FEATURES Summer Workshops Opportunities in the U.S. and abroad for all skill levels

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5 April 1998 Volume 46 Number 4 3 Bottles by Jason Hess at the Ferrin Gallery in Northampton, Massachusetts. 43 David Wright throwing salt into a recycled kiln. 67 The cover: Wood-fired earthenware pitcher by Douglas Browe; see page 52. Photo: Tom Liden. FEATURES Summer Workshops Opportunities in the U.S. and abroad for all skill levels 35 Monarch National Competition 120 works by artists from the U.S. and Canada 39 The Making of Giants by Elaine F. Godoivsky Workshop experience with Arnie Zimmerman 43 Introductions New or emerging artists at the Ferrin Gallery 44 Glasgow s Miles Better An American in Scotland by Todd Garner 47 Minnesota Invitational Works by over 50 artists at the Northern Clay Center 48 From Clay Depths to Interdisciplinary Heights by P.A. Chatary Creating a tile mural illustrating aspects of the sciences 52 Friends and Inspirations Potters working outside the mainstream 5 5 Carol Townsend by Jeanne Raffer-Beck Brushed and incised slips on handbuilt vessels 58 Where You ve Been Is Good and Gone; All You Keep Is the Gettin There by Steven Hill Thoughts on process and growth 65 Blue Plate Special by Jeff Huebner Not your usual dining experience 67 Recycle That Old Kiln by David G. Wright A surprising way to extend the life of your kiln Michael Sherrill teaching a workshop at the Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee. 31 Tenement sculpture by Todd Garner. 44 Handbuilt, slip-decorated stoneware by Carol Townsend. 55 April

6 UP FRONT 12 Shoichi Ida Sculpture and works on paper at BraunsteinlQuay Gallery in San Francisco 12 Jerome Artists Exhibition Foundation-sponsored work at the Northern Clay Center in Minneapolis 12 Juried Annual in Pennsylvania Multimedia exhibition at the Wayne Art Center 14 The Mind of the Dragon by Janet Buskirk A look into the inner workings of an anagama kiln 16 Kirk Mangus by Douglas Max Utter Recent work at William Busta Gallery in Cleveland, Ohio 18 Fiona Salazar Vessel sculpture at the Crafts Council Shop, Victoria and Albert Museum, London 18 Charles Johnson Toylike sculpture at Galeria Mesa in Arizona 18 Jolyon Hofsted Retrospectives of wall forms and sculpture 20 Tantalizing Teapots Kamm collection at the Craft and Folk Art Museum in Los Angeles 20 Keisuke Mizuno Handbuilt porcelain sculpture at Shaw Guido Gallery in Pontiac, Michigan 20 Bill Griffith Wood-fired ceramics at the Sarratt Gallery at Vanderbilt in Nashville, Tennessee 22 Steffanie Samuels Figure sculpture at the Loveland Museum/Gallery in Loveland, Colorado 22 Dong Hee Suh Abstract sculpture at West Virginia Wesleyan College in Buckhannon 22 Opportunities Available Through the NEA Deadlines for current programs 24 All Creatures Great and Small Animal sculpture at John Natsoulas Gallery in Davis, California 24 Stephen Merritt Pot added to the Museum of Fine Arts, Boston, permanent collection 24 Elizabeth Keller Sculpture and teapots at the Summer House Studios in Conway, South Carolina 26 Tina Gebhart Wood-fired functional ware at Baltimore Clayworks 26 Etta Winigrad Pit-fired sculpture at the Muse Gallery in Philadelphia 26 Sylvia Hyman Trompe 1 oeil documents at Cumberland Gallery in Nashville, Tennessee 26 Shellie Jacobson and Tim Rowan Dual pottery exhibition at the Klay Gallery in Nyack, New York DEPARTMENTS 8 Letters 72 Call For Entries 72 International Exhibitions 72 United States Exhibitions 72 Regional Exhibitions 72 Fairs, Festivals and Sales 74 Suggestions 78 Calendar 78 Conferences 80 Solo Exhibitions 80 Group Ceramics Exhibitions 84 Ceramics in Multimedia Exhibitions 86 Fairs, Festivals and Sales 88 Workshops 94 International Events 96 Questions 109 Classified Advertising 112 Comment: My Favorite Cup by Holly Hanessian 112 Index to Advertisers Editor Ruth C. Butler Associate Editor Kim Nagorski Assistant Editor Connie Belcher Editorial Assistant Elaine Jebsen Art Director Randy Wax Production Specialist Robin Chukes Advertising Manager Steve Hecker Circulation Administrator Mary R. Hopkins Circulation Administrator Mary E. May Publisher Mark Mecklenborg Editorial, Advertising and Circulation Offices 735 Ceramic Place Post Office Box 6102 Westerville, Ohio Telephone: (614) Fax: (614) Website: Ceramics Monthly (ISSN ) is published monthly, except July and August, by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio Periodicals postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. Subscription Rates: One year $26, two years $49, three years $70. Add $ 12 per year for subscriptions outside North America. In Canada, add GST (registration number R ). Change of Address: Please give us four weeks advance notice. Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, PO Box 6102, Westerville, OH Contributors: Writing and photographic guidelines are available on request. Mail manuscripts and visual support (photographs, slides, transparencies, drawings, etc.) to Ceramics Monthly, 735 Ceramic PL, PO Box 6102, Westerville, OH We also accept unillustrated texts faxed to (614) , or ed to Indexing: An index of each years feature articles appears in the December issue. Feature articles are also indexed in the Art Index and daai (design and applied arts index), available through public and university libraries. Copies and Reprints: Searchable databases and document delivery are available through Information Access Company, 362 Lakeside Dr., Foster City, CA 94404; and through University Microfilms, 300 N. Zeeb Rd., Ann Arbor, MI Authorization to photocopy items for internal or personal use, or the internal or personal use of specific clients, is granted by The American Ceramic Society, provided the base fee of $5.00 per copy, plus $0.50 per page, is paid directly to the Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA Prior to copying items for classroom use, please contact the Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA 01923; (508) The code for users of the Transactional Reporting Service is /97 US$ $0.50. Back Issues: When available, back issues are $7 each, includes shipping and handling; $10 each outside North America. Postmaster: Send address changes to Ceramics Monthly, PO Box 6102, Westerville, OH Form 3579 requested. Copyright 1998 The American Ceramic Society All rights reserved 4 CERAMICS MONTHLY

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10 Letters Artists All Thank you, Derek Marshall, for your fine essay I Am Not an Artisan (February CM). We are indeed all artists, good and bad. I am a potter and can still remember the admonition of my fourth-grade teacher, as the class prepared to participate in an enormous mural. Helene, you re not an artist, so you ll do the 1-inch black border. The word artist to describe myself didn t enter my vocabulary for many decades after that shattering moment. That I am one today tickles me to no end; it would be a hoot to have my insensitive teacher take note as well. Of course, she would have the prerogative of saying good or bad. Helene Benardo, Bronx, N.Y. In Defense of Pyrometers The response to the first question answered by the CM technical staff in the February issue is quite harsh as to thermocouples and pyrometers. Pyrometers are very accurate as long as they are used properly. Firing ceramics in an industrial setting is done with the aid of thermocouples and pyrometers; cones are still used in the firing to check on the progress of the firing, but the pyrometer does the firing automatically. Studio potters often blame the pyrometer because they haven t read the fine print on the cone tables, which tells the temperature the cone will fall at based on a specific rate of rise. If a kiln was fired at the rate of rise stated in the cone table, then the temperature as read by a pyrometer would be very close, if not right on. Thermocouples have to be protected from the kiln atmosphere and, again, some potters use bare thermocouples. I agree that cones should be used in the firing but a thermocouple will be a great help in repeating firings once you have established at what temperature the cone falls. H. David Woodin, Washington, D.C. Feeling Connected It s a cold Saturday morning (27 F) in Tallahassee. I have the day off from sitting in front of the computer and am dying to get out to my unheated studio and get some daywork going. Since it s too cold, I go for the second cup of coffee and start to read my January CM. In keeping with our commitment to provide an open forum for the exchange of ideas and opinions, the editors welcome letters from all readers. All letters must be signed, but names will be withheld on request. Mail to Ceramics Monthly, PO Box 6102, Westerville, OH , to or fax to (614) I always read the letters first. And here we all are, just like a family, voices from all over the world speaking to me, connected by our work and lives as clay artists. The intellectual fathers and mothers speak of the rules, art and technology; the oldest sons and daughters speak of the guidance and control and focus that the making of clay art gives to their lives; and the youngest children in the family speak of the inspiration they get from being part of the family. As I read your words, I feel connected to you all: the determined-to-make-a-living, the inspired-to-make-art, the focused-to-perfectyour-lives. Makes one wonder what all those people who don t like to get their hands dirty get out of life. Mary Donahue, Tallahassee, Fla. Color Appreciated This will be my 29th year as a subscriber to Ceramics Monthly. It has been an invaluable aid to me in the learning process of becoming a potter. The increasing use of color has made it better than ever. I look forward to each issue. Otto Pearsall\ New Castle, Pa. Muddled Thinking Regarding the article Talking Tradition (February 1998): There is no excuse for Peter Callas to believe that up until the 20th century...ceramics was used for containers, utilitarian, basic hand-to-mouth kind of contact. Later Garth Clark blithely stated that It [ceramics] was a traditionally decorative arts field and it is only in the last three centuries that we have started to get to know the ceramics of other cultures. Each of those statements is false, as any reader of ceramics history or museum goer has discovered. My husband, a potter, and I, an art educator and erstwhile historian, are aghast that so little scholarship was evident on the part of the participants. This should not be confused with freedom of expression. The interviewees (and interviewer) should have done some indepth homework and then given forth on their opinions. Unfortunately, this is a regular occurrence in CM, and since the magazine is a leader in the field of publishing ceramics, it perhaps gives rise to the muddle of thinking and production in the ceramics community. The editors should be responsible for maintaining a higher standard. Reva and Leonard Dolgoy Almonte, Ontario, Canada Be Specific If someone writes about a special glaze, require a recipe. If he or she has an interesting kiln or firing technique, be specific. The work does not need to be functional, but the info about it should be. Joshua D. Brown, Frostburg, Md. Virtue, Balance and Beauty The December 1997 issue of CM was one I found above average. However, the February 1998 issue was a disappointment, as most of the daywork featured was too abstract and weird for my taste. Thayer and Hart wrote to the Letters department to comment on Mel Jacobson s story and work featured in December 1997 CM. Although his past experiences were unusual and intriguing, his pottery is somewhat drab and formless, similar to Warren MacKenzie in style and color, appearing heavy without much grace, somewhat amateurish. I don t mean these comments in a critical way, just my observation. I would like to request that CM publish an article with as many photographs as possible of the work and background of clay sculptor Thelma Frazier Winter. Her work with clay is imaginative and clever. I would also like to see glaze recipes in the Cone 5-6 stoneware range, and sculpture from the 1940s-70s. The horse shown on page 66 of the February CM was the most creative piece, without going to the extreme of abstraction and ridiculous monstrositization of Brad Schwieger. How can he justify using that much earth to create a 50-pound teapot landfill, not to mention the fuel and resulting pollution that is used to make such dull, twisted, gruesome pottery? There seem to be many people who have the means to build workshops and buy materials, but who lack sufficient insight, creativity and skill to produce works of meaning and endurance. Today, there are too many bad and offensive movies, just as there are works of art. Why do some try to shock others with vulgarity instead of appealing to humanity s better (loftier, higher) qualities of virtue, balance and beauty? Gary Stanko, Monongahela, Pa. Just Ignore Them Ignore the fools who want the mag to become my-narrow-little-area-of-what-iconsider-to-be-true Ceramics Monthly. Art and functional ware, high and low fire, Asian and European, all inform and enrich each other. Just because it isn t what I want to make doesn t mean I can t learn from it. David Adam Edelstein, Seattle New Looks Please continue to blend the various aspects of our art. It helps keep my mind open to all parts of daywork, and I find it stimulates me to try other ways and methods to achieve new looks. Michael Armstrong, Gainesville, Fla. Validation A pet peeve of mine seems to always have been the validity of creative artwork versus traditional aesthetic beauty. Ironically, I hold 8 CERAMICS MONTHLY

