcraft Tomorrow’s Classic (1952) and Hallcraft Century (1957), originally made by Hall China in the US, and since 2004 made in earthenware by Royal Stafford in Stoke-on-Trent and sold in the US by Crate and Barrel. Edith Heath (1911–2005) designed for Heath Ceramics, a small company she founded in 1948 in Sausalito, California, which still produces plain, functional vitreous ware in a range of colors (2). Edith adapted shapes from her thrown pieces to be made using molds. She developed her own clay body using locally available clays and wiped the glaze from the rims of the ware so that the warm-colored clay body could be seen.

Contemporary Manufacturing Many of today’s studio potters design ranges for industrial production. This involves collaboration with industry and designing and throwing prototypes to specification. The pieces must not only fit the design brief and size requirements but must also be possible to reproduce using industrial methods. Tableware mass-produced in this way can reach a much larger number of people than most handmade ware. As well as making his own work, Kevin Millward has made prototypes for tableware ranges by Portmeirion, Spode, and Wedgwood. His tableware has strong throwing lines and looks handmade, although it is slip cast in porcelain from molds of Millward’s thrown prototypes (3). Studio potter Chris Keenan was asked to design a Japanese-inspired range for Habitat. He trained with Edmund de Waal and now works from his own studio in south London, making porcelain bowls, cups and teapots. The shapes in the habitat range were based on his thrown work, and use blue celadon and black tenmoku glazes on his thrown porcelain, so his idea for the range was to combine the colors of the day and night sky (4).

Excerpted from Contemporary Tableware by Linda Bloomfield copublished by Bloomsbury Publishing PLC, London and The American Ceramic Society, 2013. www.ceramicartsdaily.org/bookstore.

2 Photo: Jeffery Cross

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3 Photo: Courtesy of the Artist

4 Photo: Henry Bourne


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studio visit

Betsy Williams Dixon, New Mexico

Just the Facts Clay stoneware

Primary forming method throwing

Primary firing temperature wood-fire cone 8–11

Favorite surface treatment underglaze painting over white slip

Favorite tools hydraulic wood-splitter

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Studio My studio is at home, a 1700-square-foot adobe rectangle divided lengthwise—half studio, half house. The studio portion spans the north-facing side of the house, with clerestory windows to the south getting perfect light all day. My favorite aspect of my studio is that I can really focus while I am working. The location is 4 miles up a mountainous dirt road, 8 miles from the nearest town (Dixon, New Mexico, population 1500), so I never worry about interruptions. The flip side is that the winters here in the high-mountain desert (7400 feet above sea level) can be bitterly cold, dragging on sometimes until the end of April. Winter can get tedious.

Paying Dues (and Bills) I received my bachelor’s degree from St. John’s College, the “Great Books” school, in Santa Fe, and after graduation went on to study the Russian language. After a dreary stint studying in Russia, I moved to New York City on a whim and became a trader on the money desk at a Japanese bank, where I worked for five years. My co-workers introduced me to the ceramics of Korea and Japan and, noticing my enthusiasm, directed me to a Japanese pottery group in Manhattan, which I began attending in my leisure time. Eager to study pottery seriously, I left my job for an apprenticeship in Japan from 1994 to 1999. My training was intensive, including all the usual stuff: sweeping the floor, making 10,000 teacups, etc. But my teacher, Mr. Yutaka Ohashi, was an open-minded artist, and constantly emphasized the importance of authenticity in one’s own work.


Studio Photos: Robert Eckert.

The apprenticeship gave me a foundation in technical skills and a strong work ethic, and it allowed me to embark on my career without prior debt. It did not, however, give me that network of peers and mentors that one builds in graduate school, and my résumé veers from what seems to have become the recent American model: receiving one’s MFA and then going on to several residencies before securing a salaried position. I have been making a living as a professional potter since October of 2001, without income from other sources. The first three years had their low points. While I built my kiln and bought the necessary studio equipment, I had no better option than transferring balances back and forth on credit cards. But I kept working—gained some recognition little by little, gradually paid off those bills, and opened a savings account. In 2005, my now husband, Mark Saxe (also an artist—a stone sculptor) and I built a gallery space onto his stone yard, which is in a great location between Santa Fe and Taos. The gallery sales, which are steady throughout the year, changed my economic life. On average, I now spend four days in the studio, and two days in our gallery, which is about 20 minutes from home. Mark keeps

the gallery doors open during the other days, while he works out back. The ability to share gallery responsibilities with my husband means that my studio days are dirty work days spent in silence and solitude (uni-tasking), and gallery days are clean-clothes-social-days when I occupy my spare moments with bookkeeping and website updating, etc. (multi-tasking). I like that balance.

Body & Mind I am healthy, and I pay about $275 per month for basic health insurance with a $2000 deductible, and try to eat well and keep up with regular check-ups. I pay out of pocket for vision and dental. To keep myself healthy, I go for a long walk with my dogs every day. I also get a lot of good old-fashioned “contextual” exercise—raking the yard, splitting wood, scrubbing the floor, hauling buckets, etc. Keeping the studio clean is important for both my physical and mental well-being. Reading has always been my obsession, since I was young. Currently I am reading The Case for God by Karen Armstrong, and The Craft Reader edited by Glenn Adamson. I mainly read non-fiction about art, craft theory, and nature, and I also like graphic novels.

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Marketing During the first ten years working as a professional potter, I tried every event and venue that seemed remotely promising, but I have learned which ones really work for me, not only in terms of net sales, but also in terms of career-building and fitting well with my personality. At this stage in my career, I am placing more importance on keeping my stress level in check by not scheduling too many events or having to meet too many deadlines, and by not doing shows that I do not enjoy. I have learned that it is possible to personalize my career—through a combination of flexibility and idealism. This has taken years of trial and error. Our gallery is a super easy stop for tourists from all over the world as well as residents of Santa Fe and Taos, yet our overhead expenses are extremely low because of our rural location. This is a perfect combination. The gallery now accounts for 70% of my annual sales. In addition, I have been doing one or two national juried craft shows every year, but ideally I will eliminate such venues from my schedule, replacing that income with other gallery sales. In early 2012, I sent out my portfolio to a few select galleries, and as a result of that effort recently began showing at SARA in New York City and at KOBO in Seattle. I also participate in select invitational shows at galleries

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throughout the country, and I have decided to entrust online sales entirely to these outside galleries that carry my work. For the past six years I have also participated in the American Pottery Festival at the Northern Clay Center in Minneapolis, a fabulous event, and have had a show at the Weyrich Gallery in Albuquerque. Total outside gallery sales account for 30% of my annual income. Keeping in touch with my customers near and far through a carefully maintained database has always been my best marketing tool. Good customers bring more good customers. These personal relationships make it possible for me to continue conceiving of and making whatever I want to make. After eleven years, I feel like I am just getting started.

Most Important Lesson Try to learn something new every day. www.enbistudio.com www.facebook.com/enbistudio www.riftgallery.com www.accessceramics.org


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MINEO MIZUNO

WATER, SILENCE, ZERO BY KATHLEEN WHITNEY

Mizuno sitting on Drop with Teardrops in the background.

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3 1 Image of Mizuno working on a large waterdrop, 23577 x Zero, 2009. 2 23577 x Zero, 4 ft. ½ in. (1.2 m) in diameter, 2009. 3 Detail of interior of 23577 x Zero.

Over the years, Mineo Mizuno has played a number of different roles—maker of tableware, designer at Franciscan China, and creator of gardens, as well as commercial and residential spaces. He emigrated to the US from Japan in 1966 at age 19 and studied with Ralph Bacerra at Chouinard Art Institute. His work has been shown extensively in California and Japan. For the past 40 years, he has been making precise and refined ceramic sculpture. He has always been an extremely prolific artist; older work includes meditations on

tableware, a series involving screws and another involving variations on a peach form. He also made an extremely personal series consisting of a number of World–War–II–era vintage Japanese airplanes meant to commemorate the death of his father. His work of the past decade is the outgrowth of an aesthetic that emphasizes irregularity, simplicity, and perishability. This extremely abstract work is elegantly minimal. As a consequence of their refinement, the beautiful surfaces project an emotional

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aloofness. Even though they don’t invite touch, these sculptures are powerfully seductive and imaginative; they are visually and conceptually innovative. Forms and surfaces are perfectly mated. His use of color does more than decorate, it enhances the shape and bonds with it. Although some of his surfaces are complexly layered, thick, and textural, they never overwhelm the form nor seem excessive. His objects are distinguished by a diverse use of glazes, extreme variations in scale, and an intense interest in the concept of nature. Chance comes into play as well; variation and the lucky accident are essential to him. Process is everything in so far as the surface and fabrication of these objects is concerned, with each piece in a series a modified or expanded version of a predecessor. Mizuno constantly experiments with glazes; he deliberately induces surface bubbling and carefully sands down the protruding domes of the bubbles. Color is extremely important to him and he uses the full range of possibilities from bright and primary to dark or monochromatic. His glaze surfaces run the gamut from thick to runny, glossy to flat matte, opaque to transparent. The majority of his pieces require multiple glaze firings. Only the calligraphic pieces use one layer of clear glaze. Because of the different expansion rates of his glazes, Miuzuno constantly adjusts the clay body.

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Mizuno handbuilds his pieces using wide, thick coils and enormous quantities of clay; much of his work is extremely heavy, weighing between a few pounds to a half-ton. The large pieces have to be moved by forklift. Time is an important factor in his process of fabrication. After several months of drying, his pieces are halved, hollowed out, and rejoined with a thin seam of wet clay and then dried some more. Depending on the scale of the piece, they can require five days to bisque fire and are glaze fired for several days in a gas kiln, with an extended period of cooling in the kiln. During firing, cracks form along the seams and down the sides, calling attention to the role of chance in his work. Mizuno often emphasizes these cracks in various ways, sometimes inlaying them with a color that emphasizes the fracture. Although he makes the glazes so they bubble, Mizuno uses a grinder to further work the surfaces, sometimes to simply minimize the amount of texture, sometimes to achieve a smooth surface. Over the past eleven years, Mizuno has developed four distinct series of objects that share a preoccupation with the element of water, an interest that began with his calligraphic use of the word. Each group has a distinguishing name—Mosses, Teardrops, Water Drops, and Drops;—all are handbuilt and carved. The groups are interrelated in terms of form and emphasis on surface; each group has distinctive variations in palette and glaze types. The Mosses, Water Drops, and Drops


are large, oval or circular flattened-lozenge forms that range from one to four feet in diameter. The Mosses and Water Drops have holes carved or drilled into them. The Teardrops and Drops demonstrate Mizuno’s expert manipulation of color. The Teardrops have a matte finish with flat, feathery striations of glazes over a base color; some are complexly monochromatic. The Mosses use a clear glaze to create a waterproof surface. Mizuno uses different sets of glazes for the Water Drops; some dramatically dark, thick, opaque, and runny; some are dark, luminous, and metallic. Many of the Drops are wildly chromatic; others are decorated with the same Japanese kanji written hundreds of times in delicate calligraphy. He brushes on thousands of repeated symbols that stand for zero, silence, or water on these pieces. The replications of the symbol evoke the feeling of meditation. Interrelated as they are, there are significant differences between the four groups of work. The Drop series, started in 2001, resemble puffed, symmetrical skipping stones that vary in height and circumference. Mizuno made these Drops in a range of sizes from palm-sized to six feet in diameter. They can be extremely colorful or dark and somber. Some are covered with his frequently-used calligraphic symbols. A series of three that have a blue glaze with delicate striations of yellow in center show Mizuno’s habit of working in a series of similar shapes and glazes but in differing sizes. Mizuno’s Waterdrops are flattened spherical forms, some with an irregularly shaped shallow holes which are sometimes filled with water. The Waterdrops were presented as an installation in Los Angeles at Samuel Freeman Gallery in 2009. Mizuno lined up five, evenly spaced, nearly identical graphite gray discs, each with a centered, white, irregularly shaped shallow depression. The forms are slightly rounded at the bottom so that they appear to be floating. This impression contrasts with their evident weight; they seem both massive and delicate. The satiny, reflective surfaces are slightly textured from bubbling in the glaze. Because they are so large and stone-like, they resemble large, flat boulders or enormous skipping stones. The Teardrops vary in height but all are tall, elegantly tapered bottle shapes. Unlike the objects in the other series, this work has the elongated minimalism of a Brancusi. Almost all are flat matte and intensely saturated with color. Their surfaces consist of many brush-worked striations over a solid color of underglaze. Regardless of their varied and expressive surfaces, they are neither intimate nor playful; instead they are oddly severe and minimal with an aura of monumentality. Mizuno frequently exhibits the teardrops in groups, rather than as individual objects. Mizuno began his most recent series, Mosses, in 2007. Inspired by traditional Japanese gardens, they pair horticulture with ceramics. The Mosses are either unglazed or coated with deliberately permeable glaze. They are pocked with shallow holes and indentations he fills with different varieties of moss seedlings. In order to encourage growth, the tiny pieces of

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6 4 Teardrops grouped together in the artist’s studio, to 6 ft. 10 in. (2.1 m) in height, 2010. 5 Untitled drops, to 8½ in. (22 cm) in length ceramic, 2007. Courtesy of Samuel Freeman Gallery. 6 Water Drops with Well, 26 in. (66 cm) in length, ceramic, 2005. Courtesy of Samuel Freeman Gallery.

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moss planted in the crevices are misted by a surprisingly sculptural spray mechanism. The moss ultimately grows into a glaze-like outer skin completely concealing its ceramic substrate. The Mosses are relatively lightweight, but absorb water, acting like a sponge to keep the roots moist between waterings. This absorptive quality keeps the temperature stable, acting as a heat-sink to keep the moss cool during the day and warm at night. The pieces are responsive to their environment, constantly growing and changing, dying and reviving. They are both grotesque and beautiful, and represent Mizuno’s surrender to materials that are not obedient to his will and can’t be predicted or controlled. One of these pieces was recently exhibited at Pasadena’s Armory for the Arts. The piece was continuously misted during the duration of the show. Mizuno has used the Mosses in private gardens and in a few site-specific projects including one in 2012 at Cedar House, Storm King, the 500-acre sculpture park in up-state New York. There, he sited a number of the moss pieces around a grove of deciduous trees; the mosses are hardy in cold temperatures and he expects lichen will eventually start growing along with moss. It’s an oversimplification to consider Mizuno’s work typically Japanese or simply Zen; the work is that and more, to limit it to obvious categories deprives him of the breadth of his originality and accomplishment. Mizuno is aware of the importance of his Japanese

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Mosses, 4 ft. (1.2 m) in diameter, ceramic and moss with spray watering system, 2011. Courtesy Pasadena Armory for the Arts. april 2013 www.ceramicsmonthly.org

roots but they are his tools; his work goes beyond ethnicity and tradition. Mizuno’s work seems to grow in complexity the longer you look at it, as the depth and density of the glazes slowly reveal themselves. His objects aren’t about the environment or living in harmony with nature, what he makes is in a class by itself, a conundrum, a distortion, a meditation on nature versus the man made. Mizuno hasn’t looked for an outcome that can be planned or assumed. Although he possesses an encyclopedic knowledge of clays and glazes, he pushes his materials to extremes, deliberately relinquishing control and courting the lucky accident. The unexpected crack, recalcitrant seedling, crawling glaze are all welcomed, used as an opportunity to further develop his work. Mizuno is now at a turning point in his career. His recent move to New York has altered the nature of his work and how he thinks of himself as an artist. He no longer has a kiln and a large studio. He is nearly 70 and feels that making ceramics has become too arduous and impractical for him; he is now focusing on making photographs and videos. It will be interesting to see what Mizuno, with 40 years of object-making behind him, will make with materials that barely occupy space. the author Kathleen Whitney is a Los Angeles based sculptor and writer.