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12 Letters both viewpoints and so realize that somewhere there is an answer amidst the two concerns. This is why I emphatically agree and yet also disagree with Kevin Hluch s viewpoint expressed in his commentary A Revolutionary Concept (January 1998). In me lies a developmental attitude of being adverse to the Golden Aesthetic Rule. It is the result of my experiences, when my creative expressions were rejected to the point of both physical and verbal abuse. In parochial elementary school, on several occasions, I d receive slaps with an ambercolored wooden measuring stick, solely for my nonconformist crayon expressions. During my high-school years, my art class peers scoffed and called my work cottage-cheese pots because they regarded my surface textural designs to be excessive. Now, my work is all surface design and no pot! At heart, I was a surface-texture design artist from the beginning. At first goo, but now gooey clay, I ve squeezed through my fingers to gleefully explore the resulting extrusions made. This may put me in a class of artists called creator baby. I believe Peter Voulkos is the same kind of kid, and I hope we both never mature to the point we aren t growing anymore within our medium. Because of the type of ceramic work I produce, admittedly I had originally agreed wholeheartedly with the Defending Small comment by Delia Robinson (February 1997), but have since then reconsidered some things. Voulkos work: a guy thing? Although the works produced by Peter Voulkos are the very embodied antithesis of syrupysweet effeminate aesthetic beauty, they should not be ascribed nor attributed to his masculinity. Neither should the enormity of his work be considered the reason for the dollar value placed upon them. It was his strongly stated, innovative daywork that has rightly earned Pete Voulkos his notoriety. For all his achievements through hard work, Pete Voulkos deserves to be honored. It still concerns me though, as Delia Robinson and Kevin Hluch were both seeming to point out, that the integrity of our ceramic work is in danger of being devalued because of current trends to promote grotesque, large, sensational works to be the most noteworthy, as though other works were insignificant. If only the grandiose is worthwhile, then everything else is much less vulnerable. Most people do judge the dollar value by the amount of clay used, and so consider it outrageous if an artist asks anything significant for even the most laborious small work. It really would be revolutionary if even the ceramic jewelry items were put on a par with pottery and sculpture, and were deemed equal to that of precious metal, by reason of the skill utilized in producing the work. Should the market value of our artworks be based upon the criteria of beauty or ugliness, conformity, nonconformity, tradition or current trend? Evelyn Carnes, Willis, Mich. Communication Through Touch I enjoy ceramics that touch my soul. When I hold them in my hands they speak to me. If the object must be explained and talks to my head and not my hands, I m left cold and turn and walk away. Roger Steinbrueck, Marshall, Wis. Cover Kudos Huzzah! The cover of Ceramics Monthly has returned after a long absence to a photograph of ceramic art. The cover cult of the ceramic personality has ended. Long live the ceramic object covers! To paraphrase a recent movie, show me the ceramics. Joe Zeller, Lawrence, Kans. Best Choice Ceramics Monthly is the best subscription that I ve made in a long time. I enjoy the informative articles and I am looking forward to each new issue. Keep up the good work. F. Van Suchtelen, Whittier, Calif. 10 CERAMICS MONTHLY

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14 Up Front Shoichi Ida Ceramic sculpture and works on paper by Shoichi Ida were exhibited recently at Braunstein/Quay Gallery in San Francisco. A native of Japan, Ida blends Eastern philosophies and Western Whitney Tuthill in the Jerome Artists Exhibition. Presented through February 21, the show was the result of a grant from the Jerome Foundation; each artist exhibited new work from a proposed project. This grant period was an opportunity to reinvest in clay and seek avenues of meaning that embodied both form and surface, commented Murphy, whose tureen is shown here. A functional potter, she is interested in how glaze surfaces, being the last layer of information added, are capable of affecting the form. Glaze decoration becomes analogous to clothes or costume with bits of exposed clay flesh. I am motivated to decorate, to emblazon surface with color. Juried Annual in Pennsylvania Craft Forms 97, a juried exhibition of ceramics, beadwork, glass, metal, fiber and wood, was on view through January 22 at Wayne Art Center in Wayne, Pennsylvania. From over 200 Shoichi Ida s Between Falling and Rising Energy No. 188, 10¾ inches in height, Shigaraki clay with luster glaze; at Braunstein/Quay Gallery, San modernist and minimalist aesthetics in his work. Comprised of simple overlapping surfaces, his sculptures are abstract forms that often mimic elements found in nature. Jerome Artists Exhibition The Northern Clay Center in Minneapolis recently featured the works of five clay artists from Minnesota Attila Ray Dabasi, Ruth Martin, Robin Murphy, Marcia Olson and James Judith Duff s Basket, 11 inches in height, porcelain, $90; at Wayne (Pennsylvania) Art Center. Robin Murphy tureen, 7½ inches in height, red earthenware, thrown and altered, with slips, stains and glazes, $125; at the Northern Clay Center, Minneapolis, Minnesota. Submissions are welcome. We would be pleased to consider press releases, artists' statements and photos/slides in conjunction with exhibitions or other events of interest for publication in this column. Mail to Ceramics Monthly, Post Office Box 6102, Westerville, Ohio entries, jurors Syd Carpenter, Bruce Metcalf and Bhakti Ziek selected nearly 100 works by 69 artists from 28 states. North Carolina potter Judith Duff was among the 36 artists displaying clayworks. Working mainly with porcelain fired in reduction, Duff is influenced by her studies in painting and biology. Surface decoration on simple, graceful forms is an important part of my work, she explains. Some pots are decorated when first thrown through fluting, faceting, carving or incising. Volume is often accentuated by expanding the form from the inside. Continued 12 CERAMICS MONTHLY

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16 Up Front I am interested in my pots showing the problem-solving techniques of their assembly by emphasizing attachments, finger marks and throwing rings, she continues. On bisqueware, decoration is accomplished through slip trailing, glazing and/or calligraphic brushwork. Carbon-trap Shinos have recently been my focus. The unusual and unpredictable results that occur during the firing have contributed a new and exciting form of surface decoration. Shino glazes are used solely, with calligraphic brushwork, or as a basis for additional multilayering of compatible glazes. In almost every firing, new glazes are tested, enabling me to develop an expansive palette of colors. The Mind of the Dragon by Janet Buskirk The first time I fired the Astoria Dragon Kiln was in I had occasionally heard about an anagama near Astoria, Oregon, but very few area potters seemed to know much about the kiln Jim Koudelka s Capt. Hook, 21 inches in height, wood fired, sandblasted. Janet Buskirk s Lingerie Teaset, to 9 inches in height, slab-built porcelain with double walls, pierced outer wall, unglazed. or the people who fired it. How could anyone keep an anagama hidden? They are physically difficult to disguise! Why was there no information about this large, labor-intensive kiln? When I began firing there, I discovered that, while the kiln was fired regularly and the crew was very experienced, no one was making an effort to make public the kiln or the pots from it. Richard Rowland, Brad Mildrexler and the rest of the group spent their time concentrating on the firing process, not on selling or publicizing their work. Ten years have since passed, and the kiln has been fired over 60 times. Most of that time, we have worked in relative anonymity, preferring to concentrate on the involved, physically and psychologically demanding process of working with an anagama. We try to listen to the kiln and to each other, and to learn as much as we can from the firings. Firing the anagama involves so many elements. We cannot simply make the pots, load them into the kiln, and start firing. The Mind of the Dragon life-size anagama installation, over 30 feet long; at the Clatsop Community College gallery, Astoria, Oregon. 14 CERAMICS MONTHLY

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18 Up Front Each firing demands weeks of wood preparation. There is always some repair to be made on the kiln. A small community of people must work in unison; we accomplish a lot. We are constantly experimenting with new materials, new firing techniques, new types of wood, new ideas. The Mind of the Dragon exhibition was one of those ideas. It began as a simple local show. Rowland, on whose property the kiln is built, realized that this was an opportunity to do something different, something unusual. The outcome was a life-size installation of a kiln, built in the gallery at Clatsop Community College in Astoria. The installation kiln was over 30 feet long, and was stacked with pots exactly as they had been in the real kiln during a recent firing. The installation also incorporated multiple-fired, ashladen shelves and posts, and several cords of wood. Many other incidental items were brought to the gallery: a recent kiln log hung on a post, the bell that is rung to remind the tired crew to stoke was hung from the gallery ceiling (eliciting a Pavlovian stoke-response from the firing crew whenever it was rung during the opening). Sounds from a firing were also played during the exhibition. The show was revealing for those of us who fire the kiln as well. We had never been able to actually observe all of the pots inside the kiln at once. This installation afforded us an opportunity to see the relationship of the pots to each other, to the kiln, to the kiln furniture and to the fireboxes. We also observed how the different types of wood had affected the pots in each area of the kiln. Kirk Mangus by Douglas Max Utter Fat ceramic flies perch on the lips of several of Kirk Mangus wood-fired vessels. The artist points them out. Flies, he says, Shown recently at William Busta Gallery in Cleveland, Mangus vessels also signify a depth and vividness of aesthetic encounter, a frisson specific to the medium of clay, remembering the power and antiquity of the metaphor that binds earth and the human body in an eternal embrace. Although his work in clay clearly comes within the purview of the so-called fine arts, Mangus insists on the distinction between sculpture as such and his own ceramic objects, which Kiss Amphora, 29 inches in height, wheel-thrown and carved stoneware, by Kirk Mangus, Kent, Ohio. Kirk Mangus T-Pot, 11 inches in height, wood-fired stoneware; at William Busta Gallery, Cleveland. once solved an ancient murder case: they will gather on a weapon even after blood has been cleaned from it. In the context of Mangus work, flies denote a deeper, metaphorical level of flesh the history and pathos of things uniquely human detected beneath the comic, mock-clumsiness of his born-again amphorae, urns and vases. he is content to call pots. Sculpture, in his view, functions as an obstacle, an incarnation of otherness that gets in the way, confronting the viewer with intimations of difference, whereas ceramic objects, both in form and materials, encourage a sort of fleshly identification. This variance in the psychology of material and presentation perhaps hinges also on the domestic and utilitarian associations of pottery. The actual utility of Mangus objects is questionable. He avoids usefulness, balking at the practical while not refusing it outright. One could use these objects but would live to regret it. One imagines the Mangus teapot on display rudely interrupting any possible breakfast: it perches on its pedestal with the domesticity of an anarchist s bomb. Much of his work is made from a fine batch of wild clay found on the bank of a stream. All are intensely, densely decorated, employing a figurative style that is derived from artists as diverse as James Ensor, George Grosz and R. Crumb. A painterly approach in the early 1990s has moved to a deeply incised line that bites into the surface of each vessel. Continued 16 CERAMICS MONTHLY

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20 Up Front At the end of every summer, an anagama (built by Mangus and his wife, ceramist Eva Kwong) is piled high with work, then fired over a period of three to five days. Clay artists from all over the country gather for this event, feeding the fire by turns and then waiting out the two-day cool-down period. Surprises of process are the rule; and, in this exhibition, Mangus has relied solely on the settling of fly ash to glaze his pots. Fiona Salazar Vessel sculpture by British ceramist Fiona Salazar was featured recently at the Crafts Council Shop at the Victoria and Albert Museum in London. Inspired by nature, Salazar s abstract forms Charles Johnson s Rocking Reliquary, 34 inches high, unglazed, gas fired, $2200; at Galeria Mesa, Arizona. natural environment, as well as my interests in architecture, history, sociology and religion, combine to provide both inspiration and sources of imagery for my continuing work. Fiona Salazar s Mumbo Jumbo, approximately 13 inches in height, slab-built earthenware, with burnished terra sigillata; at Crafts Council Shop, Victoria and Albert Museum, London. Jolyon Hofsted Retrospective exhibitions of ceramics by Shady, New York, artist Jolyon Hofsted were presented recently at Queens College Art Center in Flushing, New York; and Fletcher Gallery, Woodstock, New York. Images Gallery in New York City are slab built, often curved and paddled into shape. The surfaces are sprayed with a fine terra sigillata and burnished, then brushed with twisting and spiraling linear decoration that is separately burnished. Charles Johnson Rocking Reliquary by Edinboro, Pennsylvania, artist Charles Johnson was among the 44 works selected for the 20th Annual Vahki exhibition. On view through February 7 at Galeria Mesa in Arizona, the juried show featured functional and nonfunctional pieces made of ceramic, glass, metal, fiber and wood. The current direction of my work allows me to model a variety of representational objects into a totemlike clay sculpture, Johnson commented. He achieves a toylike quality by adding wheels, rockers, wind-up devices, etc. Fired unglazed in a gas kiln, these pieces are about the tension and dialogue created by gathering together unusual allotments of recognizable and metaphorically loaded images, he continued. Literal interpretations of the sculptures may be possible in some cases, but I am also concerned with instilling some mystery into the work. My concern with the declining state of our Jolyon Hofsted s Flasher, 20 inches wide, stoneware and silver leaf, $900; at Queens College Art Center, Flushing, New York; and Fletcher Gallery, Woodstock, New York. 18 CERAMICS MONTHLY

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22 Up Front featured new anagama work by Hofsted as well. My work over the past 34 years has taken many directions, Hofsted noted, but spontaneity, fluidity and humor are always present. Many things in my West Coast background made lasting impressions, be it watching Peter Voulkos throw or Shoji Hamada decorate, he commented. New York meant pop art and lunch hours in the African Art collection of the Brooklyn Museum. All found a way into my vocabulary. Tantalizing Teapots The Craft and Folk Art Museum in Los Angeles recently presented Tantalizing Teapots: The Felicitous Union of Form and Content, approximately 100 examples from the Gloria Keisuke Mizuno sculpture, from the Forbidden Fruit series, 7 inches high, handbuilt porcelain, with underglazes, glazes and overglazes; at Shaw Guido Gallery, Pontiac, Michigan. impossible perfection desensitizes my rationality and further sensitizes my insanity. This pushes me closer to the boundary of life and death. Bill Griffith Wood-fired ceramics by Gatlinburg, Tennessee, artist Bill Griffith were featured through March 18 at Sarratt Gallery at Vanderbilt University in Nashville. For Griffith, assistant Adrian Saxe s Untitled Ewer (Post Louis I), 10 1 /4 inches in height, porcelain and mixed media; at the Craft and Folk Art Museum, Los Angeles. and Sonny Kamm collection of teapots and tea sets. Ranging from beautiful to humorous to provocative, the exhibited teapots were made from clay, metal and glass; while some are functional, others are intended purely for decorative purposes. Although they already have more than 3500 objects in their collection, the Kamms acquire new pieces weekly. Most are contemporary and made by artists from the United States. Keisuke Mizuno Forbidden Fruit, an exhibition of handbuilt porcelain sculpture by Tempe, Arizona, artist Keisuke Mizuno, was presented at Shaw Guido Gallery in Pontiac, Michigan. Firing each several times to develop depth and variation, Mizuno enhances the surfaces with underglazes and Cone 5 glazes, as well as Cone 018 overglazes. My obsession with life generates hunger for death, Mizuno comments. My creative activity is the residue of an attempt to D. ~ 1<r,...,.,.,..,,... r ' -,, i r 1 1 Bill Griffith s Dwelling, 17 inches in height, slab-built clarify my reverie. The challenge is the search for the visual stoneware with natural ash glaze, wood fired; at Sarratt language that perfects the equilibrium of life and death. This Gallery, Vanderbilt University, Nashville, Tennessee. 20 CERAMICS MONTHLY

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24 Up Front director at Arrowmont School of Arts and Crafts, time spent in the studio becomes a contemplative haven. The quiet studio time alone perhaps is reflected in the work itself. As was his previous work, these recent dwelling forms are influenced by ancient cultures, such as Japanese Haniwa, African and Southwest Anasazi. Griffith prefers to wood fire his worlds, because it provides an ageless quality that reminds me of weathered surfaces, like ancient Japanese funerary urns, rusted metal and eroded rocks. received her master of fine arts degree from the University of Kansas in Lawrence and her doctorate in art education from the University of Missouri-Columbia. Steffanie Samuels Ceramic figures by Steffanie Samuels, Ann Arbor, Michigan, were among the works by 20 artists featured in Contemporary American Ceramics at Loveland Museum/Gallery in Loveland, Dong Hee Suh s Third Living Creature (Human Face), front view, 18 inches in height, fired to Cone 06; at Sleeth Gallery, West Virginia Wesleyan College, Buckhannon. Steffanie Samuels Family Bonds, 18 inches in height, stoneware, with porcelain slip, glaze and oil paint; at Loveland (Colorado) Museum/Gallery. Colorado. Slab- and coil-built from stoneware, Samuels forms are bisqued, then sprayed with black porcelain slip; next, some areas of the surfaces are accented with colored glazes and the pieces fired to Cone 8. Final details are oil painted. Hearts, homes, vines, babies, cats and stars find their way into my ceramic stories, Samuels remarked. Though my work is personal, these symbols speak to me of connections we share to family and friends, death and birth. Dong Hee Suh Vision of the Throne, an installation of ceramic sculpture by Korean artist Dong Hee Suh, was on view recently at Sleeth Gallery at West Virginia Wesleyan College in Buckhannon. Currently an art professor at Kon-Kuk University in Seoul, Suh Suh was the Fulbright Scholar in Residence at West Virginia Wesleyan when she created the installation. Based on several verses from Revelations in the Bible, Suh s work is now part of the college s permanent collection. Opportunities Available Through the NEA Although severe budget cuts have forced the International Partnerships Office of the National Endowment for the Arts (NEA) to discontinue several programs (such as the U. S./ Canada/Mexico Creative Artists Residencies and the U. S./ France Exchange), there are still a few opportunities that clay artists or organizations may be interested in: The United States/Japan Creative Artists Program provides six-month residencies in Japan for individual artists working in any medium. Artists are encouraged to consider how exposure to Japan s contemporary or traditional cultures can influence their work; during their residency, they will work on individual projects. The application deadline is June 22 CERAMICS MONTHLY

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26 Up Front 29. Contact the Japan/U.S. Friendship Commission, 1120 Vermont Avenue, Northwest, Suite 925, Washington, D.C ; telephone (202) , fax (202) , or check the website at www2.dgsys.com/ -jusfc/ ArtsLink Residencies is a program that supports U. S. organizations wishing to host a visiting artist or arts manager for a five-week residency. For information about the 1998 application process, contact CEC International Partners, 12 W. 31st St., New York, NY ; telephone (212) , fax (212) or One other program worth noting is The Fund for U. S. Artists at International Festivals and Exhibitions, which annually provides $1.1 million dollars to support performing artists, as well as United States representation at major international contemporary visual arts exhibitions. Grant applications are accepted from curators, museums or visual arts organizations; individual artists cannot apply. Deadlines vary according to exhibition schedules. For further information, contact Arts International, Institute of International Education, 809 United Nations Plaza, New York, New York 10017; telephone (212) , fax (212) , or see website at All Creatures Great and Small Ceramic sculpture depicting animals was featured in the Eighth Annual All Creatures Great and Small exhibition at John Natsoulas Gallery in Davis, California. Intended to This honor has really brought credibility to my work, although I have to chuckle about it, commented Merritt, who has taught ceramics at the School for American Craftsmen since Stephen Merritt s Storage Jar with Lid, 14½ inches in height, earthenware with slips; Director s Choice award winner at the Crafts at the Castle, Boston It s the same work I was doing prior to the award, but it has changed people s perceptions really great for someone who has never pursued the art gallery, museum world. Elizabeth Keller Products of Soul Searching, an exhibition of sculpture and teapots by South Carolina ceramist Elizabeth Keller, was on view recently at Summer House Studios in Conway, South Carolina. The funky, whimsical quality that I have come particularly to strive for in [my work] has its antecedents in an early fascination with tripod ceramic forms from ancient Esther Shimazu s Mon Cur, 15 inches in height; at John Natsoulas Gallery, Davis, California. address and heighten public awareness of animal rights, the show benefits the Yolo County Society for the Prevention of Cruelty to Animals. Stephen Merritt The Museum of Fine Arts, Boston, recently purchased a stoneware lidded storage jar by Rochester, New York, ceramist Stephen Merritt to add to its permanent collection of contemporary craft. The piece had previously been selected by Malcolm Rogers, director of the museum and honorary chair of the Crafts at the Castle crafts fair, to receive the Director s Choice award at last year s show. Elizabeth Keller s Knossos Wedge Weave, 8¾ inches in height, coil- and slab-built earthenware; at Summer House Studios, Conway, South Carolina. Chinese and pre-columbian pottery, as well as with my own production of polypedal vessels during my graduate study years, explains Keller. My transition of focus to the teapot form seems inevitable to me because this vessel type already possesses such great 24 CERAMICS MONTHLY

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28 ^Jp FrOilt potential for diverse expressions and animation of form. I am often attracted to acts of manipulating the teapot base and overall tilt of the form to give each vessel a sense of offcentered and, therefore, more dramatic balance. Grappling with the means to then create a particular character or personality for each teapot determines the final nuances of spout, lid and handle. Through these worlds, Winigrad continues to address an ongoing theme of images from modern society combined with a style derived from forms found in primitive cultures. Sylvia Hyman A series of family pictures by Tennessee artist Sylvia Hyman was exhibited recently at Cumberland Gallery in Nashville. Tina Gebhart More Wood! an exhibition of wood-fired functional ware by Maryland artist Tina Gebhart, was on view recently at Baltimore Clayworks. Intent on creating space-efficient forms and Tina Gebhart cruet set with tray, 6 inches in height, thrown and altered stoneware, wood and sodium fired to Cone 10; at Baltimore Clayworks, Maryland. robust bang-it-around handles and rims, Gebhart believes that the parameters of utilitarian function serve as philosophical guidelines and inspirations for creative problem-solving. Etta Winigrad Ceramic sculpture by Pennsylvania artist Etta Winigrad was exhibited recently at Muse Gallery in Philadelphia. Constructed of low-fire clay, the pieces are left unglazed to allow pit firing and postfire smoking to mark the surfaces. Sylvia Hyman s X-File Folder, 9½ inches in height, porcelain on walnut base; at Cumberland Gallery, Nashville, Tennessee. Made from porcelain and stoneware, the scrolls, files, packages, fortune cookies and jewelry pouches represent forgotten achievements and personal histories. What I m asking the viewer to do is to keep an open mind, Hyman explains. In other words, forget about tidy categories and the usual classifications of contemporary sculpture, and enjoy the re-creations and transformation of familiar objects from daily life. Shellie Jacobson and Tim Rowan Functional ceramics by Shellie Jacobson, Skillman, New Jersey, and Tim Rowan, Accord, New York, were featured in a recent exhibition at the Klay Gallery in Nyack, New York. Jacobson s forms, such as the three boxes shown here, are intended to Shellie Jacobson s Three Boxes, to 8 inches in height, handbuilt porcelain with stains and glazes; at the Klay Gallery, Nyack, New York. Etta Winigrad s Enjoy the Ride, 19 inches high, unglazed low-fire clay, pit fired; at Muse Gallery, Philadelphia. reflect a dialogue I have between form, surface, space and the effects of a sawdust fire. I think of color as an organic part of each vessel form, and try to obtain the maximum effects from the simplest applications, she explained. Further, I love to discover how clay performs as a material as it is torn, cut, sliced, stamped and textured. 26 CERAMICS MONTHLY