Sanam Emami

CHANNELING THE by Glen R. Brown

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The ancient network of trade routes known collectively as the Silk Road conjures in the imagination of the present a tumult of exotic goods, diverse peoples, and disparate behaviors now obscured by the passage of time. For ceramist Sanam Emami, however, the cultural exchange so integral to the Silk Road over hundreds of years and a vast region of Central Asia is more than a phenomenon of centuries past. It is a theme around which condenses a logic for employing in contemporary ceramics a mix of general aesthetic influences and specific historical styles and motifs. Often these are significant for their ties to Emami’s Iranian heritage, but their importance extends beyond personal experience. “They are ubiquitous,” she explains. “When I integrate them with tableware and objects designed for the home, I’m referencing the past as a lens for filtering and navigating the objects that I make today. The work celebrates the concept of pattern as an inherently flexible system that can draw from a wide range of sources and influences. The newer pieces reflect my interest in tools and tooling, modes of production, and the reciprocal play among craft, design, and contemporary art practices.” Emami—who emigrated from Iran with her family at the age of six amid the dangers and uncertainties of revolution and came to the United States four years later—has made her practice largely a conflux between reflection on personal experiences of culture and identity and a sense of place within a ceramics community

that values history and tradition. Her pottery, which functions both physically and symbolically, the latter through the language of ornament, incorporates a tendentious mix of decorative motifs originating in China, Japan, and most importantly Islamic Persia. Her forms—produced in a chocolate-brown clay body intentionally reminiscent of the dark red stoneware invented by Johann Friedrich Böttger while attempting to produce porcelain in eighteenth-century Germany—draw recognizable influence from the histories of Islamic tile work and European pottery, especially Delftware. From these disparate threads she weaves a rich brocade that expresses the varied origins of its parts but coalesces into a harmonious whole under the guidance of aesthetic arbitration. Scholarly study of Islamic art enriched by experience of breathtaking architectural ornament during her recent visits to Iran has, for Emami, yielded insight into the aesthetic value of balancing tension and harmony. “In Islamic ornament at certain moments there may be so much happening,” she notes, “yet through that complexity you end up with a simple field; things become so complex that they become simple again. I look at historical patterns and motifs and try to piece them together. In the studio I don’t think about where they’re from but respond to them more spontaneously.” The metaphorical layering of images that Emami pursues for reasons related to concepts of culture and history is directly referenced

2 1 Trivet, 8 in. (20 cm) in width, Meissen brown stoneware, silk-screen transfers, 2012. 2 Cups, 4 in. (10 cm) in height, Meissen brown stoneware, silkscreen transfers, 2012.

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4 3–4 A Garniture of Cups, 7 ft. (2.1 m) in height, slip-cast porcelain, hickory and paint, 2012. Courtesy of the Society of Arts and Crafts, Boston. Photos: Dean Powell Photography.

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by physical layering through a combination of transfer printing and paper-resist techniques. After selecting motifs or pattern fragments from historical sources that include pottery, textiles, manuscript painting, and architecture, she renders these in silkscreen stencils and prints them in underglaze on newsprint. Some of these printed elements are then carefully cut along their outlines to form shapes that can be moistened and attached to the wet clay surfaces of plates, vessels, or tiles. When these cutouts are in place, Emami coats them, along with the entire surface, in white slip. After this layer has dried, she transfers more screen-printed images to the plate, vessel, or tile before pulling away the slip-covered newsprint shapes to reveal the chocolate brown clay body beneath. The resulting contrast—as in Staffordshire slipwares or Korean Punch’ong (Buncheong) pottery—is crisp and definitive, but Emami’s taste for nuance leads her to add texture to her surfaces as well. Employing bisqued ceramic

stamps of her own manufacture, she introduces impressed patterns that can be dense and regular or sparse and asymmetrical, depending upon the desired effect. Following the transfer-printing, slip-coating, and stamping processes, Emami applies glazes that are either clear or pale turquoise green. The pigment in the latter, like that of glaze on Song Dynasty chingbai wares, pools in the stamped impressions, forming crystalline depths of deeper shades. The hue is both attractive and historically significant, since potters of Islamic Persia produced similar glazes at Kashan and Nishapur, combining them with new pottery traits as a taste for luxury ceramics developed through familiarity with imports from the Far East. The exoticism of the Chinese plates and vessels that made their way over the Silk Road profoundly influenced the development of pottery in Iran, prompting, for example, imitation of Jingdezhen porcelains in thin

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6 5 Slip-cast cups, 5 in. (13 cm) in height, porcelain, and black porcelain, 2012. 6 Plate, 8 in. (20 cm) in width, Meissen brown stoneware, silk-screen transfers, 2012. 7 Bowl-shaped flower holder: tulipiere, (detail with lid removed), 8 in. (20 cm) in height, Meissen brown stoneware, 2013. 8 Bowlshaped flower holder: tulipiere, 8 in. (20 cm) in height, Meissen brown stoneware, flowers, 2013.

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and brittle fritware during the Seljuk period. Influence passed both ways, however. The quintessential blue-and-white porcelains of Jingdezhen seem to have developed largely to suit the tastes of Middle Eastern traders; cobalt was probably first brought to China from the mines at Qamsar near Kashan; and techniques of underglaze painting in oxides, practiced in the Middle East earlier than in China, may have been exported as well. Reflection on the complex intercultural exchange underlying the development of Persian pottery during the early Islamic period no doubt predisposed Emami to fascination by her first encounter with a form that would become central to her repertoire: the tulip vase. Produced in blue-andwhite Delftware—a Dutch adoption of Islamic tinglaze technology combined with the aesthetics of Chinese kraak porcelains—the 4-foot tall examples that Emami discovered at the de Young Museum in San Francisco in 2000 sparked a research interest that has been ongoing. Emami was intrigued to find that tulips were in fact native to the Middle East not the Netherlands and to learn that during a period of “tulipomania” in the early 17th century, Dutch fortunes were won and lost in speculation on futures for bulbs of the exotic plant. She recognized in the tulip vase a set of traits that, like the cherished objects that her family had brought from Iran to the United States, embodied the complexities of culture and also hinted at social standing. “The history of the tulip vase interested me,” Emami explains, “because the ideas and the objects moved through different cultures to different continents; every culture re-evaluating and changing them. Also, it was a vase form: a functional object with this incredible story and at the same time all of these wonderful sculptural qualities about it. It was a form that I felt I could manipulate and reinterpret. I really wanted to bring forward the Middle–Eastern part of the story, because for a Western audience that part disappears.” If the tulip vase is an appropriate form for reflection on the hybrid origins of cultural objects, it is also a particularly effective format for consideration of the expansive nature of ornament: the capacity of ornament to engage its audience through external relationships as well as through internal configurations. The tulip vase, as Emami observes, is such a specialized functional form that it cannot shake a certain deficiency from its nature when not in actual use. Its ornamentation, as a consequence, is predisposed to connect to things outside the vessel


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itself and to look to these for consummation. “A question that I’m always asking myself,” Emami asserts, “is, how compelling is the form without flowers? And yet, I need to leave it slightly unfinished. It’s like writing a book or a poem. You don’t want to pack everything in there, because then there’s no room for the flowers.” The ability of ornament to extend its influence beyond the physical boundaries that contain it and into its larger environment

is a trait that Emami has recently explored in a series of installations in which multiple ceramic objects are integrated into patterns spreading across walls. At Greenwich House Pottery in New York in 2009 she situated 21 tiles in a complex field of painted pattern derived from Islamic sources. The quatrefoil tiles, also vaguely Islamic in shape, were in fact cut with the aid of a stencil made by unfolding a cardboard container for saffron, a spice that, unlike so many transported across the Silk Road from the Far East to Europe, originated in the Mediterranean and gradually made its way to the Middle East and Asia. Reciprocity is emphasized by the tiles in their functional role as well, since Emami treats them as interchangeably vertical and horizontal: the flipside of the tile being the trivet. Against a backdrop of painted ornament at the Society of Arts and Crafts, Boston in 2012, she displayed cups on small shelves shaped like her tiles but cut from plywood with the aid of CNC milling technology. Reflection on the Silk Road and functional pottery—both ancient yet still in use; both conducive to complex cultural intermingling over time; both symbolic of human ingenuity—enriches Emami’s work with implications of ceramics history, the hybrid constitution of culture, and the cultural origins of personal identity. A plate, cup, or even tulip vase is, however, an object evolved from the requisites of use, and as a potter Emami is quick to acknowledge the importance of this fact. “In the end, a plate is a plate,” she affirms, “and I want someone to use it as a plate, but I make the work because I enjoy thinking about those other things.” the author, a frequent contributor to CM, Glen R. Brown is professor or art history at Kansas State University in Manhattan, Kansas.

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GO

EAST Canadians Create in China by Heidi McKenzie

“Go East: Canadians Create in China” is a stunning survey of nine contemporary Canadian ceramic artists’ works whose practices have been touched and indelibly altered by their visceral experience of modern-day China. The exhibition, which was on view at the Gardiner Museum (www.gardinermuseum.on.ca) in Toronto, Ontario, Canada, showcases works by Susan Collett, Sin-Ying Ho, Jiansheng Li, Rory MacDonald, Paul Mathieu, Sally Michener, Ann Mortimer, Walter Ostrom, and Diane Sullivan. Curated by Rachel Gotlieb, Go East highlights a recent and current trend that shifts the migratory path of ceramic artists, up until the last two decades, from Japan and Korea to China—specifically to centers of industry such as Jingdezhen and Fuping. Gotlieb plumbs the source of this growing allure while at the same time challenging the community and the museum’s public at large to consider foreign modes of making as equally valid to North American norms. With over 250,000 skilled artisans in Jingdezhen alone, production is driven through narrowly focused divisions of labor where notions of the individual maker and handcraftedness are antithetical to Western holistic, studio-based models of making. Although it is virtually impossible to circumbscribe categories within this near 30–piece exhibition, Gotlieb deftly groups the works by theme: Making and History; Identity and Tradition; and New and Post-China Perspectives. My review of the work traces selected pieces as they are visually laid out on the viewers’ trajectory. East-coast veteran art1 Jackson Li’s Crane, 12 in. (31 cm) in height, slip-cast porcelain, painted enamel, 2011.

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ist and educator, Walter Ostrom, is interested in shedding light on the subversive and spotlighting the ironic. His pieces Chinoiserie Squared (not shown) and An English Chronicle cunningly reference Europe’s centuries-old fascination with blue-andwhite. For Chinoiserie Squared, Ostrom, known for his mastery of majolica, had a local Jingdezhen cobalt painter copy his tin-glaze plate onto a factory-purchased blank. Ostrom’s original, displayed alongside its Asian iteration, cheekily places the maker’s mark front and center in a pithy reversal of the anonymous maker. The effect of the simultaneous twinning on display underscores Europe’s elusive quest to master Chinese technology pitted against the backdrop of China’s over 1000 years of porcelain production. Rory MacDonald is the current Chair of Craft Division at the Nova Scotia College of Art and Design University in Halifax. He carries forward the mantle for Ostrom (who taught for 38 years at NSCAD and retired in 2008). MacDonald’s works are just as subversive in tone (5). He chose to side-step collaboration, and created his own slip-cast and thrown vases, or sourced existing plates from factories. Using chalk, MacDonald decorated the pieces himself using motifs on shards he’d sourced at local antique markets or factory floors as templates for his inspiration. The work is playful and energetic—qualities that belie their tenuous ephemerality. Artist, critic, and academic Paul Mathieu from Vancouver, Canada, declares that “to make an object by hand is a profoundly political act.” Yet, of the presenting artists, I found his methodology to be the most exploitative of his factory-driven surroundings, while at the same time, the most politically motivated. T.A.M. Square Flower Vases is a convincing example of conceptual contemporary art: Mathieu bought the vases from a manufacturer of once-fired porcelain blanks; he commissioned their decoration, referencing stereotypical images of flower, birds, and landscape; and he procured the assistance of a transfer specialist in applying politically charged photographic imagery of Tiananmen Square. Through his activist commentary, Mathieu seamlessly renders the universally familiar into something radical. In a similar vein, Mathieu literally turns style and convention on its head: Chinese Matisse Vase: Peaches and Bat is an upside down bust of Henri Matisse with the iconic Chinese

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2 Walter Ostrom’s An English Chronicle, thrown porcelain, cobalt underglaze, 2004. 3 Sally Michener’s Journey to Jingdezhen, 171⁄8 in. (44 cm) in height, slip-cast porcelain, 2007. Courtesy of the Gardiner Museum. 4 Sin-Ying Ho’s Made in the Postmodern Era—Paradox No 3, 20½ in. (52 cm) in height, slip-cast porcelain, hand-painted cobalt blue pigment, computer decal transfer, terra sigillata, high fired in reduction, 2008. Courtesy of the Gardiner Museum.

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5 5 Rory MacDonald’s Chalk Works—Blue and White, to 29 ⁄

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in. (76 cm) in height, slip-cast porcelain decorated with chalk, 2008.

imperial “peaches and bat” pattern, which symbolized longevity and good luck, prominently featured. Gotlieb notes that Mathieu intermingles concepts of representation, function, and decoration to underscore the tension between form/surface and image/object. Hong Kong-born Sin-Ying Ho played a pivotal role as translator for her then teacher, Walter Ostrom, in establishing an East-West interchange between NSCAD and Sanbao, near Jingdezhen. A product of a different place and generation, Ho’s work embraces the fragmentation of Postmodernism. It is steeped in her own experience of cross-cultural tension. Made in the Postmodern Era Series—Paradox No 3 is a visual mish-mash of cultural iconography and traditional imagery. Gotlieb marvels at the visceral reactions elicited from this pop-culture/historically derivative visual mashup, “there’s something not quite right when you approach her work, it is masterful and yet so awkward. You’re intrigued, then captivated, then when you look closely, you ‘get it.’” I first viewed the work with a group of middle-aged women who were vocal in their mirroring of the emotional journey articulated above. Ho’s message is partly feminist; she plays with images of 50’s style housewives, Marilyn Monroe, and General Mao. Jiansheng (Jackson) Li is the co-founder of Sanbao Ceramic Art Institute located outside of Jingdezhen, the city of his birth and training. Since the Ostrom/NSCAD exchange in 1997, Li

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divides his time between continents, and calls Toronto his parttime home. Li’s work finds its place among the Neo-Imperial Movement that characterizes the late 1990’s in China. Gotlieb describes Li’s work as a non-derivative reimagination of imperial porcelain styles from the Qing dynasty (1644–1911). One of his featured works, Crane, (1) offers the viewer only fragments of the Manchurian bird and obligates its audience to complete the image in their mind’s eye. The vase has an other-worldly ethereal quality. In Li’s words, “I do not change the essence, keeping tradition as strong reference, I reduce the noise, narrations, and symbols that have no meaning today.”1 Gotlieb curated Ho’s and Li’s work alongside Sally Michener’s, as each of these artists are concerned with expressions of individual and/or collective identity juxtaposed within the context of tradition. Michener’s Journey to Jingdezhen (3) is a pictorial collage of her travels that incorporates Tang dynasty-like cave paintings and figurative bas-relief self-portraiture against Vancouver’s Lions Gate Bridge and the ancient potteries at Sanbao. The wall-mounted sculpture is haunting, and distinguishes itself within the exhibition as the most covertly personally vulnerable offering of the assemblage. The final grouping of artists encountered includes three makers whose practices took a decided turn or transformation as a result


of their post-China perspectives. Ann Mortimer, a relatively frequent visitor to China, was enthused by the ubiquitous and colorful Chinese parasol, whose bamboo handle is a symbol of longevity. With the help of Jiansheng Li, Mortimer was able to create a plaster mold to realize her vision of porcelain umbrellas. Upon her return to Canada, Mortimer subsequently crafted her now signature series of umbrellas in earthenware. The dichotomy of ceramic’s permanency and fragility lends deeply meaningful subtext to these nonfunctional, aesthetically charming works. NASCAD and University of Washington-trained, Diane Sullivan transposed her deeply incised carving onto Meipinginspired vases, thus finding a new grammatical lexicon for her potter’s vocabulary. Sullivan’s residency at Sanbao proved to be a major watershed, “Being an unknown in a foreign country surrounded by millennia of revered ceramic production turned a creative switch on in my brain that allowed for work I had seen only fuzzily on the outer perimeters of my imagination.”2 Susan Collett’s towering sculptural forms stand as proof-positive of the artist’s transformative encounter with China. Aggregate 1, from her Maze series, is evocative of Jingdezhen’s ever-present smoke stacks, and provides abstracted evidence of her absorption of this fragmented and highly industrialized milieu. The winding gestural slip trails usher in notions of the city’s passageways and are drawn from her fieldwork sketches. Collett’s works explore chaos and order, and her means of construction ask the viewer to consider the layered dichotomies of the medium’s fragility and permanence set against our own temporal existence. Upon leaving the exhibition, there is a chalkboard with the beginnings of patterns drawn onto it, inviting the audience to impart their creative energies. As I left my own markings on the board, sketching the Taoist yin-yang symbols, I found myself considering a couple of the questions Gotlieb poses to the viewer: is there, as Glenn Adamson suggests, a rapprochement between studio craft/studio pottery and industry; and is the aura of the object diminished by the latter? I believe, in the final analysis, yes and no, and maybe. This conundrum both satiates and whets curiosity. Go East: Canadians Create in China is Rachel Gotlieb’s inaugural solo feature curatorial triumph since her installation as the Senior Curator at Toronto’s Gardiner Museum in May 2011. We look forward to many more equally as insightful, ground-breaking, and aesthetically successful endeavors.