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33 Summer Workshops 1998 Various types of workshops are offered each summer. Most are hands-on experiences; however, sessions of one-half to two days may be demonstration only a few are strictly lectures or discussions. Skill levels are usually ranked beginning, intermediate, advanced and/or professional. While nearly all workshops are good experiences, the quality of presentation varies widely. If possible, ask others who have attended previous sessions for their feedback, then contact the organizers for specifics. Alaska, Juneau Handbuilding and throwing with Chuck Hindes and Ron Meyers (June 15-19); fee: $350, includes materials and firing. Beginning through advanced. Contact Todd Turek, University of Alaska-SE, Glacier Hwy., Juneau 99801; telephone (907) or Arizona, Flagstaff Salt-Glaze Workshop with Ellen Tibbetts, handbuilding, throwing, engobes, glazing and firing (July 6-20). Glazing, engobes and firing the Tozan noborigama with Joanne Dekeuster (July 13-27). Raku Workshop with Ellen Tibbetts, handbuilding, throwing, glazing and firing (July 22-August 5). Intermediate through professional. Fee/session: $418, includes materials, firing and 3 college credits. Room fee/day: $9.50/double occupancy, $l4/single occupancy. Contact Ellen Tibbetts or Don Bendel, Northern Arizona University, Box 6020, Museum Faculty of Fine Art, Flagstaff 86011; telephone (520) or , fax (520) or paula. California, Concow Wood-fire Workshop with Nolan Babin, making work and firing a 200-cubic-foot kiln (June 8-18); or participants can bring own bisqueware (June 11-18). All skill levels. Fee: $450/full session, $400/partial; A participant stoking the noborigama during the Experiencing the Fire Workshop with Robert Compton in Bristol, Vermont. Doug Browe, Leslie Campbell, Larry Henderson and fee: $400, includes materials, firing and lodging. All Jan Hoyman (August 3-8). Drawing and Painting skill levels. Contact Lola Rae Long, The Ojai Foundation, 9739 Ojai Santa Paula Ra., Ojai 93023; or on Clay with David Gamble; Porcelain and Stoneware; Gold and the Wheel with Jim Danisch (Augustelephone (805) includes materials, firing and lodging. Contact Nolan Babin, Mullen Way, Oroville, CA 95965; 10 15). Figure Sculpture for Clay People with telephone (530) or fax (530) Margaret Keelan; Functional Pottery; The Domestic Landscape with.alleghany Meadows (August 17- Magic Fire with Carol Molly Prier, handbuilding California, Point Reyes California, Idyllwild 22). Waves of Clay with Stephen De Staebler and pit firing (July 25-August 1); fee: $375, includes Throwing, handbuilding, glazing, kiln construction, (August 24-28). For further information, contact materials and firing. All skill levels. Limited to 8 pit firing with Greg Kennedy (July 5-18/one or two weeks); fee: $415 per week, includes materials and firing. All skill levels. Contact Diane Dennis, Registrar, Mendocino Art Center, PO Box 765, Mendocino 95460; telephone (707) , fax (707) or participants. For further information, contact Molly Prier, PO Box 337, Point Reyes Station, CA 94956; telephone (415) , evenings, or (415) 663- Idyllwild Arts Summer Program, PO Box 38, 9230, days. Idyllwild 92549; telephone (909) , ext. California, Oakland 365, fax (909) or A workshop with George Bowes, focusing on surface California, Santa Ana decoration (June 8-25); fee: $895, or $1980 for 3 Workshop within a Workshop, demonstration/ California, Mendocino credits. Beginning through advanced. Pre-college program discussion with Taiwan artists on throwing for high-school students on ceramics and draw and handbuilding techniques (July 29); fee: $20. Mosaic Ensemble with Kent Rothman (June 15 20). Majolica and Terra Sigillata with Sally ing for ceramists (July 6-24); fee: $595; materials: Contact Patrick S. Crabb, Santa Ana College, 17 and Campbell; Figurative Ceramics with Catherine $ 150. Scholarships are available. Beginning and intermediate. Bristol sts., Santa Ana 92706; or telephone Patrick Campus housing (for high-school session Merrill (June 22-27). Throwing Big Pots with Ben Crabb (714) Parks; Tile Extravaganza with Ingrid Lilligren (June only): $450. Contact Nina Sadek, California College 29 July 4). Developing Glazes from Locally Found of Arts and Crafts, 5212 Broadway, Oakland 94610; Materials with George Dymesich (July 6-10). Sculp telephonture with Clay and Fire with Glenn Husted (July 13- (510) , fax (510) or California, Santa Cruz A workshop with Emma Lewis Mitchell and Mary Dolores Lewis Garcia, learning traditional Acoma 18). John Mason in Mendocino (July 20-25). Pueblo hand-forming methods, yucca brush-making Making Pots for the Soda Kiln with Robbie Lobell; California, Ojai and dung firing (June 22-26); fee: $385, includes Working Solid with Kent Rothman (July 27- Moonfire 98 with Jim Danisch and Lola Rae Long, materials and firing. All skill levels. Contact Stephanie August 1). Adventure with the Gang of Four with handbuilding, burnishing, wood firing (June 7-14); Zak or Marc, University of California Extension, April

34 Santa Cruz, 740 Front St., Ste. 155, Santa Cruz 95062; telephone (408) , fax (408) or Colorado, Cortez 14th Annual Sand Canyon Primitive Pottery Workshop with Leander Gridley and John Olsen, covers all aspects of prehistoric pottery production techniques for black-on-white and corrugated wares of the Mesa Verde region (June 20-27); fee: $875, includes materials, firing, lodging, meals and field trips. All skill levels. Contact Kristie Carriker, Kelly Place, Road G, Cortez 81321; telephone (800) , fax (970) , or website Traditions in Clay: Shaping Puebloan Pottery with Jody Folwell, Rose Naranjo and Paul Ermigiotti, forming, decorating and firing Pueblo-style pottery using ancient and modern techniques Quly 12 18); fee: $1195, includes materials, firing, lodging and meals. Contact Laurie Austin, Crow Canyon Archaeological Center, Rd. K, Cortez 81321; telephone (800) , fax (970) or Colorado, Grand Junction Clay as Canvas with Jan Edwards, throwing, handbuilding, tile making in glazed terra cotta, with an emphasis on decorative techniques (July 17-19); fee: $ 175, includes clay and firing. Registration deadline: July 11. A Gut-level Approach with Rodney Mott, handbuilding, throwing, low-fire-salt fuming, pile firing, raku and stoneware (August 7-12); fee: $375. Registration deadline: July 29. All skill levels. Some private lodging available. Contact Terry Shepherd, Western Colorado Center for the Arts, 1803 N. Seventh St., Grand Junction 81501; telephone (970) or (970) Colorado, Mesa Verde Anasazi Pottery at Mesa Verde National Park with Gregory S. Wood, clay processing, tool making, handbuilding, burnishing, decorating and trenchkiln firing (June 14-20); fee: $290, includes materials, firing, group campsite and field trips. All skill levels. Contact Ancient Arts, PO Box 27, Masonville, CO 80541; telephone (970) or Colorado, Penrose and Florence Earth, Water, Wind and Fire with Vern Roberts, focusing on the forming, decorating and firing methods used by ancient Southwestern potters (June 14-22); fee: $250, includes materials and firing. College credit available. Beginning and intermediate. For Instructor Don Davis helps a student form the spout on a pitcher during a workshop at John C. Campbell Folk School in Brasstown, North Carolina. further information, contact Vern Roberts, Coyote Arroyo Studios, th St., Penrose, CO 81240; or telephone (719) Colorado, Snowmass Village Useful Pots: Thinking about Form with Clary Illian; Eccentric Methods: Sculpting with Clay with Ron Fondaw (June 8-19). Making Pottery with Takashi Nakazato and Doug Casebeer (June 22-July 3); fee: $690, includes materials and firing. Inventing the Figure: Transformation and Transcendence with Paula Rice (June 22-July 3). English Slipware Pottery with Irma Starr (July 6-10); Fee: $420, includes materials and firing. Resolutions of Form with Robert Turner (July 6 17). Clay: Pushing the Envelope with Brad Miller (July 13-24). Liberating Clay, : An Art History Course lectures with Elaine Levin (July 20-24); fee: $295. Altered States with Bruce Cochrane (July 20 31). China Painting on Porcelain with Kurt Weiser (July 27-August 7); fee: $640, includes materials and firing. Useful Pots Made on a Wheel with Ellen Shankin (August 3-14). Clay Constructions with John Gill (August 10-21). Plaster Molds and Workshop participants at the Center for American Archeology in Kampsville, Illinois, dug and prepared their own clay to create these pieces. Casting Techniques with Richard Notkin (August 17-28). Making Powerful Forms with Siglinda Scarpa (August 24 September 4). A Lifetime of Clay with Paul Soldner, Peter Voulkos and Peter Callas (August 31-September 4); fee: $670, includes materials and firing. All skill levels. Fee (unless noted above): $620. Contact Dawn Ogren, Registrar, Anderson Ranch Arts Center, PO Box 5598, Snowmass Village 81615; telephone (970) , fax (970) or Colorado, Steamboat Springs Porcelain and Whiteware: Throwing and Decorating with Dick Luster (June 7 20). Cars and Trucks and Other Sculpture and Clay Projects with Maynard Tischler (June 21 July 4). Salt Firing and Vapor Glazing Thrown and Handbuilt Forms with Biz Littel (July 5-18). Tile as Art: Murals Color Sculptural Bas Relief with Ro Mead (July 19-August 1). Creative Raku with Robert Piepenburg (August 2 15). Handbuilding and the Wheel with Bill Griffith (August 23-September 5). Fee/session: $1175, includes materials, firing, lodging, meals and lab fee; plus $ 100 application fee. Contact Judith Carol Day, Director, Laloba Ranch Clay Center, PO Box770226, Steamboat Springs 80477; telephone (970) or , fax (970) or Connecticut, Brookfield Ceramic Color Surface and Effects through Glaze Technology with Hal McWhinnie (June 5 7). Mold Making with Lynn Peters (July 18). Action Throwing ana Altering Techniques with Peter Callas (August 1 2). For further information, contact Brookfield Craft Center, PO Box 122, Rte. 25, Brookfield 06804; or telephone (203) Connecticut, Middletown Functional Stoneware in the 90s Single-Firing Technique with Steven Hill (July 30 August 4); fee: $275. Intermediate and advanced. For further information, contact Melissa Schilke, Wesleyan Potters, 350 S. Main St., Middletown 06457; or telephone/ fax (860) Connecticut, New Canaan Throwing from the East, slide presentation/demonstration of throwing and altering on the mound, wet altering, paddling, etc., with Steven Rodriguez (June 13-14); fee: $150. Beginning through advanced. Contact Karen Ford, Silvermine School of Art, 1037 Silvermine Ave., New Canaan 06840; or telephone (203) Florida, Pensacola Architectural Ceramics Workshop with Peter King (June 29-July 4); fee: $550. Limited registration. For further information, contact StoneHaus, 2617 N. 12th Ave., Pensacola 32503; telephone (850) or fax (850) Florida, Sopchoppy A Spirited Approach to Clay with George Griffin, individualized stoneware, single-fire oxidation, fastfire wood, business as an art Form of self-expression (June 8 13); fee: $400, includes materials, firing and lodging. Beginning and intermediate. Limited to 4 participants. For further information, contact George Griffin Pottery, 1 Suncat Ridge Rd., Sopchoppy 32358; or telephone (850) Illinois, Evanston The Cup with Lee Rexrode, throwing, handbuilding, sculptural concepts (June 5-7). All skill levels. Contact Vanessa Smith, Native Soil, 602 Davis St., Evanston 60201; telephone (847) or fax (847) Illinois, Kampsville Placing prehistoric ceramic technology within a cultural context, including digging and preparing clay, with John White (June 8-12); fee: $325, includes materials, firing, lodging and meals. All skill levels. Contact Brenda Nord, Center for American Archeology, Dept. C, PO Box 366, Kampsville 62053; telephone (618) , fax (618) or 32 CERAMICS MONTHLY