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6 Diane Sullivan’s Mei Ping with Lotus, 22 in. (56 cm) in height, glazed porcelain, 2010. 7 Susan Collett’s Aggregate 1, 25 in. (64 cm) in height, handbuilt paperclay, colored slips, engobe, majolica, multiple firings, 2011. Photo: Toni Hafkenschied. 9 Paul Mathieu’s T.A.M. Square Flower Vases, to 14 in. (36 cm) in height, porcelain, 2005. 8 Paul Mathieu’s Chinese Matisse Vase: Peaches and Bat, 13 3/8 in. (34 cm) in length, porcelain, 2005.

Footnotes: 1–2 Rachel Gotlieb, Senior Curator, Gardiner Museum. Go East: Canadians Create in China. Exhibition catalog, published by the Gardiner Museum, Toronto, Ontario, Canada, 2012.

the author Heidi McKenzie is an artist and art critic living in Toronto, Canada. Keep up with her projects at www.heidimckenzie.ca.

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InďŹ nite Interpretations by Christina Bryer

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I have always been interested in geometry, and responded strongly final plate is concerned, I work from the front toward the back, to Roger Penrose’s aperiodic patterns when I first saw them 15 which means that the marks I lay down first will be top most in years ago. In his writing/research, I encountered pentaplexity and the final product. realized, “this is it.” In these grids, the patterns of pentagons do The creative process begins when I select dots and connect not tile regularly, but aperiodically (1). The geometry in my art the lines in between them (7). No two plates will ever be the is inspired by this aperiodic tiling pattern and Euclidian lace. In same as there is no prescribed sequence or plan. I let the pattern short, the patterns reflect the geometry of life and nature’s tendency in the grid take me where it wants to go; in other words infinite to construct complex geometries on micro and macro levels such variations or interpretations are possible—every decision and as DNA strands and stellar configurations. Starting with absolute every mark I make affects the final outcome. grids frees one to work with infinite possibilities. I work on the pattern from one position, turning the wheel Constructing a plate takes an entire, uninterrupted working to work on new sections. I find that working on a potter’s wheel day. I begin by preparing my tools: three or four plastic bottles or a banding wheel makes it easier to avoid smearing the marks with different size nozzles, a jug of porcelain slip, a fine silk cloth, I have already laid down. a firm cotton cloth, a graphic print, a brush, a wooden skewer, After completing the whole pattern for the plate, I spray it at and ten pre-made and high-fired porcelain cones (2). I start in an angle with terra sigillata to enhance and bring out the pattern the morning by preparing a basic porcelain slip (see recipe on p. (8). I then cover the whole back with a thicker porcelain slip 51). For this plate I only use white porcelain slip, but one can add layer that forms the basis of the plate (9–10). I fill in each section oxides or stains for different colors. individually rather than pouring one single layer, this way the I soak a plaster bat in water to keep the humidity constant for a slip follows the pattern, making the back reflect the front. Trial day (3). A dry bat is not a desirable surface to work on as the drying clay slip starts to flake off. I then dampen the graphic print (4) which is a master grid of 20 inches (52 cm) in diameter (I print to this size because it is the maximum size I can fit into my kiln and it can just be lifted onto a kiln shelf when it is dry without disintegrating in my hands), constructed in Adobe Illustrator and printed on archival paper. It can be re-used many times and has the added advantage of non-directional stretch (normal paper, when wet, stretches much more in one direction than the other, which will skew the pattern). I then smooth down a layer of fine, water-soaked silk on top of the print with a squeegee (5). The clay slip will stick to the paper and the layer of silk between the paper and the clay facilitates the peeling off of the paper later. Next, I use different sized nozzles (a brush or a stick will also work) on the plastic bottles to start making dots with the porcelain slip (6). I start in the middle and work toward the outer edges. As far as the Pentaplexity, 16½ in. (42cm), high-fired porcelain.

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1

2 Materials: Four plastic bottles with different sized nozzles, a jug of porcelain slip, fine silk cloth, firm cotton cloth, a graphic print, a brush, a wooden skewer, and a flat plaster bat.

Examples of periodic, non-periodic, and aperiodic tiling patterns.

3 Soak the plaster bat in water to keep the humidity constant for a full day.

4

5

Detail of the enlarged aperiodic tiling print used as a drawing guide. Place it on the bat.

Dampen the print and place it face up on the bat. Smooth out a layer of water-soaked fine silk on the print.

7 The creative process begins when dots are selected and connected to lines in spontaneous patterns.

8 Once you feel the pattern is complete, spray it at an angle with a darker terra sigillata to coat and enhance the pattern.

11

10 After the entire pattern is filled in, let it rest until it is no longer tacky. Then cover the plate with a layer of silk then a layer of firm cotton.

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Place a sturdy piece of plywood on top and gently flip all the layers over at once. Slowly peel the silk away from the porcelain.

6 Make dots with different sized nozzles. Start in the middle and work toward the outer edges.

9 The next step is to systematically cover the whole back with porcelain slip. Cover the entire pattern, one section at a time.

12 Make sure the reusable, pre-made, slip-cast, porcelain cones are clean and dry. Have several on-hand for various patterns.


13 Lift the patterned porcelain slab by gently pulling the bottom cotton cloth upward then push the cones underneath to create an undulating pattern.

14 Let the plate completely dry then carefully remove the cones and tug gently on the silk until the porcelain is completely free.

and error have taught me that 2.2 pounds (1kg) of mixed slip is sufficient to cover my 20-inch (52 cm) plaster bat. I let the plate rest for at least three hours until it is no longer tacky. I then cover the plate with a layer of silk plus a layer of firm cotton to facilitate ease of handling. The cloths prevent the bat from sticking to the clay, the silk leaves hardly any imprint on the clay, and the cotton cloth adds strength. I now cover it with a light plywood bat, flip it over, and peel the silk up and away from the porcelain (11). The result is a porcelain pancake resting on top of two layers of cloth. (I re-use the cotton, silk, and paper over and over again.) The reusable, slip-cast, high-fired porcelain cones now come into play. I lift up the decorated porcelain slab by gently pulling the bottom cotton cloth upward and pushing ten porcelain cones underneath to create alternating humps and slumps (13). The plate is now left to dry completely, which can take up to several days Reusable Supports depending on the weather (14). Once it To make a mold for is dry, I carefully remove the cones and tug gently on the silk until the porcelain these cones, I slab is completely free. The silk tends to build a cone to the stick very slightly to the dry porcelain desired slope and size. but comes away with gentle tugging. When it is leather hard, I For maximum support, I place my open refine and finish it, then hands under the porcelain and gently lift make a plaster cast. I the plate onto a kiln shelf. I re-insert the cones under the plate for the firing (15). dry the plaster mold for Each cone is dusted with alumina to several days and then prevent it from sticking to the plate durcast porcelain slip into ing the firing. I fire the plate to 2300°F it. I usually make ten (1260°C). The finished thickness can cones from the same vary slightly but my pieces are generally mold and fire them to less than ½-inch (1–2 mm) thick and about 17 inches (42 cm) in diameter and cone 9 (12). quite translucent (16). To see more of Christina Bryer’s work go to www.christinabryer.com.

15 With open hands for maximum support under the porcelain, gently lift the plate onto a kiln shelf. Dust the cones with alumina to prevent them from sticking then re-insert them and fire.

BASIC PORCELAIN SLIP Cone 9 Potassium Feldspar . . . . . . . . . . . . . . . 25 % Kaolin . . . . . . . . . . . . . . . . . . . . . . . . 60 % Silica . . . . . . . . . . . . . . . . . . . . . . . . . 15 % 100 % Add: Water . . . . . . . . . . . . . up to 400 g Deflocculant . . . . . . . . . . . . . . . . . . .5 ml Methyl Cellulose . . . . . . . . . . . . . 1 tbsp Mix 2.2 lbs. (1 kg) of slip for a plate 20 in. (52 cm) in diameter I use Alcasperce for my deflocculant. Other types may require different amounts. Methyl cellulose (the main ingredient in wallpaper pastes) can be used as a mild glue to give extra green strength to delicate pieces.

16 Finished fired plate.

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o n Rules

1

C o n t e m p o r a ry C l ay by Emily Schroeder Willis

2 1 Michael Fujita’s El, ceramic, 2008. Photo: Emily Schroeder Willis. 2 Michael Fujita’s garden i-block, 16 in. (41 cm) in height, ceramic, wood, dried flowers, 2008.

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I t s e e m s f i t t i n g f o r t h e E l m h u r s t A r t Mu s e u m (www.elmhurstartmuseum.org), in Elmhurst, Illinois, to have shown the exhibition “No Rules: Contemporary Clay.” The museum itself is partially formed by the only single-family home ever built by architect Mies Van der Rohe, so it’s appropriate that a museum that valued this rare home by an architect who redefined architecture would exhibit work that redefines ceramic art. No Rules showcases 12 artists (Nikki Renee Anderson, Liene Bosquê and Nicole Seisler, Teri Frame, Michael Fujita, Chris Garofalo, Jeremy Hatch, Joseph Seigenthaler, Thomas Schmidt, Richard Shaw, Jay Strommen, Xavier Toubes, and Blake


Photos courtesy of the Elmhurst Art Museum.

3

5 3 Chris Garofalo’s Vivarian—Place of Life, ceramic and mixed media. 4 Nicole Seisler’s and Liene Bosquê’s City Souvenirs, 2011. 5 Joseph Seigenthaler’s Shel, ceramic, 2012. 4

Jamison Williams) who have taken their material and explored it for its qualities rather than its function, removing the “rules” for how clay is to operate in art and the public sphere. Whether it is Richard Shaw transforming the material so that it looks like anything but clay, Nikki Renee Anderson photographing her abstract creatures in the stark Icelandic landscape, or Jay Strommen embracing all of the gushiness of the material, this exhibition crosses all spectrums. Michael Fujita’s architectonic-inspired works are instantly captivating from the moment you enter the museum. Their encrusted surfaces buzz with movement, like a swarm of worker bees hovering around their queen, but still maintain a degree of contained chaos. Additionally, I enjoy the slight wink to sculptor Donald Judd in the way he creates simple geometric forms. Fujita’s play with preciousness and waste is fascinating; he combines his discarded scraps along with other artists’ scraps to form the structure of these pieces. Each sculpture feels as though it could have been excavated from under Fujita’s feet, with all his remnants embedding together to form these creations over time.

Teri Frame’s Pre-human, Post-human, Inhuman clay performance is one of the most innovative uses of the material and truly the most removed from the “rules of clay.” During the performance, Frame covers her face in a mask of raw, white clay and shifts and shapes it into a wide and wild variety of creatures. I am constantly captivated by her transformation of the human body; you barely blink and Frame has transformed into a different character before your eyes. Her performance is such a beautiful metamorphosis of humanity, exploring the different notions of beauty and humanness spanning of thousands of years. It is the blending together of the myth, fantasy, and reality of humanity. One of my favorite pieces in this exhibition was a large wall piece titled Sampled Spaces by Thomas Schmidt, an artist with whom I was not previously familiar. His porcelain squares hang on the wall like a disjointed topographical map, jumbled memories of space and place. It reminds me how even though one can recall an entire event, you don’t always get the pieces in the correct place. It is a solemn piece but still carries a beautiful rhythm within.

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6

7 6 Thomas Schmidt’s Sampled Spaces, (detail) cast porcelain. 7 Teri Frame’s Early Humans, from the Pre-human, Post-human, Inhuman clay performance, video still, 2011.

Chris Garofalo’s Vivarian—Place of Life is composed of dozens of highly detailed sea-like creatures contained in large Plexiglas domes with floors painted with army camouflage patterns inside and set on large Tonka truck wheels. They appear as specimens cataloged together in roving terrariums, creating a tactile narrative of aquatic or desert fantasies. While the sculptures are meticulously crafted, there are too many stories and pieces of information that don’t quite overlap, leaving me without a way to piece together a greater understanding or larger narrative. Walking into the inner corridor, the viewer feels more on display than the artwork. Joseph Seigenthaler’s heads (5) protrude from the wall at a size dwarfing the viewer. As you walk, the feeling surfaces that all these characters, including Ralph Nader, Ron Paul, Jacob Rothschild, David Rockefeller, and Shel Silverstein, showed up to analyze you, rather than the other way around. Turning around in this same room, you see two other heads that differ sharply from Siegenthaler’s pieces. These are roughly shaped, large heads supported on small wooden scaffolds. These two pieces by Xavier Toubes, titled Dos Cabezas, almost look like a work in progress, as if they just rolled in from his studio. Toubes’ work feels fresh and, due to the way he formed these massive figures, the clay seems as if it is still malleable. These composed, austere, yet gestural pieces

8 Background: Jeremy Hatch’s Tree House, porcelain, 2006. Foreground: Blake Jamison Williams’ Gammy’s Runner, 5 ft. (1.5 m) in length, porcelain, antique cherry dining table, 2009–2010.

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9

9 Xavier Toubes’s Dos Cabezas, ceramic, glazes, lusters, wood, 2008. Collection of Elmhurst Art Museum. 10 Jay Strommen’s, Tablets and Tokens of my Appreciation (Tablet detail), ceramic and recycled glass, 2010.

provide a nice contrast to Seigenthaler’s kitschy and tongue-in-cheek heads, which poke fun at politics and aristocracy in America. Liene Bosquê and Nicole Seisler have two areas of work on display: one of fired and cataloged work and Works in Progress, a wall of shelves drying work. These two artists have charted memoirs of Chicago and New York both individually as well as collectively with “Tour Groups,” by impressing raw clay into their surroundings, cataloging their environment and putting the finished pieces on display. In talking to Staci Boris, one of the curators of the exhibition, I asked if she had gone on a “Tour Group.” She had, and proceeded to tell me about her piece and the significance to her of making an impression of the railroad track outside of the museum. This conversation reminded me that cataloging an environment is about so much more than recording the decoration that embellishes it; preserving the stories impacting its inhabitants also plays a part, and I wish Seisler and Bosquê had done more to capture that spirit. Jeremy Hatch’s Tree House, a massive, slip-cast, life-sized, porcelain tree crowned with a fort fills most of an entire room and seems to be a shrine to a forgotten space and time. It is a tree of impenetrable memories, of things lost and found again. It is beautifully constructed and I am completely in awe of the skill involved in such an undertaking. No detail is lost and the ghostly presence is breathtaking. Sharing the same room, Blake Jamison Williams has an equally spectacular piece. Gammy’s Runner is a porcelain table runner placed on an heirloom table that Williams owns. The runner is comprised of hundreds of small, bone-like fragments that Williams shaped between her fingers to resemble her own finger bones. This haunting piece, like Hatch’s, catches me between the desire to stay back, revering it, and the desire to touch it in my own hands, completely destroying the piece in the process.

10

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11

13 11 Nikki Renee Anderson’s Icelandic Garden #1, archival inkjet print, 2011. 12 Richard Shaw’s Hapa, 24 in. (61 cm) in height, glazed porcelain with overglaze decals, 1999. 13 Blake Jamison Williams’ Gammy’s Runner, Great-Mother’s Table (detail). Photo: Tim Thayer.

The Elmhurst Art Museum, though small in stature, has created a big impression through the quality of its exhibitions. No Rules does a good job of showcasing contemporary artists and the ways that they continue to bend and cast off the rules for how a material, specifically clay, should be used or how an object made from that material should operate. I am excited to see more of the exhibits that proliferate from this hidden gem of a museum on the periphery of Chicago.

12

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the author Emily Schroeder Willis is an artist living and working in Chicago, Illinois. She earned an MFA from the University of Colorado, Boulder, and a BFA from the University of Minnesota—Twin Cities.


summer workshops 2013

2013 summer workshops Workshop participants watch as artist tip toland demonstrates sculpture techniques during a summer workshop at La Meridiana, July 3–16, 2011 in Certaldo, Italy.

Alabama, Fairhope

“The Cup, the Bowl and Beyond—the Complexity Found in Simple Forms,” with Mary Louise Carter (June 7–9). Fee: $170. “The Stamped Surface, Soft Slab Construction and Altered Thrown Forms,” with Amy Sanders (July 6–7). Fee: $170. “Taking the Mystery Out of Glaze Mixing,” with John Rezner (August 3–4). Fee: $185. Contact Susie Bowman, The Kiln Studio and Gallery; thekilnstudio@yahoo.com; 251-5175460; www.thekilnstudio.com.

Arizona, Flagstaff

“Wood Fire Workshop,” with Jason Hess (July 15–26). Fee: $1200. Contact Jason Hess, Northern Arizona University; jason.hess@nau.edu; 928-699-8984; www.nau.edu/ceramics.

Arkansas, Eureka Springs

“Creating a Mosaic Arch for ESSA,” with Mike Haley (June 3–7). Fee: $225. “Hand-Building with Clay,” with Lee Kroll, Patrick Lujan (July 22–26). Fee: $295. Contact Sabina Miller, Eureka Springs School of the Arts; esartschool@gmail.com; www.ESSA-Art.org; 479-253-5384.

Arkansas, Mountain View

“Essential Throwing Skills,” with Becki Dahlstedt (June 7–9). Fee: $175. “Ceramic Glaze Calculation,” with Paul Lewing (July 13–14). Fee: $400. Contact Arkansas Craft School; arkcraftschool@mvtel.net; 870-2698397; www.arkansascraftschool.org.

California, Huntington Beach

“Geil/Coleman 3-day Kiln Firing Workshop,” with Paul Geil and Tom Coleman (June 22–24). Fee: $275. Contact Geil Kilns; geil@kilns.com; www.kilns.com; 800-887-4345.

California, Idyllwild

“Hot Clay: Sets and Soda,” with Richard Burkett, Joe Molinaro (June 23–29). Fee: $715. “Handbuilding in Clay,” with Sunshine Cobb (June 23–29). Fee: $715. “Native American Arts: Santa Clara Pottery,” with Nathan Youngblood (June 24–29). Fee: $715. “Native American Arts: Hopi-Tewa Pottery,” with Mark Tahbo (July 1–6). Fee: $715. “The Ways of Clay,” with Greg Kennedy and David Delgado (July 1–12). Fee: $1430. Contact Idyllwild Arts; heatherc@idyllwildarts.org; www.idyllwildarts.org; 951-659-2171.

California, Mendocino

“Slab and Handbuilding Techniques,” with Susan Makovkin (June 1–2). Fee: $250. “Narrative Sculpture: Telling The Whole,” with Jessica Thompson (June 14–16). Fee: $350. “Making and Firing: Wood and Soda,” with Bill van Gilder (June 23–29). Fee: $650. Contact Jessica Jade Norris, Mendocino Art Center; marketing@mendocinoartcenter.org; www.mendocinoartcenter.org; 800653-3328.

California, Nevada City

“Handbuilding: Tricks of the Trade,” with Vince Pitelka (June 10–14). Fee: $395. Contact Rene Sprattling, Studio 540; spratmat@sbcglobal.net; www.studio540.net; 530-265-8762.

California, Ojai

“Luster Glazes Unveiled,” with Myra Toth (June 13–16). Fee: $575. Contact Kevin Wallace, Director, Beatrice Wood Center for the Arts; kevinw3306@gmail.com; 805-646-3381; www.beatricewood.com.

California, Penn Valley

“Woodfire Workshop (Stoneware firing),” with Glenn Husted and Steve

Dilley (May 31–June 2). Fee: $180. “Making Raku Forms, Firing,” with Glenn Husted (June 4–5). Fee: $120. “Building a Woodfiring Raku Kiln, Glazing & Firing,” with Glenn Husted (June 7–9). Fee: $120. Contact Glenn Husted, Stone Soup Studio; glennhusted@sbcglobal.net; 530-2749844; www.glennhusted.com.

Humanities; bebe@arvadacenter.org; www.arvadacenter.org; 720-898-7239.

Colorado, Cortez

California, San Jose

“Crafted in Clay: Modern and Ancient Pottery Experimentation,” with Dr. Kari Schleher, Greg Wood, Paul Ermigiotti (August 11–17). Fee: $1495. Contact Debra Miller, Crow Canyon Archaeological Center; sryan@crowcanyon.org; www.crowcanyon.org; 970-565-8975.

California, Santa Clara

“Architectonic Structures,” with Mary Fischer (August 2–September 28). Fee: $TBD. Contact Jonathan Kaplan, Plinth Gallery; gallery@plinthgallery.com; www.plinthgallery.com; 303-295-0717.

California, Santa Cruz

“Thrown, Altered, and Decorated,” with Lorna Meaden (July 20–21). Fee: $225. Contact Terry Shepherd, Western Colorado Center for the Arts/ The Art Center; info@gjartcenter.org; www.gjartcenter.org3; 970-243-7337.

“Making the Ultimate Teapot,” with George Dymesich (June 2). Fee: $105. Contact Orchard Valley Ceramic Arts Guild; workshops@ovcag.org; www.ovcag.org; 406-295-3352. “Coil Throwing Techniques for Creating Large Vessels,” with Andy Ruble (August 17). Fee: $TBD. Contact Orchard Valley Ceramic Arts Guild; workshops@ovcag.org; www.ovcag.org; 406-295-3352. “Large Pots for Beginning Potters: Potters Wheel and Handbuilding,” with George Dymesich (June 17–21). Fee: $260. “Tea Pots and Related Items for Beginning and Intermediate Students,” with George Dymesich (June 24–28). Fee: $260. Contact George Dymesich, Santa Cruz Adult School; gdymesichclay@scshop.com; 831-429-3966.

Colorado, Arvada

“The Anthropomorphic Animal,” with Russell Wrankle (June 22–23). Fee: $160. “Flow: From Wheel to Brush to Kiln,” with Don Cox (July 13–14). Fee: $140. “Integrating Texture and Form,” with Willi Eggerman (July 27–28). Fee: $140. Contact Bebe Alexander, Arvada Center for Arts and

Colorado, Denver

Colorado, Grand Junction

Colorado, Pagosa Springs

“Anasazi Pottery at Chimney Rock National Monument,” with Gregory Wood (August 2–4). Fee: $175. Contact Gregory Wood, Ancient Arts; 970316-2787; gwood@ancientarts.org; www.ancientarts.org.

Colorado, Snowmass Village

“Pots for Food,” with Doug Casebeer and Marilu Pelusa Rosenthal (June 3–14). Fee: $875. “Digital Clay: Computeraided Design,” with Del Harrow (August 2–4). Fee: $175. “Pottery: Forming Surface,” with Ursula Hargens (June 17–28). Fee: $975. “Inspiring Surfaces,” with Erin Furimsky (June 17–28). Fee: $975. “Structure in Nature through Continued on page 58 www.ceramicsmonthly.org

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summer workshops 2013

Metal and Clay,” with Michael Sherrill (June 24–July 5). Fee: $975. “Pottery: Bettering the Basics,” with Seth Green (July 1–12). Fee: $975. “The Figure: Metal and Clay,” with Lisa Clague (July 8–19). Fee: $975. “Working at the Edge: Form and Surface,” with David Crane (July 15–26). Fee: $975. “Less is More: Handbuilt Vessels,” with Joseph Pintz (July 22–August 2). Fee: $975. “Making Pottery,” with Matthew Metz and Linda Sikora (July 29–August 9). Fee: $975. “Inventing the Figure: Transformation and Transcendence,” with Paula Rice (August 5–16). Fee: $975. “Intention & Instinct Pottery,” with Simon Levin (August 12–23). Fee: $975. “Ceramic Jewelry,” with Julie Moon (August 12–16). Fee: $675. “Exploring Form with Amazing Glazes,” with Brad Miller (August 19–30). Fee: $875. “Pottery: form and technique,” with Doug Casebeer and Jeff Oestreich (August 26–30). Fee: $875.“Fusing Surface and Form,” with Andy Brayman, Ralph Scala, and Jason Walker (September 9–27). Fee: $1175. Contact Doug Casebeer, Anderson Ranch Arts Center, info@andersonranch.org; 970923-3181; www.andersonranch.org.

Connecticut, Putnam

“Understanding Glazes,” with Kate Oggel (June 22–23). Fee: $125. “Pots for Decoration/ Decoration for Pots,” with Adero Willard (July 6–7). Fee: $175. Contact Sawmill Pottery; dot@sawmillpottery.com; 860-9637807; www.sawmillpottery.com.

Connecticut, Woodbridge

“Pyranha-gama Anagama Firing,” with Trevor Youngberg, Chris Graber (June 27–30). Fee: $400. Contact Trevor Youngberg; trevoryoungberg@gmail.com; www.trevoryoungberg.com; 203641-0211.

Georgia, Decatur

“Undulating,” with Martha Grover (June 21–23). Fee: $325. Contact Luba Sharapan and Erik Haagensen, directors, MudFire Clayworks & Gallery; info@mudfire.com; www.mudfire.com; 404-377-8033.

Idaho, Ketchum

“Exuberant Clay: Form & Surface,” with Carol Gouthro (July 19–21). Fee: $250. “China Painting,” with Paul Lewing (August 2–4). Fee: $250. “Cut & Construct,” with Christa Assad (August 23–25). Fee: $250. Contact Lauren Street, Boulder Mountain Clayworks; bouldermtclay@gmail.com; 208-7264484; www.bouldermtnclay.com.

Illinois, Highland Park

“Clay for the Classroom,” with Chris Plummer (June 26–July 31). Fee: $85. Contact Park District of Highland Park; chrisplummer@comcast.net; www.pdhp.org; 847-831-3810.

Maine, Deer Isle

“Raw Potential,” with Simon Levin, Kenyon Hansen (June 9–21). Fee: $855. “Developing a Personal Aesthetic Through Clay,” with Jamie Walker (June 23–July 5). Fee: $855. “Crossover: Interdisciplinary and Collaborative Work,” with Alison Chase, Matthew Crawford, Erik Demaine, Martin Demaine, Molly Hatch, Michael Hosaluk, Laura Hosaluk, Nathalie Miebach, Brian Rotman, Pradeep Sharma, and Lily Yeh (July 7–11). Fee: $380. “Discovering Form and Surface,” with Bonnie Seeman (July 14–26). Fee: $855. “Ornamental Geometry: Exploring Pottery Form and Surface,” with Sanam Emami (July 28–August 9). Fee: $855. “A Chicken on Every Pot,” with Ayumi Horie (August 11–23). Fee: $855. “Forensic Portraiture,” with Doug Jeck (August 25–31). Fee: $855. Contact Candy Haskell, Registrar, Haystack Mountain School of Crafts; haystack@haystack-mtn.org; 207-3482306; www.haystack-mtn.org.

Maine, Monroe

“Summer Solstice: Side by Side, an Introduction to Pottery,” with Squide Liljeblad Davis (June 20–24). Fee: $650. Contact Squidge L. Davis, Starflower Farm & Studios; squidge@midcoast.com; www.starflowerfarmstudios.com; 207525-3593.

Maryland, Arnold

“Slabs, Slabs, and more Slabs,” with Jayne Shatz (June 22). Fee: $80. “Glazing Pots with Flair! Methods of Glazing Pottery for the Innovative Potter,” with Jayne Shatz (July 27–27). Fee: $80. Contact Jayne Shatz, Jayne Shatz Pottery; jesclay@aol.com; www.jayneshatzpottery.com; 410757-6351.

Maryland, Frederick

“Ceramic Sculpture,” with Joyce Michaud (June 20–July 2). Fee: $700. “Masters’ Throwing,” with Joyce Michaud (July 18–21). Fee: $300. “Understanding Pottery Glazes,” with Phil Berneburg (July 27–28). Fee: $185. “Throwing Large Forms,” with Kevin Crowe (July 29–August 3). Fee: $500. “Kiln Design and Construction,” with Brad Birkhimer (August 5–11). Fee: $700. “Glaze Application,” with Joyce Michaud (August 24–25). Fee: $185. Contact Karen Taylor, Hood College; taylor@hood.edu; 301696-3526; www.hood.edu/ceramics.

Maryland, Frederick

Indiana, Bloomington

“Crystalline at Cone 6,” with Bill Schran (June 8–9). Fee: $150. “Altered and Ornamented,” with Kristen Kieffer (August 16–18). Fee: $385. Contact The Little Pottery Shop Center for Clay Art & Design; tmpottery@aol.com; www.tmpottery.net; 301-620-7501.

Iowa, Okoboji

Massachusetts, Bennington

“Wood Fire Workshop,” with Daniel Evans, Benjamin Cirgin (June 7–16). Fee: $650. Contact Bloomington Clay Studio; bloomingtonclaystudio@gmail.com; bloomingtonclaystudio.com; 812340-8462. “Silkscreen Printing Made Easy and Decals for Ceramics, Glass, and Enamel,” with Rimas VisGirda (July 15–19). Fee: $365. Contact Pearson Lakes Art Center; holly@lakesart.org; www.lakesart.org; 712-332-7013.

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Lawrence, Kansas

“Glaze Technology,” with Ron Roy (June 1–2). Fee: $250. “Demystifying Form: Fong Choo, Clay Play, and the Teapot,” with Fong Choo (September 28–29). Fee: $250. Contact Anne M. Bracker, Bracker’s Good Earth Clays, Inc., annem@brackers.com; www.brackers. com; 888-822-1982.

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“Alternative Firing,” with Bob Green (July 14–20). Fee: $970. “Handbuilt Ceramics,” with Bob Green (July 21–27). Fee: $970. Contact Nancy McCarthy, Art New England/Massachusetts College of Art and Design; 617-879-7200; nmccarthy@massart.edu; http://ane. massart.edu/workshops.

Massachusetts, Boston

“The Anthropomorphic Animal,” with Russell Wrankle (July 28–August 3). Fee: $970. Contact Nancy McCarthy, Art New England/ Massachusetts College of Art and Design; nmccarthy@massart. edu; http://ane.massart.edu/workshops; 617-879-7200.

Massachusetts, Truro

“Kaleidoscope of Alternative Firing Methods,” with Wally Asselberghs and Sue Morse (June 17–21). Fee: $590. “Work Zone,” with Sam Taylor (June 24–28). Fee: $395. “Wood Firing,” with Trevor Dunn (June 29–July 6). Fee: $340. “Raku Firing and Forming,” with Bob Green (July 1–5). Fee: $395. “Beastly and Fowl: A Sculptural Exploration in Clay,” with Hannah Niswonger (July 8–12). Fee: $395. “Layered Surface and Intuitive Form,” with Adero Willard (July 15–19). Fee: $395. “Layered Surface and Intuitive Form,” with Adero Willard (July 15–19). Fee: $395. “Sound Works in Clay,” with Susan Rawcliffe (July 22–26). Fee: $590. “Fresh and Sassy: Liven Up Your Pots: Soft Altering on the Wheel and Beyond,” with Gay Smith (July 29���August 2). Fee: $395. “Pottery: Working the Hard Places to Make Better Pots,” with Mark Shapiro (August 5–8). Fee: $425. “Paper Clay: A Sculptural Approach,” with Rebecca Hutchinson (August 19–23). Fee: $395. “Wood Firing: Collaboration with Earth, Fire, and Spirit,” with Jack Troy (August 25–31). Fee: $590. Contact Truro Center for the Arts Castle Hill; info@castlehill.org; www.castlehill.org; 508-349-7511.

Montana, Helena

“An Invitation to Slow Down,” with Matt Kelleher and Shoko Teruyama (June 10–14). Fee: $495. “Opposites Attract,” with Nancy Blum and Chris Staley (July 8–19). Fee: $795. “A Ceramic Record: Models, Molds, Casting,” with Tony Marsh (August 16–18). Fee: $335. Contact Steven Young Lee, Archie Bray Foundation for the Ceramic Arts; education@archiebray.org; www.archiebray.org; 406-443-3502.

Montana, Helena

“Work with a Master: Plaster Moldmaking/Ceramic Casting,” with Richard Notkin (June 10–21). Fee: $975. Contact Richard Notkin, Richard Notkin Moldmaking Institute; notkin@dishmail.net; 406-442-4382.

Montana, Missoula

“Build and Burn Raku Workshop,” with David Scott Smith and Stephen Braun (June 29–July 6). Fee: $150. Contact Richard Smith, The Clay Studio of Missoula; info@theclaystudioofmissoula.org; www.theclaystudioofmissoula.org; 406-543-0509.

Nebraska, Omaha

“Thrown and Altered,” with Henry Serenco (June 14–16). Fee: $250. “Extruder Workshop,” with Tom Hubbell (July 12–14). Fee: $250. “Raku Workshop,” with Tom Harnack (August 9–11). Fee: $250. Contact Tom Harnack, Omaha Clay Works; omahaclay@omahaclayworks.com; www.omahaclayworks.com; 402346-0560.

Nevada, Incline Village Massachusetts, Williamsburg “The Slab Formed Human Figure,” with

“The Multi-faceted World of Clay,” with Bob Green (June 2–8). Fee: $565. “China Painting: New Directions,” with Paul Lewing (June 21–23). Fee: $350. “Exuberant Forms in Clay: Plaster Segment Molds,” with Carol Gouthro (August 1–4). Fee: $440. “The Multi-faceted World of Clay,” with Bob Green (August 11–17). Fee: $565. Contact Karen Totman, Snow Farm: The New England Craft Program; info@snowfarm-art.org; www.snowfarm.org; 413-268-3101.