35 Indiana, Indianapolis Maine, Newcastle Raku and Sawdust Workshop, clay formulation, Residency session with Nancy Selvin (June 14 26). glaze mixing and application, and firing (June 3 24); Artists Invite Artists, session with George Bowes fee: $ per credit; out-of-state, $326 per credit. (July 5-17). Residency session with Syd Carpenter For further information, contact Nancy Fitzgerald or (July 19-31). Artists Invite Artists, session with Julie Schaefer, Herron School of Art, 1701 N. Pennsylvania St., Indianapolis 46202; or telephone (317) Jackie Brown (August 2-14). Intermediate through Drawing and Painting on Clay with David L. Gamble (June 22-26). For further information, contact University of Indianapolis, Art Dept., 1400 E. Hanna Ave., Indianapolis 46227; or telephone (317) Smoked and Raku Pottery with Bob Smith (July 20-22); fee: $327; members, $300. All skill levels. Functional Pots: Thrown and Altered with Jeff Oestreich (August 15-16); fee: $249; members, $228. Intermediate and advanced. Contact Indianapolis.Art Center, 820 E. 67th St., Indianapolis 46220; telephone (317) , fax (317) , or website www. indplsartctr.org Kentucky, Harrodsburg Designing and building a simple gas-fired kiln Quly 11-12); fee: $125, includes materials, lodging and meals. Pinch, coil, slab and wheel construction of both vessel and sculptural forms, plus raku and pit firing over two consecutive weekends (August 1-2 and 8 9); fee: $275, includes materials, firing, lodging and meals. Instructor: Wyman Rice. Beginning and intermediate. Contact Don Boklage, Open Ground, 681 Roye Ln., Harrodsburg 40330; or telephone (606) Kentucky, Somerset Raku Weekends with Meg and John McClorey, throwing and handbuilding first weekend, glazing and raku firing second weekend (June 6-7 and 13 14; or August and 29-30); fee: $170, includes materials and firing. Beginning and intermediate. Living accommodations available. Contact John McClorey, Fire and Clay Pottery, 2535 Pumphouse Rd., Somerset 42503; telephone (606) or Louisiana, Lake Charles Clay Jambalaya! hands-on sessions with Charlene Kaough and Madge Dutel on majolica decoration, whistle making, handbuilding, raku glazing and firing, pit firing (July or 17-19). Campus housing available. Contact McNeese State University Leisure Learning (318) or fax (318) Louisiana, Monroe Crystalline Porcelain Workshop with Don Holloway, throwing, handbuilding, glaze formulation and application, firing (July 13-17); participants should bring tools. Advanced. Fee: $200, includes materials, firing, workbook. Contact Don Holloway, Crosscraft Originals, 18 Jana Dr., Monroe 71203; telephone studio (318) or home Maine, Deer Isle China Painting on Porcelain with Kurt Weiser (May 31-June 12). Handbuilding and other construction methods for producing large-scale sculpture advanced throwing (June 5, July 3 and July 31); fee: Massachusetts, Merrimac $ 185. Ceramic Drums with Robert Strausser (June Form and Surface, slide lecture and demonstration with Nicholas Kripal (June 14-26). Handbuilding: 7); fee: $45. Building with Clay, workshop for The Nature of Clay and Glaze with Annabeth Rosen children with Carol Spicer (June and 29, ages (June28-July 10). Wheel-thrown Pottery with Val 6-8 or 9-12; J uly 6-10 and 13, ages 6-8; July Cushing (July 12-24). Throwing, altering, assembling high-fired porcelain and stoneware with Peter 9-12); fee: $70. Teen Wheel Class (June 22-26, 9 and 27, ages 9-12; August and 17, ages 6-8 or Beasecker (July 20-August 14). International Session with Shiro Otani, Japanese methods ofworking ate Wheel with Joyce Michaud (June 29-August AM-12 noon); fee: $80. Beginning and Intermedi 5, with clay, making pottery for the tea ceremony (August 16-28). All skill levels. Fee: $520/2-week sessions; $680/3 weeks. Contact Stuart Kestenbaum, Haystack Mountain School of Crafts, PO Box 518, Deer Isle 04627; telephone (207) , fax (207) or Maine, Monroe Workshops with Squidge Davis (Summer). Contact Starflower Pottery, RR 1 Box 1360, Monroe 04951; or telephone (207) professional. Fee: $790 per session, includes lodging and meals. For further information, contact Lynn Gipson, Watershed Center for Ceramic Arts, 19 Brick Hill Rd., Newcastle 04553; telephone/fax (207) or Maryland, Baltimore The Porcelain Teapot: A Struggle with Form and Function, slide lecture and hands-on workshop with Malcolm Davis (June 12-14); fee: $ 135/members, $115, includes 25 pounds of clay and bisque firing. Participants in Jerry Caplan s workshops in California (last year) or in Logan, Ohio (this year), build sculptures from 6- to 8-inch-diameter industrial extrusions. Intermediate through professional. For further infor Massachusettsmation, contact Leigh Taylor or Deborah Bedwell, Housatonic Baltimore Clayworks, 5706 Smith Ave., Baltimore 21209; or telephone (410) or fax (410) Maryland, Frederick Master Series with Joyce Michaud, focusing on Mon. and Wed., 9 AM-12 noon); fee: $360. Ceramic Decoration with Joyce Michaud (June 29- August 5, Mon. and Wed., 1^4 PM); fee: $360. Masters Throwing Workshop with Joyce Michaud Maryland, Mitchellville The Raku Experience with Troy C. Brockett and Melvin Twine; participants should bring 5-10 bisqued works of raku day (June 20-21, July 11-12,18-19or August 1-2); fee/session: $115. Registration deadline: June 1. For further information, contact Unique Creations, c/o Raku Experience, 1505 Danton Ln., Mitchellville 20721; telephone/fax (301) or (202) Massachusetts, Gloucester African Pottery Workshops with Hazel Mae Rotimi, including clay digging, handbuilding, decoration, firing and dipping (Summer); fee: $ 15 $50 per session. Contact Minor Miracles Creative Arts Studio, 179R Washington St., Gloucester 01930; or telephone (978) One-month workshops on Japanese throwing and trimming techniques, with empasis on production; each session includes firing a wood-burning kiln (June-August). All skill levels. Contact the Great Barrington Pottery, Rte. 41, Housatonic 01236; or telephone (413) geared toward raku and high fire with Robbie Lobell (July 11); fee: $40. Raku and Sawdust Firing with Anni Melancon (July 12-14, with firing on July 26); fee: $125. Fee for demonstration and workshop: $160. Making Primitive as in Primal Pots with Anni Melancon (August 10-11, with pit firing on August 30); fee: $80. Contact Purple Sage Pottery, 3 Mechanic St., Studio D, Merrimac 01860; or telephone (978) Massachusetts, Stockbridge (July 9-12 and 23-26); fee: Earthenware: A Surface Strategies with Mary Barringer (June 27- Dialogue of Form and Surface lecture and workshop 28). Thrown and Altered Wheel Forms with Woody with Andrea Gill (July 17-19); fee: $125. Contact Hughes (August 29-30). Contact the Interlaken Hood College Ceramics Program, 401 Rosemont School of Art, (413) Ave., Frederick 21701; telephone (301) , or , fax (301) or website Massachusetts, Truro Handbuilt Tableware with Bruce Winn (July 6 April

36 Smoke firing with paper, sawdust and animal dung during a workshop with Jane Perryman in Suffolk, England. 10, 9 AM-1 PM). Beginning/Intermediate Throwing with Chris Parris (July 13-24, Mon., Wed., Fri., 9 AM-1 PM); fee: $240. Throwing and glazing demonstration with Don Reitz (July 25-26). Pouring Vessels with Woody Hughes Quly 27-31, 9 AM-1 PM). Glazing with Chris Parris (August 3-5, Mon., Tues., Wed., 9 AM-2 PM); fee: $165, includes materials and firing. Raku with Chris Parris (August 6 7); fee: $135, includes materials and firing. Altering Thrown Forms/Lidded Vessels with Gay Smith (August 10-14, 9 AM-1 PM). Handbuilding/Intuitive Forms with Mikhail Zakin (August 17 21, 9 AM-1 PM). Surface Exploration and Embellishment with Thomas McCanna (August 24-28, 9 AM-1 PM); fee: $215, includes firing. Fee (unless noted above): $200. For further information, contact Mary Stackhouse, Castle Hill, Truro Center for the Arts, Box 756, Truro 02666; telephone (508) or fax (508) Massachusetts, Williamsburg Handbuilding on the Wheel: Pots and Pottery Forms with Erica Wurtz (June 13-15). Architectural Tiles and Mosaics with Farley Tobin (June 21-23). Summer High School Art Program, ceramics is 1 of 8 courses offered (June 28-July 18 and/or July 20- August 8); fee: $1965 per 3-week session; $3855 for 6 weeks; includes lodging and meals. Majolica and Earthenware: Terra-Cotta Pottery with Anita Griffith and Bob Parrott (August 13-16); fee: $265. Skill requirements vary. Fee (unless noted above): $235. Living accommodations (unless noted above): $120-$ 180. Contact Horizons, 108 N. Main St., Sunderland, MAO 1375; telephone (413) , fax (413) , or website ; telephone (508) , fax (508) , or website Michigan, Onekama Rustic Ceramics: Beyond Form and Surface with Carol Vaughan (July 13-17); fee: $195, includes Voulkos Quly 18-19); Ken Ferguson, Robert Turner materials. Intermediate and advanced. Contact Carol and Peter Voulkos (July 25-26). All skill levels. Fee/ Vaughan, Swamp Oak Studio, 2473 Seymour Ave., Onekama 49675; telephone (616) or Minnesota, Minneapolis Regis Master Series, lecture with RudyAutio on his New Jersey, Layton life and work, his influences, etc. (June 20); free. Location: Minneapolis Institute of Arts. Contact the Northern Clay Center, (612) Montana, Billings Designing Handmade Tiles with Marcia Selsor (July 15-August 15). Instruction in English and and Polly Martin (July 10-19); fee: $565. Finding Spanish. All skill levels. Fee: $482.60, includes lab fee, Form and Inspiration with Christina Bertoni (July materials, firing and 4 college credits; out-of-state, 24-August 1); fee: $515. Decorated Porcelain Vessels with David Regan (August 7-16); fee: $565. $ Campus housing available. Contact Registrar or Summer Session, Montana State University- Single-fired Functional Stoneware for the 90s with Billings, 1500 N. 30 St., Billings 59101; telephone (406) summer session, fax (406) or Montana, Bozeman Indigenous Ceramics with Michael Peed, digging requirements vary. Contact Josh DeWeese or Teresa Hastings, Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave., Helena 59601; telephone (406) , fax (406) or Montana, Whitehall Holistic Clay, digging and processing clay, making, decorating and wood firing work with Michael Peed and Michelle Tebay (July 17-19); fee: $150, includes materials and firing. All skill levels. Camping facilities available. Contact Waxwing Studios, 64 Tebay Ln., Whitehall 59759; telephone (406) , fax (406) or Nevada, Incline Village Workshops with Fred Olsen (June 8-12), Jack Troy (June 15-19), Sheri Sweigart (June 22-26), Catharine Hiersoux (June 29-July 3), Marc Lancet (July 6-10), and Lana Wilson (July 13-17). Contact Sierra Nevada College, (800) Nevada, Tuscarora Two-week sessions on handbuilding, throwing, raw glazing, oil and propane firing, with Ben Parks and Dennis Parks (June 17-30, July 1-14, or 29- August 11). Instruction in English, with some German on request. All skill levels. Fee: $790, includes materials, firing, lodging and meals. Extra charge (at cost) for clay bodies. Contact Ben Parks, Tuscarora School of Pottery, PO Box 7, Tuscarora 89834; telephone (702) or telephone/fax (702) New Hampshire, Wilton Earth, Water and Fire with John Baymore, handbuilding, throwing, glazing, aesthetic issues, kiln design and construction, loading and firing work in a noborigama (August 14 23); fee: $380, includes materials and firing. Intermediate through professional. Limited to 7 participants. Contact John Baymore, River Bend Pottery, 22 Riverbend Way, Wilton 03086; telephone (800) or (603) or New Jersey, Belvidere Demonstrations/slide lectures and video presentations with Don Reitz, Paul Soldner and Peter Voulkos (July 11-12); Rudy Autio, Ron Meyers and Peter session: $250; one day, $150. Contact Peter Callas Studio, 1 Orchard St., Belvidere 07823; telephone (908) , fax (908) or net Functional Pottery with Linda Christianson (June 5 7); fee: $254. Functional Pots: Approaches to Form and Surface with Matthew Metz and Linda Sikora (June 12-14); fee: $254. Altering Thrown Forms/Low-fire Solutions with Woody Hughes (June 26-July 5); fee: $565. Domestic Pottery with Frank Steven Hill (August 21-29); fee: $515. Fees include lab and application fees; most include firing. Skill requirements vary. Contact Jennifer Brooks, Peters Valley Craft Education Center, 19 Kuhn Rd., Layton 07851; telephone (973) , fax (973) 948- GO 11 or and processing clay, learning handbuilding ana slipdecorating techniques used by early Southwest natives, plus building and firing such kilns as open pit Wheel Throwing and Slip Decorating with Edward New Jersey, Loveladies and bank (July 6-10). All skill levels. Contact Michael Camp (June or 29-July 3). Raku Workshop Peed, Ceramics, School of Art, Montana State University-Bozeman, Bozeman 59717; telephone (406) with Edward Camp; participants should bring more than 10 bisque-fired pieces (July 6-10 or 13-17). Saggar-fire Workshop with Edward Camp; particiants should bring 5-6 bisque-fired (Cone 010) for Massachusetts, Worcester or zar Touchable Pots with Sandi Pierantozzi, slab building functional pottery (June 6-7); fee: $160; members, $140; includes materials. Wood-Kilnbuilding The Figure in Porcelain with Beth Lo (June 13-14); Ceramic Workshop with Paula Winokur, discus Montana, Helena urnishing or terra sigillata (July or 27-31). Intensive with Lisa Stinson (July 13 17); fee: $395, fee: $125, includes materials and bisque firing. Pots sion of techniques and the creative process (July 25 includes materials and firing. All skill levels. For con Duende (Pots with Soul) with Linda Christianson 26); fee: $120; members, $100. Pinch Pots and Pit further information, contact Robbie Lobell, Worcester Center for Crafts, 25 Sagamore Rd., Worcester 22-July 3); fee: $550, includes glazes and firing. Skill Please turn to page and Chris Staley, all aspects of pottery making (June Firing/Ancient Methods for Modern Times with CERAMICS MONTHLY