Michigan, Detroit

“Clay as Canvas: Printing Images on Clay,” with Israel Davis (July 13–14). Fee: $110. Contact Tara Robinson, Pewabic Pottery; gallery@pewabic.org; www.pewabic.org; 313-626-2000.

Michigan, Lake Ann

“Nature and Clay,” with Yiu Keung Lee and Diana Pancioli (July 14–28). Fee: $1100. Contact Eastern Michigan University; yiukeungl@gmail.com; art.emich.edu/pages/parsons-center; 734-487-1268.

Michigan, Saugatuck

“Reinventing Fire,” with Nathan Tonning and Joel Weissman (June 2–15). Fee: $1410. “Ceramics and Sculpture,” with Anna Sew Hoy and Liz Craft (June 16–29). Fee: $1410. “Thinking Through Form,” with Anton Reijnders (July 14–27). Fee: $1410. Contact Ox-Bow School of Art and Artists Residencies; ox-bow@saic.edu; www.ox-bow.org; 268-857-5811.

Missouri, Independence

“Handbuilding Workshop for Kids,” (June 8, 15, 22, or 29). Fee: $75 for each session. Contact Kim Walsh, 323 Clay; kimberly@323clay.com; www.323clay.com; 816-853-9620.

Clayton Keyes (June 8–9). Fee: $225. “Aberration: Anomalies in Ceramic Figuration,” with James Coquia (June 10–14). Fee: $499.50. “Fast Fired Pottree,” with Randy Brodnax and Don Ellis (June 17–21). Fee: $499.50. “Functional Fussin’ and Firin’,” with Randy Brodnax and Don Ellis (June 24–28). Fee: $499.50. “Elegant and Ornate: Form and Surface,” with Kristen Kieffer (July 8–12). Fee: $499.50. “Low-Low Fire, No Fire, and Setting the Web on Fire,” with Garth Johnson (July 15–19). Fee: $499.50. “Finding Form and Surface: Lidded Jars and Pitchers,” with Michael Connelly (July 22–26). Fee: $499.50. “Six Steps to Throwing Bliss,” with Andy Ruble (July 27–28). Fee: $225. “Pour It On,” with Deborah Schwartzkopf (July 29–August 2). Fee: $499.50. Contact Sheri Leigh O’Connor, Sierra Nevada College; sleigh@sierranevada.edu; www.sierranevada.edu/workshops; 775-881-7588.

Nevada, Las Vegas

“Original Crystal Matte,” with Tom Coleman (June 10–16). Fee: $1000. “Porcelain in Motion,” with Amy Kline (June 26–30). Fee: $630. “Fast-fire Techniques with New Approaches,” with Don Ellis and Randy Brodnax (July 5–7). Fee: $300. “Custom Glazes,” with Amy Kline (July 8–12). Fee: $630. “Strictly Functional,” with Tom Coleman (July 24–28). Fee: $850. “Stoneware,” with Partick Horsley (August 2–4). Fee: $350. “Shinos,” with Tom Coleman (August 5–11). Fee: $1000. Contact Amy Kline, Pottery West; amy@potterywest.com; www.potterywest.com; 702-685-7573.

New Jersey, Belvidere

“Architecture and Imagery,” with Judith Duff (June 8–9). Fee: $225. “Coiling Upside Down,” with Peter


New Jersey, Layton

“Making and Firing Porcelain to Cone 8,” with Doug Peltzman (May 31–June 4). Fee: $590. “Stoked! Making Pots and Wood Firing Them Fast,” with Mark Peters (June 7–11). Fee: $590. “Speaking Volumes,” with Kirk Mangus (June 14–18). Fee: $625. “Lavish Majolica Surfaces,” with Rosalie Wynkoop (June 21–25). Fee: $580. “Altering Porcelain,” with Martha Grover (June 28–July 2). Fee: $585. “Teapots and Lidded Wares,” with Ryan J. Greenheck (July 5–9). Fee: $585. “Firing the Noborigama Wood Kiln with Soda,” with Lisa Hammond (July 12–19). Fee: $905. “Anagama: Finding the Beauty in Imperfection,” with Akira Satake (August 2–12). Fee: $1135. “Pyrotechnics Unbridled,” with Bruce Dehnert (August 23–27). Fee: $615. “Building and Firing a Raku Kiln (with Bio-fuel),” with Ben Culbertson (August 31–September 2). Fee: $455. Contact Jennifer Brooks, Peters Valley Craft Center; info@petersvalley.org; www.petersvalley.org; 973-948-5200.

New Mexico, Abiquiu

“Playing with Fire: Clay from Start to Finish,” with Barbara Campbell (July 8–14). Fee: $380. “Woodfiring Kiln,” with Barbara Campbell (July 15–21). Fee: $390. “It’s Elemental: Creating with Clay, Fire, and Sunshine,” with Doug DeLind (July 29–August 4). Fee: $375. “Southwest Traditions: Pottery,” with Claire Crain (August 5–11). Fee: $375. Contact Ghost Ranch Abiquiu; seanw@ghostranch.org; www.ghostranch.org; 505-210-1092.

New Mexico, Santa Fe

“The Vessel as Figure,” with Kelly Garrett Rathbone (June 10–14). Fee: $525. “Animal Constructs: Bright-eyed and Bushy-tailed Porcelain Figurines,” with Linda Cordell (June 17–21). Fee: $575. “Self Portrait Figures,” with Marilyn Lysohir (June 24–28). Fee: $575. “Happiness is a Warm Extruder,” with Hayne Bayless (July 1–5). Fee: $575. “Getting Graphic: Screen Printing,” with Jason Bige Burnett (July 8–12). Fee: $625. “Modeling the Figure: Mass and Form,” with Rodrigo Lara Zendejas (July 15–19). Fee: $575. “Organic Structures,” with David Hicks (July 22–26). Fee: $575. “Atmospheric Effects for Electric Firing,” with Steven Hill (July 29–August 2). Fee: $600. “Five Days of Unadulterated Prototype Construction,” with Christa Assad (August 5–9). Fee: $575. “Myth in the Modern Age: The Figure as Artificial Artifact,” with Thaddeus Erdahl (August 12–16). Fee: $575. Contact Avra Leodas, Santa Fe Clay; sfc@santafeclay.com; www.santafeclay.com; 505-984-1122.

New Mexico, Taos

“Traditional Hopi Pottery,” with White Swan (July 29–August 2). Fee: $575. “Traditional Acoma Pueblo Pottery,” with Emma Lewis Mitchell and Monica Lewis (August 4–10). Fee: $740. Contact Ursula Beck, Taos Art School; tas@taosartschool.org; 575-758-0350; www.taosartschool.org.

New Mexico, Taos

“Cone Six Soda Firing and Construction,” with Logan Wannamaker (May 27–June 1). Fee: $385. “Adjusting Volume: Insights into Handbuilding,” with Randy Johnston (June 15–16). Fee:

$325. “Charcoal and Wood Firing: Atmospheres to Induce Color with Clay and Slip,” with Logan Wannamaker (June 17–30). Fee: $425. “Exploring Surface & Balance,” with Sam Hall (August 2–4). Fee: $385. Contact Logan Wannamaker, Taos Clay; potmaker@gmail.com; http://loganwannamaker.com; 575770-4334.

New York, Chautauqua

“Chautauqua School of Art,” with Peter Beasecker, David East, Bryan Hopkins, Liz Lurie, and Errol Willett, (June 22–August 10). Fee: $4145. Contact Visual Arts at Chautauqua (VACI); art@ciweb.org; www.art.ciweb.org; 716-357-6233.

New York, Freehold

“Traditional Nigerian Pottery: Udu Drum,” with Frank Giorgini (July 6–13). Fee: $350. Contact Frank Giorgini, Udu Inc/ Handmade Tiles; fgiorgini@mhcable.com; 518-634-2559; www.udu.com.

New York, Maplecrest

“Porcelain Throwing Clinic,” with Angela Fina (June 20–24). Fee: $450. “Begin, Refresh, Refine: Throwing and Slip,” with Michael Boyer (June 29–30). Fee: $250. “Sensational Salt Fire,” with Susan Beecher (July 5–7). Fee: $345. “From Wheel to Kiln to Market,” with Michael Kline (July 11–16). Fee: $450. “Flashing and Fuming,” with Randy Brodnax and Don Ellis (July 18–23). Fee: $460. “Thrown, Altered, and Decorated,” with Jennifer Allen (July 25–30). Fee: $450. “Magnificent Mosaics,” with Cynthia Fisher (July 26–28). Fee: $325. “Exciting Throwing and Altering Options,” with Sequoia Miller (August 1–5). Fee: $450. “Gestural Pots,” with Ron Meyers (August 8–12). Fee: $450. “Fun with Vessels that Pour,” with Susan Beecher (August 15–19). Fee: $425. “Unlock the Mysteries of Crystalline Glazes,” with Robert Hessler (August 22–26). Fee: $450. Contact Sugar Maples Center for Creative Arts; beechers60@earthlink.net; www.sugarmaples.org; 518-263-2073.

New York, New York

“Thomas Hoadley,” with Thomas Hoadley (July 12–14). Fee: $375. “Deborah Schwartzkopf,” with Deborah Schwartzkopf (July 12–14). Fee: $375. Contact Lisa Chicoyne, Greenwich House Pottery; lchicoyne@greenwichhouse.org; 212242-4106; www.greenwichhouse.org.

New York, Old Forge

“Happiness is a Warm Extruder,” with Hayne Bayless (August 17–18). Fee: $175. Contact View Art Center; bgetty@viewarts.org; 315-369-6411; www.ViewArts.org.

New York, Schuylerville

“Steven Hill Journey Workshop,” with Steven Hill (June 2–30). Fee: $1650. Contact Saratoga Clay Arts Center; jill@saratogaclayarts.org; 518-5812529; www.saratogaclayarts.org.

North Carolina, Cullowhee

“A Closer Look at Function and Detail,” with Jeff Oestreich (June 17–21). Fee: $525. “Fresh and Lively: Soft Altering on the Wheel,” with Gertrude Gay Smith (July 8–12). Fee: $495. “Slabs and Extrusions,” with Hayne Bayless (July 22–26). Fee: $495. Contact Cullowhee Mountain Arts; norma@cullowheemountainarts.org; www.cullowheemountainarts.org; 828-342-6913.

Florida, Little Switzerland

“Clay Studio: Wildacres Art Workshops,” with Annette Sidner and Seth

Barendse (July 14–20). Fee: $475. “Clay Studio: Wildacres Art Workshops,” with Annette Sidner and Seth Barendse (July 21–27). Fee: $475. Contact Diane Zorn, Ringling College of Art and Design; dzorn@ringling.edu; www.ringling.edu/cssp; 941-955-8866.

North Carolina, Penland

“Soda, Salt, and Wood: Function, Form, and Surface,” with Richard Burkett and Joe Molinaro (May 26–June 7). Fee: $943. “Figuring Out,” with Kensuke Yamada (May 26–June 7). Fee: $943. “Beginning/Intermediate Wheelthrowing,” with Marc Leuthold (June 9–21). Fee: $943. “Ceramic Musical Instruments and Sounding Sculptures,” with Brian Ransom (June 9–21). Fee: $943. “Making Pots Particular,” with Susan Dewsnap and Paul Heroux (June 23–July 5). Fee: $943. “Slippity Do Dah: Low-fire, Handbuilt Slipware,” with Gail Kendall (June 23–July 5). Fee: $943. “Every Day Ideas,” with George Bowes (July 7–19). Fee: $943. “Low-fire Adventure,” with David Gamble and Tracy Gamble (July 7–19). Fee: $943. “Insights on Woodfiring,” with Peter Callas (July 21–August 6). Fee: $1204. “Slab Construction Strategies,” with Kenneth Baskin (July 21–August 6). Fee: $1204. “Tableware: The Design Objective,” with Andy Shaw (August 11–23). Fee: $943. “Object and Context,” with Tetsuya Yamada (August 11–23). Fee: $943. “Layering Surface,” with Anna Calluori Holcombe (August 25–31). Fee: $541. “Personal Pots Through Soft Slabs,” with Liz Zlot Summerfield (August 25–31). Fee: $541. Contact Gretchen Travers, Penland School of Crafts; info@penland.org; www.penland.org; 828-765-2359.

Ohio, Kent

“Kent Blossom Art: Ceramics,” (June 20–July 3). Fee: $TBD. Contact Alyssa Pryor, Kent State University; apryor3@kent.edu; www.art.kent.edu; 330-672-2192.

Ohio, Westerville

“Coloring Outside the Lines: Another Approach to Creativity and Clay,” with Max Lehman (August 5–16). Fee: $650. Contact Jim Bowling, Otterbein College; jbowling@otterbein.edu; www.otterbein.edu; 614-823-1268.

Pennsylvania, Little Meadows

“Throwing Large: Method Not Macho,” with Kevin Crowe (July 13–14). Fee: $275. Contact Ruth Cohen and Archie Johnson, Mud and Fire Potters; mudandfirepotter@aol.com; 570-6233335; www.mudandfirepotters.com.

Pennsylvania, Philadelphia

“Large Scale Wood Fired Ceramics,” with Kevin Lehman (June 16). Fee: $60. “Handle It,” with Ryan J. Greenheck (July 21). Fee: $60. “Form and Pattern,” with Jeff Kleckner (August 18). Fee: $60. Contact Joanie Turbek, The Clay Studio; info@theclaystudio.org; www.theclaystudio.org; 215-925-3453.

Pennsylvania, Taos

“Printing with Colored Clay Intensive,” with Mitch Lyons (June 17–21). Fee: $550. Contact Mitch Lyons, Mitch Lyons Studio; clayprint@yahoo.com; www.mitchlyons.com; 302-545-4839.

Pennsylvania, Wallingford

“Repetitive Pattern Design,” with Nadia Bond (June 19). Fee: $40. “Altering Thrown Pots on the Wheel,” with Wendy Cotton (June 26). Fee: $40. “Double Walls: How and Why,” with Carol Sey-

mour (July 10). Fee: $40. Contact The Potters Guild; thepottersguild@gmail.com; www.thepottersguild.com.

Tennessee, Gatlinburg

“Developing Ideas for Form Language,” with Margaret Bohls, Suze Lindsay (June 2–8). Fee: $495. “From the Top, Up!,” with Andrea Keys Connell (June 9–15). Fee: $495. “Scratching the Surface,” with Ronan Kyle Peterson (June 9–15). Fee: $495. “Prototype to Product - Using Plaster for Slip Casting,” with Nicholas Bivins (June 16–22). Fee: $495. “Functional Pots: Surface and Form,” with Sarah Jaeger (June 23–29). Fee: $495. “Firing the Anagama,” with Jason Hess (June 30–July 13). Fee: $950. “Large and in Charge: Throwing Stacked Vessels,” with Kathy King (July 14–20). Fee: $495. “Surface Navigation,” with Jenny Mendes (July 21–27). Fee: $495. “Hand Building,” with Sunshine Cobb (July 28–August 3). Fee: $495. “More than the Figure,” with Debra Fritts (July 28– August 3). Fee: $495. “Porcelain Pots: Form, Finish, and Fire,” with Susan Filley and Leah Leitson (August 4–10). Fee: $495. “Porcelain: Color and Light,” with Curtis Benzle (August 11–17). Fee: $495. Contact Arrowmont School of Arts and Crafts; lbarrett@arrowmont.org; www.arrowmont.org; 865-436-5860.

Tennessee, Sewanee

“Clay: Pots and Possibilities,” with Nick Joerling (June 9–15). Fee: $775. “Clay: Handbuilding plus COLOR!,” with Lana Wilson (June 9–15). Fee: $775. “Form and Surface Activation with Plates and Platters,” with Val Cushing (June 16–22). Fee: $775. “If You Handbuilt it, They Will Come,” with Hayne Bayless (June 16–22). Fee: $775. Contact Claire Reishman, Shakerag Workshops; info@shakerag.org; www.shakerag.org; 931-598-5651 ext. 3165.

summer workshops 2013

Callas (June 22–23). Fee: $225. Contact Peter Callas, Peter Callas Studio; peter@petercallas.com; www.petercallas.com; 980-475-8907.