37 Monarch National Competition Carved Vase with Handles, 15 inches in height, slab-built and carved stoneware, with stains and slips, NFS, by Judy Glasser, Woodside, New York. The plastic qualities of clay allow for and encourage a direct and immediate response from manipulation that few other materials provide. When combined with the inherently unlimited technical possibilities, it should be no surprise that the greatest number of artists working in craft media today have embraced clay as their medium, commented juror Michael W. Monroe, executive director of the American Craft Council, in his statement for the catalog accompanying The Kennedy- Douglass Center for the Arts Monarch National Ceramic Competition. Jour, 23 inches in height, pressmolded terra cotta, with glazes, stains, and brass pin, $850, by Joseph Detwiler, Fredericksburg, Virginia; tile award winner. Presented in Florence, Alabama, the exhibition featured nearly 120 worlds by 105 artists from 34 states and Canada. From the 900 works submitted by 314 ceramists, Monroe tried to make a selection that would illustrate the many genre of visual and technical means that makers use to communicate their ideas. There are several criteria I use when selecting work for a competitive exhibition, he explained. The best art of each generation joins existing traditions, while simultaneously challenging and overturning them. The works that have April

38 Anachronism XV Non Sequitur, 11 inches in height, $1500, by Charles Timm-Ballard, Appleton, Wisconsin; third place. Cup and Saucer #1, 12 inches in height, multiglazed earthenware, and stick, $300, by Steve Reynolds, Boerne, Texas. Vase with Split Rim, 32 inches in height, broken and reassembled, raku and saggar fired, $600, by Robert Long, Starkville, Mississippi; first place. Antiqui-Tea, 6 inches in height, stoneware, saggar fired with seaweed in an electric kiln, $125, by Jeannette Brent, La Jolla, California. 36 CERAMICS MONTHLY

39 Altered Mandala Pot Calligraphic, 9½ inches in height, wheel-thrown, altered and incised stoneware, with vitreous slips, Cone 10 reduction fired in soda/salt kiln, NFS, by Kristen A. Kieffer, Wixom, Michigan. 6303, 18 inches in height, sand-blasted stoneware, and rubber hosing, $850, by Ole Morten Rokvam, Dallas, Texas; second place. Square Casserole, 8 inches in height, thrown, altered and cut stoneware, $175, by Susan Beecher, New York City. Chopine, 4 inches in height, low-fired stoneware, with copper glazes, oxides and stains, $150, by Lisa Maher, La Jolla, California. April

40 the most appeal to me are those in which the artist has made a conscious attempt to add to our visual world rather than to simply recite it. I am attracted to art that presents me with original emotions and ideas emotions and ideas that force me to think in new and unexpected directions. Expecting the artists to raise the difficult questions through their art, I am attracted to work that catches me off guard and topples me into an arena of fresh ideas, however uncomfortable they may be. He prefers works that are not vague nor imprecise, but rather ones that assert a dynamic and oftentimes compelling objective. Perhaps the single most important element I look for in a work is one in which the artist has developed an innovative vocabulary of forms that result in a self-consistent style. Monroe awarded first-place honors to Vase with Split Rim by Robert Long of Starkville, Mississippi; second place went to Dallas, Texas, artist Ole Morten Rokvam; Charles Timm-Ballard of Appleton, Wisconsin, received the third-place award; and the tile award went to Fredericksburg, Virginia, ceramist Joseph Detwiler. Merit awards were presented to Carlos A. Alves, Miami Beach, Florida; John Foster, Fort Lauderdale, Florida; John Goodheart, Bloomington, Indiana; Jeff Irwin, San Diego, California; and Phyllis Pacin, Oakland, California. His Dream Her Dream, 26 inches in height, thrown, altered and carved stoneware, $600, by Jim Brashear, Fairbanks, Alaska. Tea Set, 12 inches in height, wood fired, porcelain with natural ash glaze, $190, by Sam Clarkson, Carrollton, Texas. 38 CERAMICS MONTHLY

41 Making large-scale ceramic sculpture that can withstand the northeast winters has been a dream of mine since I began working with clay eight years ago. Having received a B.S. degree from Pratt Institute, painting was more my forte. But I am an avid gardener, so it seemed natural that my interest turned to incorporating what I make into the great outdoors. It was this interest that drew me to a workshop offered by Arnie Zimmerman, under the auspices of Greenwich House Pottery in New York City I had seen his largescale work in galleries and featured in numerous articles over the years, and had admired his unique carving techniques as well as his sense of humor. Nine of us gathered for two weeks in mid-july at his studio in the Williamsburg area of Brooklyn. Six of the group were from the New York City area. Others came from Florida, England and Venezuela. Of those who participated, some were seasoned ceramists and others just loved the medium. We worked directly on the cement floor, often getting down on our hands and knees a totally different way of working for most of us, as we were used to sitting and working at a table. The small fettling knives we were accustomed to were exchanged for large, machetetype knives. We made slabs by placing 25 pounds of clay between a folded piece of canvas, then stepping on it with all our weight. At first, I had no idea what, exactly, I wanted to make a big pot, I thought. I struggled to raise slab after slab, squeezing each slab to the next, then compressing the seam with my bent index finger, palm or fist. Arnie The Making of Giants by Elaine F. Godowsky would say, Its like throwing. But I had limited experience with throwing. He helped me alter the shape by embracing and pushing the form with his whole body. Day after day, the shape grew. Then one day, it began to sag. What to do? Never fear, Arnie was right there with his huge collection of 4x4s. He propped Elaine Godowsky adding branches, flowers, leaves and birds to a sculpture made during a workshop with New York artist Arnold Zimmerman. up the side that was sagging by bracing it with two pieces of wood. Arnie also encouraged us to make second pieces, and work back and forth. As we did this, an interesting thing began to happen. Both pieces benefited from the sense of freedom that came from not holding on to one piece alone. After many hundreds of pounds of clay, I had a form a 4-foot potlike shape. Now the question was, how to make it interesting? Arnie showed us a technique he uses for making tubes. He simply pierces lumps of clay with a steel rod, shishkebob style, then squeezes the clay up and down the rod, and finally rolls the rod across a table. By using this technique, I was able to create long tubes of various dimensions; these were transplanted to my big pot and became branches. Naturally, the branches had to have flowers and leaves and birds on them. Arnie suggested that I make a stockpile of all the things I might want to add so that I would not be distracted by having to make them individually. By doing so, I was able to work quickly and immediately. By the time I was finished, the upper section was as large as the base and much heavier. I began to carve into the branches. I liked the texture, so I carved the base as well. We were offered the option, for an extra charge, of bisquing our pieces first, then glazing them, but almost everyone applied slips and oxides and once-fired their work. I decided to bisque mine so that I could use a variety of glazes. I was surprised to see how well the once-fired pieces came out; however, when my piece was bisqued, Arnie heard an explosion coming from the kiln. Peeking in, he saw my piece was not at the same level as before. He called and told me that it must have collapsed. Of course, I was very upset. I had spent many, many hours working on my sculpture. It was hard to believe that all the work that I had put into this piece was gone. April

42 After the kiln cooled, we opened it together. The base had not been strong enough to support the weight of the top and had simply let go. I had very mixed feelings. I was actually not too unhappy as I really hadn t liked the base. Fortunately, most of the top, which was far more interesting, was intact and the damage was repairable. We assessed what had happened. Because I was not exactly sure what type of form I would be creating, I had not planned for the weight of the upper section. What I should have done was to build a more formidable inner support structure in the base. The upper section was structurally sound because the tubes braced each other. I proceeded to repair the cracks in the upper area with refractory cement, and wired some of the branches with Nichrome wire. The next step was to glaze. I decided on a palette of yellow, blue, green, pink and purple. I had to apply the glaze with a longhandled brush, Arnie s suggestion for multiple glazes on large pieces with hardto-reach places. Glazing took many hours. I found myself trying to remember what color I had applied and where, because many of the glazes were indistinguishable. Fired to Cone 9 in reduction, it came out with a lot of color just what I wanted. About that same time, Arnie decided to give another workshop. Great! Here was my chance to make a proper base. Working in New York, especially in the Williamsburg area, was an experience in itself. The neighborhood, which is right beyond the Williamsburg Bridge, has many warehouses, foundries, tool-and-die makers and Domino Sugar (still there), plus housing occupied by Polish-Americans, Italian-Americans and Latin-Americans. Now, many artists have joined this eclectic community as well. Every day, lunch was a treat. We explored the local restaurants in neigh- Unfortunately, the base could not support the weight of the top and collapsed during the bisque firing; however, the top was saved and integrated with a new base. boring Greenpoint, and savored everything from pierogis to pizza, spring rolls to Middle-Eastern specialties. Some of the people who had taken the first workshop in July returned to Williamsburg in January. This second workshop was a very different experience. In the summer, we had left the large doors open, trying desperately to keep cool. In the winter, the overhead heaters and our many layers of clothing barely kept us from freezing. Having had time before the January workshop to reconsider my piece, I had gone to the various museums in the city to learn how the masters had solved the design problem of pedestals. What kind of base would work? I felt the piece needed something simple, but I also wanted it to have some movement. I had made many drawings, and photographed the piece, superimposing the images on a variety of bases. Finally, I decided to start by building a large hexagon, but this time it would be built with an inner support structure a very solid one. As the outer shape took form, I made an inner grid. Every slab was braced with another at right angles to it inside the structure. The base inside looked like a very intricately designed three-dimensional maze. Arnie suggested that I pierce holes through these inner slabs so that they would be able to dry properly. After the size of the hexagon was established to be 1 foot high and 3 feet across, it needed to have a cap. Arnie placed a slab on top of the hexagon, then showed me how to attach it by poking holes through and reaching in with his fingers to bond the cap to the inner structure. As soon as the joining was complete, he proceeded to flatten the whole top by filling in the holes with clay, and pushing the clay with his palm from the center to the edges. Next, I started to build a column on top of the hexagon. Once again, slab by slab, the new piece grew; its interior also grew in the same way as the hexagonal base. In fact, I felt that the inner structure was just as interesting as the outer shape. 40 CERAMICS MONTHLY

43 It was difficult to maintain an even cylindrical form as the piece grew taller, reaching about 7 feet. At one point, it was bulbous in shape, but I wanted it to be more slender, so I again asked Arnie for help. He told me to grab a large knife (1 foot long) and just cut a section out of the piece. After I had done that, he squeezed the edges together by hugging the form. Once I had pinched the seams together and did some vigorous paddling, it became just the shape I wanted. I then capped the column by using the same technique Arnie had demonstrated for the hexagon top. Throughout the wortahop, Arnie stressed that we should measure our pieces frequently. His studio measures 50x60 feet and the height varies from 14 feet to 24 feet, so we had to battle the tendency to make pieces too large for the 7-foot kiln. To avoid this, he had devised a steel shape on wheels that silhouetted the arch of the kiln, as well as its height. This was a great help, as it visually set our limits. Since my new piece was being added to an existing form, it needed a plinth (a transitional piece). Again, I took photos of the two parts in order to draw a suitable transitional shape. And again, I looked at how the masters of the past had dealt with this problem. I chose to do a circular plinth. The finished form was more than 1 foot high and 2 feet in diameter. (I assumed that both pieces would shrink enough as they dried to fit into the 7-foothigh kiln.) After a few weeks of drying, the column, which must have weighed at least 1500 pounds, was loaded in the lain (with the help of Arnie s trusty forklift), and he managed to close the kiln door with an inch to spare. This time the bisque firing was a success. When we opened the kiln, everything was intact. But then we had to carry out the plan that we had theoretically conceived: connecting all three pieces. Arnie hung the top piece from a chain hoist and placed the column and The new base incorporated a mazelike structure of braces for strength. When the new base became too bulbous, Zimmerman simply had Godowsky remove a vertical slice, then he squeezed the edges together to reduce its girth. plinth underneath. Looking at all three pieces in this new way, I decided that the plinth would work better upside down. New holes had to be drilled (with a carbide bit) into all three pieces so that ¾-inch stainless-steel threaded rods could be inserted. Per Arnie s instructions, a crossshaped stainless-steel bar with drilled holes was fabricated by a welder. Arnie then elevated the column with a hoist, and marked where the cross was to be attached. Because this stainless-steel bar had to be flush with the column so the piece would not rock, he then excised the marked shape with a diamond circular saw blade. Finally, he drilled holes to countersink bolts that would attach the bar to the glaze-fired column. I knew exactly what glazes I wanted. Arnie brought out a huge 6x6-foot aluminum tray and placed it on a 2-foothigh platform in the middle of the studio. With his forklift, he placed the column on concrete blocks in the middle of the tray. Then he rigged a tall ladder (about 11 feet high) close to the tray and proceeded to fill a watering can with glaze. He carried the watering can to the top of this scary ladder and I told him where I wanted the glaze to be poured. When I decided I wanted another color as well, he again filled the watering can and poured the glaze as I directed him. What a sport! Once the glazing was done, he forklifted the piece into the kiln for the final firing. The kiln was brought up slowly, then fired off at Cone 9 reduction. Success! Arnie suggested hiring a professional to move the finished sculpture to my home in southeastern Connecticut. The movers estimated it would cost $2800 to transport then install the piece on a concrete slab. Even though it was a lot of money, my home was two hours out of New York and the movers were professionals who had moved many famous sculptural pieces, so I decided that we had a deal. In Connecticut, when a sculpture is placed outdoors, it has to be secured on a concrete slab 3 feet underground to avoid frost heave. The slab itself is about a foot thick. Five days before the sculpture was to be officially installed, two men came to dig a 4-foot deep hole. Digging in the rocky Connecticut soil is a major chore. After five hours, they finally had the shape they needed and mixed the concrete to pour into this hole. It needed five days to cure before it could be drilled. Back at the studio in Williamsburg, Arnie and I decided on the final positioning of the pieces, and indicated their April

44 order as well as the direction of the plinth. We verified that holes had been drilled from the top through the plinth and into the column, so that stainlesssteel rods could be inserted and epoxied in place to lock the pieces together. On moving day, each piece was individually wrapped in blankets, loaded on a flatbed truck and held in place with ratchet straps. After the 100-mile drive to Connecticut, the movers were able to bolt the column to the concrete slab and insert the three stainless-steel rods into all three sections, bolt them together and seal the joints with clear caulking. It was a real pleasure to see the installation go so smoothly. Such workshops offer invaluable experience. Now, my approach to my work has broadened significantly. For one thing, I am no longer afraid to attempt making large pieces. As long as I have meaningful ideas to work with, I now feel confident that I can build a sculpture that is strong, dynamic and truly personal. Arnie Zimmerman hoisting the top part of the sculpture to relate it to its new base. Recipes Arnie s Outdoor Clay Body (Cone 9, reduction) Wollastonite lb. Feldspar A. P. Green Fireclay Cedar Heights Goldart Cedar Heights Redart Kentucky Ball Clay Grog (12-20 mesh) Grog (20^8 mesh) Grog (100 mesh) Sand b. Green Ash Glaze (Cone 9, reduction) Ash % Bone Ash Kaolin % Add: Copper Carbonate % Granular Rutile % Barium Glaze (Cone 9, reduction) Barium Carbonate Lithium Carbonate Nepheline Syenite Ball Clay % For a turquoise variation, add 2.05% copper oxide; for blue, add 0.68% cobalt oxide; and for opaque white, add 6.84% tin oxide. Woo Yellow Glaze (Cone 9, reduction) Barium Carbonate % Dolomite Custer Feldspar Edgar Plastic Kaolin Flint % Add: Zircopax % Red Iron Oxide % Bentonite % Godowsky with the finished sculpture; it was secured to a 1-foot-thick concrete slab poured 3 feet below ground level to avoid frost heave. Muddy Violet Glaze (Cone 9, reduction) Barium Carbonate Nepheline Syenite Kaolin Flint % Add: Manganese Dioxide % 42 CERAMICS MONTHLY

45 Trespassers, 20 inches in length, red earthenware, impressed with found objects, brushed with slips, oxides and diluted glazes, multifired, by Debra Fritts, Roswell, Georgia. Introductions An exhibition of ceramics by 25 new or emerging artists from throughout the United States was on view through March 15 at Ferrin Gallery in Northampton, Massachusetts. Techniques and styles varied widely among the works shown in Introductions, ranging from functional ware, such as that of Bethlehem, Pennsylvania, potter Jeffrey Kleckner s, to the figure sculpture of Roswell, Georgia, artist Debra Fritts. I suspect what keeps me engaged in the making of pots is the rich, complex process of ceramics, Kleckner commented. His own work is also complex, not understated in form or surface. An interplay between shape and decoration creates a visual tension in the work that I find compelling. Fritts sculpture is a spontaneous and immediate response to daily experiences. A sense of life s simple celebrations whether a daydream, a joy, a personal conflict is conveyed through the clay figure, she explains. Layers of surface treatment and multiple firings create an imperfect sldn on the figure no glossy coverings, just bare facts. Stoneware jar, 9 inches in height, salt glazed, by Jeff Kleckner, Bethlehem, Pennsylvania. April

46 Glas gows Miles Better An American in Scotland by Todd Garner When looking out my window on a cold, gray, rainy day, the question echoes once again in my head, Why would you want to move from sunny Southern California to Scotland? That is the question I get every single time a person here realizes by my accent that I m American and subsequently asks where I m from. Its a question I have to re-examine each time, and each time I come up with a different answer. I didn t intend to end up here, but now, after eight years, the psychological transformation has taken place and the word home immediately makes the connections with images of Glasgow. Relocation has been a combination of revelation, frustration and compromise. Fresh from graduating and teaching one year at California State University, Long Beach, with my M.F.A. in ceramics clutched in my hot, sweaty hand, I headed off to Scotland as a one-term artist-in-residence at Edinburgh College of Art. I had traveled in Great Britain twice before and thought I knew what to expect. Of course, that is never the case, and I had many rude awakenings as well as pleasant surprises. I thought being an American over here would be an asset, especially being Todd Garner working on a book in his Glasgow, Scotland, studio. from the West Coast with its funk tradition and anything-goes attitude toward clay. The exotic factor. But I was wrong. My being an unorthodox American ceramist closed more doors than it opened. The British ceramics community is a very conservative shop and quite proud that they are so. At Edinburgh College of Art, I found that there were basically two options encouraged by the ceramics faculty going into industry or becoming a studio potter. The third option of being a fine artist working in clay was, if not discouraged, rarely encouraged. I m not criticizing this emphasis. In fact, I came to realize that because there is very little capacity in Britain for dealing with the fine art ceramics artist and because there are few outlets and few collectors, in a very real sense the school was giving its students the best chance of survival. But then, where did that leave me? I contemplated a quick exit. In the beginning, my attitude encompassed the normal hit-and-run approach of an artist-in-residence. I had Wee Book of Generations, 3½ inches in height. 44 CERAMICS MONTHLY

47 fully intended to return to California and begin the job search for a part- or full-time university teaching position. But then my life began whirling in unanticipated directions. The first of which was discovering Glasgow. A friend I had met at the National Council on Education for the Ceramic Arts (NCECA) conference in Kansas City was from Glasgow, and invited me over from Edinburgh for a visit. It just so happened the year was 1990 and Glasgow had been designated a European City of Culture. The city was busy pulling out all the stops to prove itself worthy of the title, which it did admirably. I had avoided Glasgow on previous trips to Scotland because of its ill-deserved reputation as a big, dirty, industrial city full of dangerous characters. I couldn t have been more mistaken. What I discovered were the charms of its stunning architecture, friendly people and warm pubs. The city and its people embraced the title of City of Culture with fervor, and the artistic energy was palpable. As soon as I had finished the residency in Edinburgh, I made the east coast to west coast move to Glasgow. A trip of only 40 miles, but a cultural expanse as different as New York is to Los Angeles. There are cliches about the two cities and in my experience I found them to be more or less true. Edinburgh is incredibly picturesque with its looming castle in the center surrounded by medieval streets, contrasting with New Town, a relative term seeing as New Town is as old as America. But Edinburgh is not an overly friendly city. It seems to be overrun with foreign interlopers tourists, businesspeople and students from elsewhere in the United Kingdom and beyond. The Edinburghers, when you can find them (most live in the leafy suburbs), seem to be reserved and have a slightly condescending air. Glasgow on the other hand was a big, dirty, industrial city. Its major influx of riches came through the tobacco trade Home Is Where the Heart Is: Peacekeeper, 18 inches in height. with the New World, then by building one-third of the world s ships from the middle of the last century up until the 1960s, including the Queen Mary and the QE2. But then the bottom fell out of the shipping industry and Glasgow went into a major decline in the 70s. For years, it languished in postindustrial squalor. Then in the 80s, it began to reinvent itself as a culture capital, cleaning the black soot off its splendid Victorian buildings, emphasizing the arts with new and innovative venues. I found the Glaswegians not only friendly and fiercely proud of their city, but numerous. Go into any of the fine pubs in Glasgow and you will find foreigners to be in the minority, thank goodness. You will also be welcomed with hearty conversation. Glaswegians are anxious to talk about anything, but especially about their city. My intention was to spend a bit of time living and working in Glasgow just for the experience and again head back to the States. But then unexpectedly I was offered a solo exhibition (see CM, December 1995, pages 14 16) that was scheduled to tour for at least one year, which tied me to Glasgow for the next three years. Studio space is hard to come by here, especially for a ceramist. Luckily, Glasgow has an innovative scheme to provide artists spaces. Glasgow Sculpture Studios were originally set up to offer space and facilities for sculptors only, but they use that term in its broadest sense. After being on an extensive waiting list, I finally was able to rent a small space, buy a second-hand electric kiln and become not only the token American but the token ceramist at the studios. Then came the compromise. My work had to change dramatically from what I had been doing when I had use of university facilities. I could no longer work large scale; I would have to either modularize the big pieces or make a smaller line of work. I did both. All the while, Scotland was having a dramatic effect on my outlook. The contrast between the wide, sweeping moors and hills of the highlands to the Victorian and postindustrial urban cityscape of Glasgow was taking my art in new directions, emphasizing both these aspects. Three distinct themes evolved. The first was a series based on the Scottish hills. These were large-scale sculptures composed of modular interlocking wedge-shaped pieces, which when fit together had the appearance of hills seen from a distance. The second was a series of open books, based on the illuminated manuscripts illustrated by the Celtic monks throughout the first millennium A.D. These have cutout niches in which nestle archetypal three-dimensional symbols, such as hearts, leaves, feathers, eggs and acorns. The third theme encompassed a series of large wall-mounted pieces constructed of thrown slabs that had to be assembled after firing due to the kiln-size restrictions. These guardian spirits have the appearance of large winged insects that reveal a cloaked figure in the center. April