Tennessee, Smithville

“Anatomy of a Line,” with Alex Matisse (June 21–23). Fee: $300. “The Emotive Portrait,” with Andrea Keys Connell (July 7–12). Fee: $500. “Hands-on Throwing Tune-up,” with Geoff Pickett (July 19–21). Fee: $300. “Repeating Forms: 3D Printing, Mold Making, and Extruding,” with Brian Harper (August 9–11). Fee: $300. “Three Clays: Three Ways,” with Bryce Brisco, Ben Stout, and Natalie Tornatore (August 28–2). Fee: $500. Contact Vince Pitelka, Appalachian Center for Crafts, Tennessee Tech University; craftcenter@tntech.edu; www. tntech.edu/craftcenter/claystudio/; 931-372-3051.

Texas, San Antonio

“The Emotive Portrait,” with Andrea Keys Connell (June 28–30). Fee: $325. Contact Southwest School of Art; rtakaba@swschool.org; www.swschool.org; 210-224-1848.

Utah, Ephraim

“Summer Snow Master Class Workshops,” with Joseph Bennion (June 3–7). Fee: $400. Contact Snow College; scott.allred@snow.edu; www.snow.edu/summersnow; 435283-7472.

Virginia, Faber

“Joint Workshop with Kevin Crowe and Nan Rothwell,” (June 20–26). Fee: $680. Contact Nan Rothwell Pottery; nan@nanrothwellpottery.com; www.nanrothwellpottery.com; 434263-4023. Continued on page 60 www.ceramicsmonthly.org

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Virginia, Floyd

“Clay Handbuilding: Slabwork Experimenting,” with Jayn Avery (June 5–12). Fee: $100. “Understanding and Creating Crystalline Glazes,” with Steve Mitchell (July 17–21). Fee: $375. Contact Amy Avery-Grubel, The Jacksonville Center for the Arts; education@jacksonvillecenter.org; 540745-2784; www.jacksonvillecenter.org.

Virginia, Lorton

summer workshops 2013

“Hands-on Clay and Glaze Workshops for K–12 Art Educators,” with Diana Faris (June 1–September 21). Fee: $5. Contact Dale Marhanka, AMACO and Workhouse Arts Center; dalemarhanka@workhousearts.org;703584-2982; www.workhousearts.org.

Virginia, Norfolk

“Coiling Clay/Altered Forms,” with Peter Callas (July 6–7). Fee: $235. Contact Hermitage Museum & Gardens, Visual Arts Studio; tmatthews@thehermitagemuseum.org; www.thehermitagemuseum.org; 757423-2052.

Virginia, Roanoke

“Women Working with Clay Symposium,” with Adrian Arleo, Sandy Simon, Stacy Snyder, Cheryl Ann Thomas, and Charity Davis-Woodard (June 10–14). Fee: $395. Contact Hollins University; dweaver@hollins.edu; www.hollins.edu/tmva; 540-362-6021.

Washington, Coupeville

“Clay and Food, A Beautiful Relationship: Pots for the Kitchen and the Table,” with Robbie Lobell (July 18–25). Fee: $985. Contact Robbie Lobell, Robbie Lobell Pottery; robbie@cookonclay.com; www.robbielobell.com; 360-678-1414.

Washington, Harstine Island

“Woodfired Salt Glaze Workshop,” with Colleen Gallagher and John Benn (June 20–23). Fee: $225. Contact John Benn, Harstine Island Wood Kilns; bennpottery@gmail.com; 360-4263918; www.benngallagher.com.

Washington, Tacoma

“Raku in July,” with Paul and Lynn Antone, Dave and Boni Deal, and Joseph Brecha (July 13). Fee: $120. Contact Joseph Brecha, Clay Art C e n t e r ; j o e @ c l a y a r t c e n t e r. n e t ; www.clayartcenter.net; 800-952-8030.

Wisconsin, Dodgeville

“Fast Fire with Wood and Salt,” with Linda Christianson (June 9–16). Fee: $600. “Communing with Clay I,” with Phil Lyons (June 23–28). Fee: $450. “Yoga and Pottery Centering Retreat,” with Robin Schnitzler Nathan, Krista Loomans, and Aaron Weaver (June 28–30). Fee: $195. “Family Clay Camp I,” with Linda Schrage (July 12–14). Fee: $175. “Communing with Clay II,” with Geof Herman (July 14–19). Fee: $450. “Throwing for Raw Glazing,” with Joe Cole (July 21–26). Fee: $495. “Wisconsin Wood Fire,” with David Smith (July 26–August 3). Fee: $375. “Mold Making, Casting, and Risk Taking,” with Paul Sacaridiz (July 28–August 2). Fee: $525. “Family Clay Camp II,” with Linda Schrage (August 2–4). Fee: $175. “Beyond the Wheel,” with Gerit Grimm (August 18–23). Fee: $525. Contact Krista Loomans, Adamah Studios: Bethel Horizons-Art Ventures; artventures@bethelhorizons.org; www.BethelHorizons-ArtVentures.org; 608-574-8100.

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Wisconsin, Herbster

“The Best Little Wood-fire Workshop,” with Mike Weber (June 9–23). Fee: $545. Contact Mike Weber, Weberwoodfire; weberml@uwec.edu; 715-774-3707; www.weberwoodfire.com.

Africa, Ghana

“Imagine a Weekend in West Africa,” with Winnie Owens-Hart (June 15–16). Fee: $200. Contact ILE AMO Research Center; africancraftstravel@yahoo.com; www.africancraftstravel.com; 703754-1307.

Africa, Ghana

“Summer Ceramics Workshop in Ghana,” with Francis Boatang, Ellie Schimelman, and traditional African potters (July 21–August 4). Fee: $2200. Contact Ellie Schimelman, Cross Cultural Collaborative; aba@culturalcollaborative.org; www.culturalcollaborative.org; 617277-0482.

Canada, British Columbia, Victoria

“The Flipside of Big Bowls,” with Cathi Jefferson (June 29–30). Fee: $195. “Sculptural Relief for Architectural Ceramics,” with Angela Pistrucci (June 29–30). Fee: $195. “Paper-Plaster Mold Making,” with Samantha Dickie (June 30). Fee: $95. “Innovative Handbuilding Plus Color,” with Lana Wilson (July 1–12). Fee: $970. “Pottery as Expression,” with Josh DeWeese (July 1–5). Fee: $465. “Inquisitive Construction,” with Deborah Schwartzkopf (July 1–5). Fee: $465. “Architectural Ceramics,” with Angela Pistrucci (July 1–5). Fee: $465. “Clay Sculpture Sampler,” with Debra Sloan (July 1–5). Fee: $465. “Throwing and the Altered Form,” with Vincent Massey (July 6–12). Fee: $650. “Landscape/Seascapes,” with Sandra Dolph (July 6–7). Fee: $195. “Raku: A New Approach,” with Larry Aquilar (July 6–7). Fee: $195. “Form and Surface with Colored Clays,” with Vince Pitelka (July 8–12). Fee: $465. “Low Rider Ceramics: Shallow Forms with Heightened Meaning,” with Mariko McCrae (July 8–12). Fee: $465. Contact Meira Mathison, Metchosin Intl. Summer School of the Arts; missa@pearsoncollege.ca; www.missa.ca; 250-391-2420.

Canada, Ontario, Aylmer

“Ron Meyers Workshop,” with Ron Meyers (June 22–23). Fee: $150. Contact Pinecroft Centre for the Arts; pinecroft@amtelecom.net; www.pinecroft.ca; 519-773-3435.

Canada, Ontario, Toronto

“Fusion Conference Workshops,” with Laurie Rolland and Gay Smith (May 31–June 2). Fee: $195. Contact Lucie Gilchrist, Fusion: Ontario Clay and Glass Association; fusion@clayandglass.on.ca; 416-4388946; www.clayandglass.on.ca.

Canada, Ontario, Waterloo

“Intensive Throwing,” with Jason L’Abbe (July 8–12). Fee: $385. Contact Jason L’Abbe, L’Abbe Pottery; jasonlabbe@sympatico.ca; www.labbepottery.com; 519-725-2028.

Canada, Québec, Westmount

“Pottery and the Wheel,” with Olaf de Winter (July 8–31). Fee: $270. “Handbuilding for All Levels,” with Marko Savard (July 9–August 1). Fee: $270. “Pottery and the Wheel,” with Olaf de Winter (August 5–28). Fee: $270. “Handbuilding for All Levels,” with Marko Savard (August 6–29). Fee:

$270. Contact Eva Lapka, Visual Arts Centre; info@visualartscentre.ca; 514488-9558; www.visualartscentre.ca.

England, Somerset, Queen Camel

“Summer Workshop Courses,” with Douglas Phillips, Jennie Phillips (June 17–August 16). Fee: $650. Contact Douglas & Jennie Phillips, Ridge Pottery; douglas@mud2fire.com; www.mud2fire.com; 441-935-3585.

England, Suffolk, Ipswich

“Throwing and Wheel Related Techniques plus Wood-fired Raku,” with Deborah Baynes (June 30–July 6). Fee: $920. “Throwing and Wheel Related Techniques plus Wood-fired Raku,” with Deborah Baynes (July 14–20). Fee: $920. “Throwing and Wheel Related Techniques plus Wood-fired Raku,” with Deborah Baynes (July 28–August 3). Fee: $920. “Throwing and Wheel Related Techniques plus Wood-fired Raku,” with Deborah Baynes (August 11–17). Fee: $920. “Throwing and Wheel Related Techniques plus Wood-fired Raku,” with Deborah Baynes (August 25–31). Fee: $920. Contact Deborah Baynes, Deborah Baynes Pottery Studio; deb@deborahbaynes.co.uk; 44 1473 788300; www.potterycourses.net.

France, Cordes sur Ciel

“Throwing and Decorating,” with JeanFrancois Thierion (July 7–13). Fee: $690. “Salt Glaze,” with Frank Theunissen (July 14–22). Fee: $780. “Throwing,” with Frank Theunissen (August 11–17). Fee: $595. “Porcelain Workshop,” with Eva Koj (August 18–24). Fee: $695. Contact Frank Theunissen, LaCéramique; frank@laceramique.com; 33 56353 7297; www.laceramique.com.

France, La Borne

“Improve Your Throwing Skills: Jugs, Teapots, Bowls, etc.,” with Christine Pedley (June 1–August 31). Fee: $695. Contact Christine Pedley, Atelier Christine Pedley; chris.pedley@orange.fr; www.chris-pedley.eu; 02 48 26 77 44.

Germany, Frauenau

“Large Sculptures in Clay,” with Gabi Hanner (July 3–10). Fee: $560. “Classical Modeling and Casting,” with Sándor Dudás (July 31–August 16). Fee: $880. Contact Bild-Werk Frauenau; info@bild-werk-frauenau.de; 49 9926 180895; www.bild-werk-frauenau.de.

Greece, Skopelos

“Gulf Coast College Ceramic Workshop,” with Pavel Amromin and Tammy Marinuzzi (June 4–18). Fee: $3000. “Collaboration with Professional Ceramic Artists,” with Tammy Marinuzzi (June 21–July 4). Fee: $1100. Contact Jill Somer, The Skopelos Foundation for the Arts; info@skopart.org; 30 24240 24143; www.skopartfoundation.org.

Greece, Thessaloniki

“Ten Day Residential Intensive Throwing Workshop: Intro to Raku, Pit, and Paper Kiln,” with Hector Mavridis (June 3–12). Fee: $1550. “Ten Day Residential Intensive Throwing Workshop: Intro to Raku, Pit, and Paper Kiln,” with Hector Mavridis (July 2–11). Fee: $1550. “Throwing Larger Pots,” with Hector Mavridis, Giannis Staggidis (July 15–21). Fee: $1200. “Ten Day Residential Intensive Throwing Workshop: Intro to Raku, Pit, and Paper Kiln,” with Hector Mavridis (August 19–28). Fee: $1550. Contact Hector Mavridis, The Almond Grove; hectormavridis@gmail.com; 0030 23 1045 0451; www.hectormavridis.com.

Hungary, Kecskemét

“Porcelain From A–Z: Model and Moldmaking,” with Ilona Romule (June 17–21). Fee: $700. Contact Steve Mattison, The International Ceramics Studio; icshu@me.com; 36 20 223 7152; www.icshu.org.

Indonesia, Bali

“Gayagama Firing: Ceremony of Fire,” with Hillary Kane and Gyan Wall (June 21–July 6). Fee: $1900. Contact Hillary Kane, director, Gaya Ceramic Arts Center; gayacac@gayaceramic.com; 62 0 361 976220; www.gayaceramic.com.

Indonesia, Bali

“Decorating with Fire: Explore Texture and Surface Suitable for Soda Firing,” with Maryke Henderson (July 14–28). Fee: $1900. “Potters Council Explores Bali: Re-Awakening,” with Michela Foppiani, Hillary Kane, and Marcello Massoni (August 4–17). Fee: $1900. Contact Hillary Kane, director, Gaya Ceramic Arts Center; gayacac@gayaceramic.com; 62 0 361 976220; www.gayaceramic.com.

Italy, Certaldo

“Sweetening the Pot,” with Mark Hewitt (June 2–15). Fee: $2674. “Sculptural Forms for the Garden,” with Donna Polseno, Lisa Ehrich (June 16–29). Fee: $2206. “Majolica,” with Liz Quackenbush (June 30–July 13). Fee: $2617. “Jewelry on Porcelain,” with Luca Tripaldi (July 14–20). Fee: $1175. “Fresh Like Water Color: Metallic Salts on Porcelain,” with Luca Tripaldi (July 21–27). Fee: $1175. “Inlaid Colored Porcelain,” with Susan Nemeth (July 28–August 3). Fee: $1148. “Sculpture and Surface,” with Orietta Mengucci (August 4–10). Fee: $1148. “Paperclay with Porcelain,” with Luca Tripaldi (August 11–17). Fee: $1175. “Contemporary Use of Classic Traditions in Throwing and Decorating,” with John Colbeck (August 18–31). Fee: $2069. Contact LaMeridiana; info@lameridiana.fi.it; www.lameridiana.fi.it;39-0571-660084.

Italy, Marsciano

“The Techniques of Wheel Throwing and Intro to Raku,” with Luca Leandri (July 1). Fee: $500. Contact Luca Leandri and Elisabeth Corrao, la Fratta Art-House; info@lafratta.it; www.corsiceramica.it; 00393332688800.

Italy, Sienna

“Italy: Art, Culture, and Woodfired Terra Cotta,” with Don Davis (June 17–July 2). Fee: $2500. Contact Don R. Davis, East Tennessee State University; davisdr@etsu.edu; www.dondavisceramicart.com; 423439-7864.

Spain, Conil-Cadix

“Modeling and Wheelthrowing,” with Jose Aragon and Sara Moreno (July 10–24). Fee: $1000. “Glazing (High Temperature),” with Jose Aragon and Sara Moreno (August 6–20). Fee: $1200. Contact Jose Luis Aragon, La Tacita; tacitarural@hotmail.com; 0034956445912.

Wales, Swansea

“July Weekend Course,” with Micki Schloessingk (July 6–7). Fee: $260. “July Five Day Course,” with Micki Schloessingk (July 10–14). Fee: $550. “Large Pot Making,” with Joanna Howells and Micki Schloessingk (July 17–21). Fee: $1125. Contact Micki Schloessingk, Bridge Pottery; micki@mickisaltglaze.co.uk; www.mickisaltglaze.co.uk; 0044 01792 386499.


clay culture—The Last Sane Man (continued from page 27)

Michael Cardew’s oval slipware pie dish with heron design, earthenware, ca. 1920s. Image courtesy of Paul Mellon Centre for Studies in British Art and Yale University Press, London, England.

excursions to the moor or the beach, and we made music and talked for hours surrounded by all those lovely pots. It was presided over by a charismatic but cantankerous old man, who was warm and friendly, unless you crossed him or got too close. Harrod, however, raises questions about his teaching methods, “As a didactic position, Michael left his pupils with little to cling to. How could they make ‘real’ pots? By replicating Michael’s authentic experiences? By abandoning thought?” The answer lies in the materials, the work, and the pots. Pottery, like anything else, is as marginal as the words written about it, and without careful analysis of our greatest practitioners, we will never gain a foothold into the world of serious artistic, literary, and academic debate. Few craft writers have the intellect, or the keys, to enter that rigorous debate. How lucky we are to have Harrod.

But The Last Sane Man is not an easy book, it pulls no punches in portraying this brilliant, paradoxical, and emotionally explosive potter, making even the title seem suspect—each of us can decide for ourselves. Every potter worth their salt should sit down and read it, at least once, if only to realize how far we may go in pursuit of our dreams, and how much we take for granted. The Last Sane Man: Michael Cardew: Modern Pots, Colonialism, and the Counterculture, 380 pages, hardcover. Published by The Paul Mellon Centre for Studies in British Art/Yale University Press, London, England (www.yalebooks.co.uk). ISBN: 978-0300100167. the author Mark Hewitt apprenticed with Cardew between 1977– 1979, and now makes pots in North Carolina, www.hewittpottery.com. www.ceramicsmonthly.org

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W O M E N W O R K I N G W I T H C L AY S Y M P O S I U M

Adrian Arleo | Charity Davis-Woodard | Donna Polseno | Sandy Simon | Stacy Snyder | Cheryl Ann Thomas Join us for the Women Working with Clay Symposium at Hollins University, June 10 -13. Observe the presentation of various working methods in pottery, art vessels, and sculpture and participate in discussions that examine and explore the connections of the history of women in cultures all over the world as vessel makers, artists and artisans. Surrounded by the Blue Ridge Mountains, you’ll find inspiration as you explore the creative process from every level. Led by remarkable ceramic artists, you will gain valuable insight from demonstrations, lectures, and panel discussions. Space is limited, so visit www.hollins.edu/tmva or call (540) 362-6229 to register today. Hollins University | P.O. Box 9552 | Roanoke, VA 24020-1552 | dweaver@hollins.edu

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For Function and Beauty with Sarah Jaeger

Gail Kendall has been working in ceramics since 1970. She recently retired from her position as Hixson-Lied Professor of Art at the University of Nebraska–Lincoln, where she had been teaching since 1987. In 2009, Gail was awarded an Excellence in Teaching Award (Lifetime Achievement), from the National Council on Education for the Ceramic Arts (NCECA). Her work is exhibited nationally and internationally, and she is represented in numerous public and private collections, including the Minneapolis Institute of Art, the Plains Art Museum, and the General Mills Corporation. Total Running Time: Approximately 3 hours

ceramic arts dail y.org

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presents

Layers of Color Exploring Form and Surface Pattern in Slip-Cast Pottery with

Andrew Gilliatt grew up in Virginia Beach, Virginia. He graduated with a BFA in Graphic Design from Virginia Tech in 2003. Later, he was a resident artist at Red Star Studios in Kansas City, Missouri. In the spring of 2011, Andrew earned his MFA in Ceramics from Louisiana State University. After graduation he moved to Helena, Montana, to do a summer residency at the Archie Bray Foundation for the Ceramic Arts. This was followed by a year-long residency at Red Lodge Clay Center in Red Lodge, Montana. Andrew is currently a long-term resident at the Archie Bray Foundation. His work is exhibited in galleries nationwide and has been showcased in American Craft and Ceramics Monthly. To learn more and to see more images of his work, please visit www.andrewgilliatt.com. Total Running Time: 1 hour, 25 minutes

ceramic arts daily video library

Jennifer Poellot Harnetty Editor, CeramicArtsDaily.org Program Manager, Ceramic Arts Daily Presents Video Series

Martha Grover

ceramic arts dail y.org

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ceramic arts daily video library

Andrew Gilliatt

ceramic arts daily video library

Copyright 2013 The American Ceramic Society

ceramic arts daily presents

from plate to tureen SLAB & COIL

2Dis cS et!

B u I L d I n g with Gail Kendall

Copyright 2012 arts The American Ceramic Society ceramic daily video library

ceramic arts daily video library

ceramic arts dail y.org

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&

Throwing, Altering Glazing

Jennifer Poellot Harnetty Editor, CeramicArtsDaily.org Programwith Manager, Ceramic Arts Daily Presents Video Series

ceramic arts daily

ceramic arts daily video library

Total Running Time: Approximately 3 hours

Photographs of finished work and Sarah Jaeger by Tom Ferris

ceramic arts daily video library

Sarah Jaeger holds a BA in English Literature from Harvard and a BFA from the Kansas City Art Institute, and has been a studio potter in Helena, Montana, since she completed a residency at the Archie Bray Foundation for the Ceramic Arts in 1987. Sarah received an Individual Artist Fellowship from the Montana Arts Council in 1996 and a Target Fellowship from United States Artists in 2006. In 2007, she was profiled in the PBS documentary Craft in America. She has taught at Pomona College, the New York State College of Ceramics at Alfred, and the University of Nebraska-Lincoln, and has given workshops in the US and Canada. Her work is in public collections, including the Los Angeles County Museum of Art and the University of Iowa and, most importantly, in many kitchens throughout the country. For more information, please visit www.sarahjaeger.com.

presents

Creating

Curves with Clay

with Andrew Gilliatt

with Marty Fielding

ceramic arts daily

In this installment of the Ceramic Arts Daily Presents Video Series, Gail Kendall presents her “low-tech” techniques for fabricating beautiful plates, platters, bowls, and tureens using bisque molds, soft slabs, and coils. Starting with the basics, Gail explains how to make structurally sound coil-built molds, and then uses those molds to make a variety of forms. In addition, she demonstrates her sgraffito techniques on soft slip, as well as her glazing process. All along the way, Gail draws on her many2years - D as a professor isc “how to,” but at the University of Nebraska–Lincoln, to discuss not just the Se the “why to,” as well. t!

presents

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with Gail Kendall

Editor, CeramicArtsDaily.org Program Manager, Ceramic Arts Daily Presents Video Series

Copyright 2012 The American Ceramic Society

Slab and Coil Building

Throwing + Altering + Assembling Jennifer Poellot Harnetty

with Sarah Jaeger

HYBRID POTTERY

Total Running Time: Approximately 3 hours

ceramic arts dail org ceramic arts daily video libraryy.

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Throwing, Altering & Glazing

ceramic arts daily presents

In this installment of the Ceramic Arts Daily Presents Video Series, Sarah Jaeger presents her methods for making beautiful porcelain pots with a strong emphasis on function. With a goal of making pots that will be incorporated into the daily lives of those who own them, Sarah explains how she considers every detail in the design of her forms, from the size of a knob to the placement of handles. In addition to the object’s physical shape, she pays great attention to how the glaz2- is as important to ing process can enhance a form. A firm believer that the visual Dis with overglaze function as the tactile, Sarah demonstrates how she layers colors c trailing and layering with wax resist to create lustrous surfaces Sthat et! attract the hand as well as the eye.

Martha Grover is a functional potter, creating thrown and altered porcelain pieces. She attended Bennington College in Vermont, where she received her undergraduate degree in architecture. After a post baccalaureate year in ceramics at Syracuse University, she decided to pursue a graduate degree in clay. In 2007, Martha received her MFA in ceramics from the University of Massachusetts, Dartmouth. Martha has completed residencies at Northern Clay Center in Minneapolis, Minnesota, the Archie Bray Foundation for the Ceramic Arts in Helena, Montana, and Red Lodge Clay Center in Red Lodge, Montana. She received the Taunt Fellowship at the Archie Bray Foundation in 2010. To learn more about Martha and her work, please visit www.marthagrover.com.

ceramic arts dail y

Layers of Color

Copyright 2012 The American Ceramic Society

!

Jennifer Poellot Harnetty

There’s something for everyone!

In this installment of the Ceramic Arts Daily Presents video series, Andrew Gilliatt demonstrates his methods for creating expressive functional forms with molds and casting slips, as well as his techniques for decorating from the forming stage all the way through multiple glaze firings. Beginning with designing and making prototypes, Andrew walks you through the mold making and slip-casting process for one of his signature bowls. In addition, Andrew shows how he incorporates his surface decoration in the forming stage by layering colored casting slips. He 2- glazing techniques then moves on to pattern development by demonstrating his Dis c S of decals. with sticker and tape resists, and finishes with post-glaze application et! If you love pattern and form this DVD is for you!

ceramic arts daily video library

Total Running Time: Approximately 2 hours, 45 minutes

ceramic arts dail org ceramic arts daily video library y.

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Lorna Meaden

Editor, CeramicArtsDaily.org Form & SurFace Integrating Program Manager, Ceramic Arts Daily Presents Video Series with Porcelain

with Martha Grover

Lorna Meaden is a studio potter living in Durango, Colorado, whose work has been widely exhibited around the United States. She received her MFA from Ohio University and her BA from Fort Lewis College. In addition to teaching workshops around the country, Meaden has taught at Southern Illinois University in Edwardsville, and Fort Lewis College in Durango. Meaden also has been a resident artist at the Anderson Ranch Arts Center and the Archie Bray Foundation for the Ceramic Arts. For more information, please visit www.lornameaden.com.

presents

Creating Curves with Clay

!

with Jake Allee

ceramic arts daily video library

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Building Complex Pottery Forms Jennifer Poellot Harnetty CeramicArtsDaily.org by Editor, Throwing, Altering, and Assembling Program Manager, Ceramic Arts Daily Presents Video Series

with Marty Fielding

an anthropolt Greensboro. and teaching of 2012, Fieldthe University earch and exHis work has bitions locally, hroughout the ty, please visit

ASSEMBLY REQUIRED

Hybrid Pottery: Throwing + Altering + Assembling

ty Field. Beginy throw e Marty parts to tle, and board to rounds ogether

presents

ceramic arts dail y

In this installment of the Ceramic Arts Daily Presents Video Series, Martha Grover demonstrates how she creates her signature curvy forms from wheel thrown and handbuilt parts. She begins by explaining the four basic components of each of her pieces - wheel thrown cylinders, thin slabs, attachments and paper slip - and then combines those components in different ways to create seven of her elegant forms. In addition Martha explains her meticulous glazing process. Though she is enamored with the soft, seductive nature of porcelain, Martha stresses that the techniques demonstrated can be easily adapted 2- Dto fit any style. By the end of this DVD, you will have the knowledge to start creating isc curves in Set your own work.

ceramic arts daily video library

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ceramic arts dail y

In this installment of the Ceramic Arts Daily Presents Video Series, Lorna Meaden presents her techniques for elegant wheel-thrown porcelain pottery that is equally utilitarian and decorative. By carefully considering every detail along the way, Lorna demonstrates how to successfully integrate the surface decoration with the form to make a cohesive whole. Lorna covers the forming processes for six of her popular forms and gives tips for working with noto2- D her slip inlay riously tempermental porcelain. In addition, she demonstrates technique for laying down pattern, and how she uses resists and ivarious sc S glazes et and slips to enhance the patterning.

ceramic arts daily video library

of Iowa, and ring his acaprograms in rts in Venice, la. Jake has arkdale, Arige and Tyler Grand Juncllege. Jake’s internationkeallee.com.

Latest Lorna Meaden: Integrating Form & Surface with Porcelain

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Assembly Required: Building Complex Pottery Forms by Throwing, Altering, and Assembling

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Copyright 2012 The American Ceramic Society

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Linda Bloomfield has been involved with pottery since 1973, although her career path led her to train as a materials scientist, and she received a BSc in Engineering Science and a PhD in Materials Science from Warwick University.

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call for entries deadlines for exhibitions, fairs, and festivals

international exhibitions April 1 entry deadline New York, Rochester “College Clay Collective” (June 14–July 30) open to ceramic work by students currently enrolled in a college program and alumni within two years of graduation. Juried from digital. Fee: $30 for three entries. Juror: David MacDonald. Contact Kate Whorton, Genesee Pottery, 713 Monroe Ave., Rochester, NY 14607; pottery@geneseearts.org; www.geneseearts.org; 585-271-5183. April 1 entry deadline Oregon, Portland “Eutectic Gallery June/July Exhibition” (June 7–July 28) open to solo or two-person exhibition of ceramic work. Juried from digital. Fee: $25 for single artist; $35 for two-artist entry. Jurors: Brett Binford and Jeffrey Thomas. Contact Brett Binford, Eutectic Gallery, 1930 NE Oregon St., Portland, OR 97232; ceramics@eutecticgallery.com; 503-9746518; www.eutecticgallery.com. April 20 entry deadline New Hampshire, Manchester “Human/Nature” (June 15–July 31) open to work in all media addressing environmental issues and/or society’s relationship to the natural world. Juried from digital. Fee: $30 for three entries; $10 each additional, up to five. Contact Monica Leap, Studio 550, 550 Elm St., Manchester, NH 03101; gallery@550arts.com; www.550arts.com; 603-232-5597. April 30 entry deadline New Mexico, Silver City “A Tile & A Vessel: International Juried Ceramic Exhibition” (August 2–4) open to entries of consisting of one tile and one vessel by Canadian, Mexican, and US artists. Juried from digital. Fee: $25 per entry. Juror: Christy Johnson. Contact Jessie Thetford, Silver City Clay Festival 2013, 201 N. Hudson St., Silver City, NM 88062; jessa@clayfestival.com; www.clayfestival.com; 575-538-5560. May 10 entry deadline Maryland, Baltimore “The Potent Object” (August 17–September 28) open to work primarily composed of clay and no larger than 12 in. Juried from digital. Fee: $30 for five entries. Juror: Richard Cleaver. Contact Mary Cloonan, Baltimore Clayworks, 5707 Smith Ave., Baltimore, MD 21209; mary.cloonan@baltimoreclayworks.org; www.baltimoreclayworks.org; 410-5781919 ext.18. May 30 entry deadline Republic of Korea, Cheongju-si “The 8th Cheongju International Craft Competition” (September 11–October 20) open to craft media. Juried from digital. Contact Cheongju International Craft Biennale Organizing Committee, 314 Sangdang-ro, Sangdang-gu, Cheongjusi, Chungcheongbuk-do 360-805 Republic of Korea; cicb2013@gmail.com; www.okcj.org; 82-43-219-1022.

June 1 entry deadline Oregon, Portland “Eutectic Gallery August/September Exhibition” (August 2–September 29) open to solo or twoperson exhibition of ceramic work. Juried from digital. Fee: $25 for single artist; $35 for two aritst entry. Juror: Brett Binford and Jeffrey Thomas. Contact Brett Binford, Eutectic Gallery, 1930 NE Oregon St., Portland, OR 97232; ceramics@eutecticgallery.com; 503-9746518; www.eutecticgallery.com. August 1 entry deadline Alabama, Fairhope “The Demitasse: a Cup and Saucer” (October 4–31) open to cups and saucers not larger than 6 in. Juried from digital. Fee: $20 for two entries. Juror: Sebastian Moh. Contact Susie Bowman, The Kiln Studio and Gallery, 60 N. Section St., Fairhope, AL 36532; thekilnstudio@yahoo.com; www.thekilnstudio.com; 251-517-5460. September 12 entry deadline Pennsylvania, Wayne “Craft Forms 2013” (December 6–January 25, 2014) open to clay, fiber, glass, metal, wood and mixed media work. Juried from digital. Fee: $40. Juror: Lena Vigna. Contact Karen Louise Fay, Wayne Art Center, 413 Maplewood Ave., Wayne, PA 19087; karenlouise@wayneart.org; www.craftforms.org; 610-688-3553. November 1 entry deadline Pennsylvania, Pittsburgh “13th Annual Art Inter/National Exhibition, Here and Abroad...2014” (January 14–March 14, 2014) open to work of all media. Juried from digital. No fee. Jurors: Nicole Capozzi and Joshua Hogan. Contact Nicole Capozzi, Box Heart Gallery, 4523 Liberty Ave., Pittsburgh, PA 15224; boxheart@boxheartgallery.com; 412687-8858; www.boxheartgallery.com.

united states exhibitions April 1 entry deadline Maryland, Dowell “Elements in Balance: Earth, Air, Fire, Water” (June 7–August 18) open to work of all media exploring the theme of the four elements. Juried from digital. Fee: $25 for four entries. Contact Melissa Langley, Annmarie Sculpture Garden & Arts Center, 13480 Dowell Rd., Dowell, MD 20629; exhibits@annmariegarden.org; 410-3264640; www.annmariegarden.org. April 1 entry deadline Pennsylvania, Philadelphia “37th Annual Philadelphia Museum of Art Craft Show” (November 7–10) open to craft media. Juried from digital or slides. Fee: $50. Contact Nancy O’Meara, Philadelphia Museum of Art, PO Box 7646, Philadelphia, PA 19101; twcpma@philamuseum.org; www.philamuseum.org; 215-684-7930. April 5 entry deadline Indiana, Evansville “Functional Relationships” (June 14–July 25) open to ceramic pieces with functional relationships. Juried from digital. Fee:

$25 for up to three entries. Juror: Mike Jabbur. Contact Alisa (AL) Holen, Arts Council of Southwestern Indiana, 318 Main Street. Ste. 101, Evansville, IN 47708; aiholen@usi.edu; 812-422-2111; www.artswin.org. April 20 entry deadline Missouri, Joplin “Of The Sea” (June 1–29) open to nautical-themed work primarily made of clay. Juried from digital. Fee: $25 for three entries. Jurors: Heather Grills and Brent Skinner. Contact Heather Grills, Phoenix Fired Art, 1603 S. Main St., Joplin, MO 64804; phoenixfiredart@gmail.com; 417-4379281; www.phoenixfiredart.com. May 8 entry deadline Virginia, Lorton “2013 Workhouse Clay National” (July 31–September 8) open to ceramic work and mixedmedia work with clay as the primary medium. Juried from digital. Fee: $30 for three entries. Juror: Virginia Scotchie. Contact Dale Marhanka, AMACO and Workhouse Arts Center, 9504 Workhouse Way Bldg. 8, Lorton, VA 22079; dalemarhanka@workhousearts.org; 703584-2982; www.workhousearts.org. May 10 entry deadline Missouri, Kansas City “KC Clay Guild Teabowl National 2013” (August 23–September 20) open to ceramic teabowls no larger than 9 in. Juried from digital. Fee: $30. Juror: Doug Jeppesen. Contact Susan Speck, KC Clay Guild, 200 W. 74th St., Kansas City, MO 64114; llywhite54@yahoo.com; www.kcclayguild.org; 913-384-1718. June 1 entry deadline Minnesota, Duluth “Possession” (September 5–November 2) open to ceramic work by women artists. Juried from digital. Fee: $35 for up to three entries. Jurors: Margaret Bohls and Eva Kwong. Contact Tonya Borgeson, Minnesota Women Ceramic Artists, 2424 Franklin Ave. East, Minneapolis, MN 55413; tonyaborgeson@hotmail.com; www.mnwca.org; 218-310-8903.

July 15 entry deadline Virginia, Lynchburg “The National Juried Bowl Show: The Battle of the Bowls” (October 4–29) open to ceramic bowls and bowl sets. Juried from digital. Juror: Mike Jabbur. Contact David Emmert, ACHS, 139 Lancer Ln., Amherst, VA 24521; thebattleofthebowls@gmail.com; www.thebattleofthebowls.com; 434946-2898. September 2 entry deadline Nevada, Las Vegas “What Goes Bump in the Night 2013” (October 1–November 2) open to work primarily composed of clay. Juried from digital. Fee: $35. Jurors: John Gregg and Peter Jakubowski. Contact Peter Jakubowski, Clay Arts Vegas, 1511 S. Main St., Las Vegas, NV 89104; 4information@clayartsvegas.com; 702375-4147; www.clayartsvegas.com.

regional exhibitions April 1 entry deadline South Carolina, Charleston “Pandora’s Box” (May 30–June 30) open to ceramic work no larger than 12 in. inspired by the theme of Pandora’s Jar by GA, NC, and SC artists. Juried from digital. Fee: $35 for two entries; $25 for one entry. Juror: Akira Satake. Contact Susan Gregory, Cone 10 Studios, 1080B Morrison Dr., Charleston, SC 29403; info@cone10studios.com; 843-8533345; www.cone10studios.com. April 15 entry deadline Colorado, La Veta “Straight Up! Totems, Towers, Cairns, and Stacks—The Vertical Continuum” (June 4–July 6) open to work by CO residents and residents of bordering states. Juried from actual work. Fee: $20 for one entry, $10 each additional entry. Juror: Jonathan Kaplan. Contact Lori Hannan, SPACe Gallery, 132 Ryus Ave., La Veta, CO 81055; redcloudpottery@ghvalley.net; 719-4893349; www.spanishpeaksarts.org.

June 30 entry deadline Nevada, Las Vegas “Serve it Up” (August 2–September 2) open to work primarily composed of clay. Juried from digital. Jurors: John Gregg and Peter Jakubowski. Contact Peter Jakubowski, Clay Arts Vegas, 1511 S. Main St., Las Vegas, NV 89104; 4information@clayartsvegas.com; 702375-4147; www.clayartsvegas.com.

June 4 entry deadline Arizona, Clifton “The Colors of Copper” (November 2–3) open to 2D and 3D work addressing the colors of copper by AZ and NM artists. Juried from digital or slides. Fee: $25 for three entries; $15 each additional. Jurors: Barbara Ahmann, Poncho Gonzales, and Richard Green. Contact Barbara Ahmann, The Business Association of Chase Creek Arizona, 292 Chase Creek St., Clifton, AZ 85533; barbaraahmann@yahoo.com; www.visitcliftonaz.com; 928-865-2085.

July 10 entry deadline New York, Rochester “History in the Making: Ceramic Traditions, Contemporary Objects” (October 13–November 26) open to functional or sculptural ceramic work with a historically-based theme. Juried from digital. Fee: $30 for three entries; $5 each additional entry. Juror: Jane Shallenbarger. Contact Kate Whorton, Genesee Pottery, 713 Monroe Ave., Rochester, NY 14607; pottery@geneseearts.org; www.geneseearts.org; 585-271-5183.

June 1 entry deadline North Carolina, Dillsboro “Western North Carolina Pottery Festival” (November 2) open to national ceramic artists. Juried from digital or slides. Fee: $175 booth fee plus $25 jury fee. Contact Brant Barnes, PO Box 397, Dillsboro, NC 28725; riverwoodpottery@frontier.com; www.wncpotteryfestival.com; 828586-3601.

fairs and festivals

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The Ceramic Spectrum: A Survey of Contemporary Ceramics, curated by Seth Rainville, at the Jamestown Arts Center. Opening Reception: Friday, April 26th, 6–9 pm. Curator’s Lecture: Friday, May 3rd, 6–8 pm. employment Hands Off Workshop: Saturday, May 4th. Gallery Hours: Wed – Sat through Apprentice/Internship. Small proJune 7. www.jamestownartcenter.org; duction pottery in northwest Mon(401) 560-0979. 18 Valley St., Jamestana seeks motivated individual for town, RI. one-year position starting end of August. 40 hours/week in exchange North Coast Arts: July 8–21, 2013. for studio space (includes materiOne-week intensive class in ceramics als and firing), room and board, taught by Humboldt State University monthly stipend, gallery sales. Check art professor Keith Schneider, within www.whitefishpottery.com for more the well-equipped HSU art studios details about applying. in Arcata, California. July 8-12: Westchester Community College Introduction to Low-Fire Ceramics — Center for the Arts, White Plains, Wheel throwing, hand-building, using NY. P/T Senior Technical Assistant, underglazes, stains, slip, glazes and Sculpture/Ceramics. For description lusters. Electric kiln loading/firing, please visit: http://www.sunywcc.edu/ raku firing, post-fire finishes. Fee is $480 + $40 supplies. Register by June aboutwcc/jobs_hr/jobs_hr.htm. 21 to reserve your space. Optional academic credit is also available. For events more details, other mediums offered, You can take a workshop anywhere, and to register: www.humboldt.edu/ but it won’t be as gorgeous as Lake northcoastarts or call HSU Distance Tahoe! Sierra Nevada College has and Extended Education at (707) reduced tuition and housing prices! 826-3731. Credit or non-credit; housing available. www.sierranevada.edu/workshops; Tile Mural Workshop, Trent Tally, (775) 881-7588. April 19–20, 9:30–4. Phoenix Fired Art, Joplin MO; (417) 437-9281. Find sfclayworks presents: ELLEN us on Facebook: Phoenix Fired Art; SHANKIN Demonstrating Form and phoenixfiredart@gmail.com. Function—A weekend workshop in SAN FRANCISCO June 28–30. Friday RON MEYERS WORKSHOP, JUNE June 28 at 8 pm FREE slide presentation 22–23, 2013. Pinecroft Centre for open to the public. Sat and Sun, June 29 the Arts, Aylmer, Ontario, CANADA. and 30 from 10 am- 4pm. $165 includes To register and for further details: lunch both days. Space is limited- pinecroft@amtelecom.net or visit sign up now: www.sfclayworks.com www.pinecroftcentreforthearts.ca. (415) 647-CLAY. Bill van Gilder Demo Workshop in “HANDBUILT” Philadelphia, PA— Maryland, May 31–June 2, 2013. ‘The Demonstration, Inspiration, Conver- Functional Pot; Tips, Tools & Techsation. A Handbuilding Conference niques - Part I’. $195; (lunch included). 78

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opportunities Raphael Prize/Ceramics; $5,000 prize, catalogue, show, video; jurors: Joshua Green, Jae Won Lee; deadline 6/14/13. Contemporary Craft, Pittsburgh, PA. Entry form: www.contemporarycraft.org, or email exhibitions@contemporarycraft.org.

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THE BEST IN CONTEMPORARY AMERICAN FUNCTIONAL CERAMICS

2013 CALL FOR ARTISTS

JURORS HALL OF FAME

JIM CONNELL Jack Troy Mary Barringer Bill van Gilder 2012 BEST TEAPOT– SETH GREEN, MOREHEAD, KY Pete Pinnell Linda Arbuckle ONLINE APPLICATION Applications must be submitted online by Malcolm Davis Tom Coleman June 1, 2013 or by John Glick midnight June 10 with a late fee. Susan Peterson For more information and Wayne Higby the 2013 SFPN application: Jack Troy www.strictlyfunctionalpotterynational.net Linda Christianson Call for further information: 717-560-8816 Ken Ferguson Exhibit is held at Kevin Lehman’s Pottery at Warren MacKenzie 560 S. Prince Street in downtown Lancaster. Cynthia Bringle 2013 EXHIBIT DATES Val Cushing SATURDAY, SEPTEMBER 14 — Phyllis Blair Clark Chris Staley SATURDAY, NOVEMBER 2, 2013 Bill Daley Like us on Facebook Jack Troy © 2013 Strictly Functional Pottery National. All rights reserved.

2013 2012 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001 2000 1999 1998 1997 1996 1995 1994 1993

index to advertisers Aardvark Clay..............................65

Continental Clay..........................71

ACerS Books.........................72, 73

Cress Mfg....................................75

Alligator Clay...............................76 Amaco and Brent..... Cover 2, 9, 25

Dolan Tools..................................76

Anderson Ranch..........................68 Archie Bray..................................70

Euclid’s/PSH................................63

Arrowmont School.......................66 Artworks/West Side YMCA..........76

Geil Kilns.......................................3

Atlantic Pottery............................76

Georgies......................................67 Giffin Tec......................................63

Bailey Pottery..........................1, 11

Great Lakes Clay.........................76

Bennett Pottery..............................5 Bethel Horizon’s ArtVentures.......74

Herring Designs/SlabMat............76

Boulder Mountain Clayworks.......70

Highwater Clays..........................66

Bracker’s......................................65

Hollins University.........................64

Lorton Arts...................................74

Sheffield Pottery..........................66

MA College of Art........................76

Skutt.................................... Cover 4

Master Kiln Builders....................76

Smith-Sharpe Fire Brick...............65

Medalta........................................70

Spectrum Glazes................ Cover 3

MKM............................................73

Strictly Functional........................79

Mudtools......................................67

Studio Sales Pottery....................76

North Star....................................21

The Bascom................................75

Shimpo..........................................2

Touchstone Ctr............................74 Olympic Kilns..............................71 Ox-Bow........................................69 Paper Clay...................................76

Truro Ctr.......................................74 Tucker’s Pottery.............................4 Univ of PA Press..........................69

PCF Studios.................................76 Penland School...........................68

van Gilder Pottery........................74

Ceramic Arts Daily......................76

Peter Pugger...............................15

Vent-A-Kiln...................................69

Cheongju Intl Craft Biennale.......29

Potters Council......................62, 64

Carolina Clay...............................76

Idyllwild Arts................................75 J.C. Campbell Folk Schoo...........71

Chilean Ceramics Workshop.......74 Chinese Clay Art.........................68

L & L Kiln Mfg..............................67

Clay Art Ctr/Scott Creek..............62

Larkin Refractory.........................66

Pottery Northwest........................70

Ward Burner................................68

Runyan Pottery............................74

Xiem Gallery................................69

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spotlight

dinnerware museum

“Why didn’t somebody do this years ago?”, “What a wonderful idea!”, “I want to visit that museum.” These are common responses that ceramic art historian Margaret Carney hears when people first learn about her new Dinnerware Museum, which is set to open in Michigan in 2013.

Margaret Carney: The Dinnerware Museum is focused on collecting, conserving and preserving, exhibiting, and educating the public about international dinnerware created from ceramic, glass, wood, metal, lacquer, paper, plastic, and fiber. It celebrates a significant aspect of our daily lives from ancient times to the present. The impetus for establishing a museum devoted to dinnerware was the fact that while many museums include some dinnerware in their collections, as a decorative or “minor art,” it is frequently relegated to storage shelves, dusty “period” rooms, or scattered like confetti among serious displays of paintings, sculpture, and regal furniture. Stories about the history and customs of worldwide dining are seldom shared. While some people eat to live, others live to eat and the dinnerware used is memorable. The cups, forks, and bowls we hold in our hands literally touch our daily lives. Ceramics Monthly: What was the impetus for the Dinnerware Museum? 

The nucleus of the permanent collection is comprised of dinnerware collected over many years. Works designed for industry by Eva Zeisel, Viktor and Don Schreckengost, Russel Wright, Frederick Hurten Rhead, Glidden Parker, and Fong Chow are included. Recent gifts to the museum include the plaster molds used in the production of Eva Zeisel’s Century Classic teapots and gravy boat. Prominent in the collection is one-of-a-kind contemporary dinnerware created by individual artists, many of whom were fellow faculty at the New York State College of Ceramics at Alfred University or students in my ceramic world history courses, as well as artists whose work I’ve admired for years. A brief listing includes Val Cushing, Ted Randall, Bunny McBride, Marie Woo, Jackson Li, Jeff Oestreich, and Lisa Orr. International ceramics include work from China, Japan, Czechoslovakia, France, Germany, the United Kingdom, and Portugal. As mentioned, the collection includes fine art referencing dinnerware, including the newly acquired donation of a powerful Knife Fork Spoon sculpture set by the late Bill Parry. Also CM: How large is the current MC: The new to the museum is wire scribble sculpture of collection and what is on permanent dinnerware by Portuguese artist David Oliveira, the museum’s wish list?  collection and a large photographic archival print, The includes not Cocktail Party, by Sandy Skoglund. There is only one-of-a-kind dishes, glasses, flatware, radioactive Vaseline glass; TV dinner aluminum centerpieces, and tabletop creations by trays, boxes, and advertisements from the contemporary artists, industrially designed 1960s; Melmac and other plastic dinnerware; and manufactured work, 2-D and 3-D fine art Chinese takeout boxes; metal lunch boxes; that references dinnerware, but also works on and the list goes on and on, numbering in the paper, archival materials, and books. hundreds if not thousands. Rumor has it that coming soon is a teapot by Leopold Foulem. The wish list for the museum is vast, with no boundaries; each purchase or gift is reviewed on an individual basis. In no particular order, the museum would like to own the best work by Meissen, Paul Kotula, Beth Lipman, Kitaoji Rosanjin, Bernard Leach, Dirk Staschke, Molly Hatch, Jack Earl, Paul Scott, Howard Kottler, Joana Carvalho, vintage neon, Andy Shaw, 1 Kate Maury, Sebastien 1 Eva Zeisel’s Hallcraft teapot and plaster mold. Permanent Duchange and many more. Collection of The Dinnerware Museum. Gift of Jean Richards and Of course we’d like to own Royal Stafford, Ltd. 2 Russel Wright’s (designer), American Modern Meret Oppenheim’s iconic dinnerware, Steubenville Pottery Company (manufacturer), ca. fur-lined cup, saucer, and 1939. Collection of the Dinnerware Museum. 3 Marie Woo’s bowl, spoon set, but MOMA beat porcelain. Collection of the Dinnerware Museum. Gift of Margaret us to it. Carney and Bill Walker. Photograph courtesy of Bill Walker. 80

april 2013

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MC: To become a destination attraction and a significant cultural resource for artists, collectors, folks who find passion in objects from our daily lives, and people who eat and are curious about the customs of others. After the museum opens to the public in 2013, it will provide temporary exhibitions as well as displaying the permanent collection. Collection storage will be visible if not touchable by the casual visitor. Visiting, researchers can use the library while examining original advertisements, photographs, actual dinnerware, as well as artist and company records. While the museum’s inaugural exhibition “Unforgettable Dinnerware” will open in Ypsilanti in April 2013, the museum continues to seek funding to secure prime exhibition and gift shop space in a desirable, high-visibility area of downtown Ann Arbor. Long-term plans include a signature museum building, which will provide expanded exhibition space, necessary storage, educational programming facilities, and a research library. CM: What are the educational or outreach goals of the museum? 

For m ore inf or m a t ion p le a se contact Margaret Carney at 607-382-1415 or www.dinnerwaremuseum.org.


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