48 While the exhibition traveled, I had the odd commission, but it began to dawn on me that once the tour ended, my work, being sculptural ceramics, had no place to go. There simply were few galleries, if any, showing contemporary ceramic sculpture in Britain. So with some degree of naivete or possibly stupidity, I decided to establish a gallery for contemporary ceramics that would cover the gamut of contemporary ceramics from wholly functional work to sculpture and installation. I thought the timing may have been right to jump on the bandwagon of Glasgows pretensions as a city of culture. I rented a small shop front and, after an impassioned pitch, the City Council agreed to donate a bit of money to help me get started. As it turned out, t. Garner Gallery was and continues to be the only gallery exclusively devoted to the sales and promotion of contemporary ceramics outside London. The area that I was able to rent premises was, while in the heart of the city, a bit run down; in fact, last century the street was known as the wickedest street in Glasgow, full of illicit bars and brothels. But within the last few years, this has been changing dramatically and now the area, host to ten galleries within a two-block radius, is being labeled the Gallery Quarter. I knew it would be tough going at first and decided to sacrifice my own work for a time to try to raise the awareness of contemporary ceramics in a country where painting is king and ceramics means functional, inexpensive tableware. Word spread quickly and I soon had the work of over 100 ceramists on display. Now, two and a half years on, the gallery is not only still here but in the process of expanding. Plans are in the works to create a center for contemporary ceramics, including classrooms, a reference library, gallery, studio spaces and full facilities for a working pottery. Although my own artwork was put aside somewhat, I still managed to get up to my studio and put together enough sculpture for a small solo exhibition in the gallery. After all, what s the use of having your own gallery if you cant show in it? However, I waited several months before showing my work to allow the gallery to establish a reputation as a venue for all ceramists. The new body of work consisted of sculpture based on the unique tenement houses of Glasgow. These slabbuilt sculptures, titled as a series The Home Is Where the Heart Is, stylistically and philosophically were a combination of the earlier books and the Scottish hill works. These abstracted tenement houses have niches containing stereotypically shaped hearts modeled in such a way as to make different statements on experiences here, and reflecting my dislocation from sunny Southern California to Scotland. Why did I move here? Every time I hear the question, I come up with a different verbal response. I suppose my work is my attempt to come up with a definitive answer to that question, but I m a long way from the end of the series. In truth, as the city s motto states, Glasgow s miles better, and at the moment, I d rather be here than anywhere else. A Wee Iron Book of Love and Promise, 3½ inches in height, by Todd Garner, Glasgow, Scotland. 46 CERAMICS MONTHLY

49 Minnesota Invitational (Z eramics by over 50 artists from the region as well as across the United States were featured in a recent invitational exhibition at the Northern Clay Center in Minneapolis, Minnesota. Among the works on view was functional pottery by Bob Briscoe, Harris, Minnesota; Shirley Johnson, Excelsior, Minnesota; Maren Kloppmann, Minneapolis; and Jan McKeachie-Johnston, River Falls, Wisconsin. Years of living with and studying pots in the Leach/Hamada tradition have instilled in me a tremendous love and respect for this avenue of expression in clay, explained McKeachie- Johnston. I am working to convey vitality, spirit and other intrinsic qualities, tactile and visual, to the person viewing and using my pottery. Similarly, Shirley Johnson is interested in the way a pot, hand held, seen close up, reveals itself: the rhythms of its making, the character of clay and glazes, the marks of fire as well as all those subtle modulations of form that give a pot both its emotional content and its fitness for use. A Tall Basket, 18 inches in height, wheel-thrown stoneware, wood fired, $200, by Jan McKeachie-Johnston, River Falls, Wisconsin. Casserole, 14 inches in length, thrown-and-altered stoneware, with ash glaze over layered slips, $100, by Bob Briscoe, Harris, Minnesota. Thrown-and-altered porcelain box, 4 inches in height, soda fired, $125, by Maren Kloppmann, Minneapolis. Glazed porcelain bowls, 3½ inches in height, wheel thrown, reduction fired, $14 each, by Shirley Johnson, Excelsior, Minnesota. April

50 From Clay Depths to Interdisciplinary Heights by P. A. Chatary Press-molded replicas of science-related objects were attached to 1x2-foot slabs, which were then cut into 6-inch-square tiles. It all began with a hole. Standing at a third-floor window looking down six floors into an excavation for a new science complex, Douglas Kindschi, dean of sciences and mathematics at Grand Valley State University in Allendale, Michigan, noticed a moist slice of brilliant indigo clay. Having had a ceramics course long ago as an undergraduate, the dean recognized the potential under his feet and immediately called the university s resident expert, ceramics professor Daleene Menning. He thought it would be particularly appropriate to have her use this clay to produce artwork for the new complex. Donning a hardhat and staring down into the construction site, Menning recognized the famous Michigan blue, a vein of glacial clay that runs down the Determining placement was a backbreaking job; 880 tiles were spread out on the floor, then rearranged for final review. 48 CERAMICS MONTHLY

51 Formation, 40 feet in length, relief mural at Grand Valley State University in Allendale, Michigan, produced from clay dug on campus, by Daleene Menning. western side of the state into Ohio. She was less than impressed, however, as she knew just how much work would be required to make the clay usable. Convinced of the importance of his find, and unfazed by the professor s lack of shared enthusiasm, the dean nevertheless arranged to have 4 tons of freshly dug clay delivered to the aging ceramics facility in the nether regions of campus. The university was already soliciting proposals for all kinds of art from faculty, alumni and outside artists for its building and renovation projects, and Menning had planned to participate, but just hadn t had time to develop an idea. Plans were also in motion for a new ceramics facility; it was a surprise development, and one that needed her immediate attention. Still, the more she thought about the deans suggestion, the more ideas began percolating. Given the possible problems that could be encountered in using the native, low-fire clay, Menning decided against a free-standing, threedimensional piece. But at the same time, she wanted something grand enough to be noticed and to warrant the labor required for the processing. Perhaps a site would inspire her? When she saw the architects plans for a curved inner wall along an atrium connecting two science halls, she had found her modus operandi: she would use the 40-foot, indoor wall for a tile mural illustrating aspects of the sciences. From the beginning, Menning saw the mural as a collaborative venture. After deciding on the site, medium and method, she solicited input from the science division for the imagery. She wanted to find some commonality between the superficially disparate mindsets of art and science. She understood the difficulty of plugging into someone else s field at a high level when you have no background for it. Three members of the science faculty agreed to brainstorm with Menning on the mural s content. Collectively, they decided on the concept of the Big Bang Theory, because it is a basic scientific premise. However, Menning decided against a pictorial rendition of the theory first, because she felt a mere two-dimensional approach was not adequate to allow our minds to get around such a vast concept ; second, because she was concerned with her own physical limitations for such a huge project. Working with a single-image cartoon for a 40-foot section of wet clay would try even the most agile, and otherwise unencumbered, artist; for a 50-something, full-time professor with a new ceramics facility in the planning stages, it was especially daunting. She opted to use individual tiles in an explosive composition of mixed images, which would illustrate all manner of elements present at the origin of the universe. The resultant 880 pieces represent most of the scientific disciplines taught at the university: nursing, anatomy, biology, chemistry, geology, physics, mathematics, computer science and water resources. April

52 During the summer of 1994, ceramics students Jessica Buckrey, Teresa Dombrowski and Mark Rumsey were employed for the sole purpose of ridding the 4 tons of clay of rocks and other organic impurities. First, large chunks of clay had to be hammered into smller chunks, which where then allowed to soak in 5-gallon buckets. The chunky slurry was then shoveled into a cement mixer to loosen the debris. That slurry was passed through a series of window screens into a galvanized horse trough. When enough water had evaporated, the slurry was screened (30 mesh) and poured into a set of drying racks made from wooden frames lined with chicken wire and burlap. The working-consistency clay was then stored in 30-gallon trash cans, while Menning and her students proceeded with testing. It was understood from the outset that a scientist s penchant for exactitude be indulged in this project. The imagery had to be clear and concise correctly rendered examples specific to each discipline instead of abstracted versions. Going into the labs, classrooms and offices in the science department afforded Menning the opportunity to become familiar with the working environment of her colleagues. At the same time, she generated enthusiasm for her project and a large variety of objects were readily donated as models. Not only were these tools of the scientist s trade, but they also represented the common thread that she was seeking between herself and her colleagues. Menning had been concerned about a mutual intellectual limitation regarding one another s work processes, which had to be overcome in order to make the mural a success. She speculated that If I could touch their hands with my hand...if I take the things they use to make things happen, [then] put them through a process with my hands, maybe we could relate on that level. She solved the niggling issue of necessary exactitude, demanded by the scientists, by making plaster molds of all those science-related objects she had collected. Over a two-year period, Menning cast nearly 200 such items, including beakers, specimens and instruments. For those objects that could not be cast directly in plaster (because of too many undercuts or fragility), she made negative molds by pressing the objects into clay, then cast plaster positives from which to produce the plaster press molds. Unfortunately, these secondgeneration forms did not have the resolution of the originals. Once a mold was ready to use, a small slab of clay was cut to the same general shape, then gently pressed into the recessed areas. Next, the pressmolded forms were attached to slabs made by rolling out a ½-inch-thick, lx2-foot rectangle of clay; the slabs were then cut into eight 6-inch-square tiles. Menning usually worked with 5 slabs at Since many of the molded forms were larger than the designated tile size, continuations to adjacent tiles were allowed but not necessarily matched in the final composition. 50 CERAMICS MONTHLY

53 The tiles gradient tones, plus proper site lighting, allow for a patterning of shadows and light across the curved wall. a time, so that the tiles were produced in series of 40. Since many of the molded forms were larger than the designated tile size, she allowed for continuations to adjacent tiles. Menning satisfied her own artistic sense through the arrangement of the press-molded objects, and by adding her own sense of humor to the juxtapositioning. For example, she cast a realistic-looking plastic rodent and an oversized beetle, and applied these forms to keyboard-impressed tiles to illustrate the biological counterparts to computer jargon. Serious symbols for mathematicians became images to be played with by the artist, as stamps representing pi and mu left track across the tiles like birds feet. Once a satisfactory composition was achieved and the tiles cut, an assistant inscribed placement indicators in each tiles base. Each tile also had to be hand finished, smoothing edges and correcting any minor flaws. Serendipity played a starring role in the project. Besides the initial discovery of local clay under the new science complex, other surprises had an impact on the composition. Mennings original concept included slipping and glazing at least some of the tiles, but there were discrepancies in color, which became evident only after several firings. Various minerals, such as copper and iron, unseen in the raw state, manifested themselves during the firing, resulting in earthy gradations ranging from a dry ecru to a juicier, dark brown metallic sheen (sometimes on the same tile). Frustrated at first with the unwanted variety, Menning came to realize that the natural coloration actually enhanced the final composition. As an unexpected bonus, the tiles gradient tones, plus proper site lighting, allow for a patterning of shadows and light across the curved expanse of wall. Composition was a backbreaking job. Menning and student assistant Jessica Buckrey labored over nearly 1300 completed tiles in order to arrange 880 for the final review. Tiles were spread out in rows four deep with 10-inch aisles between. Placement was predicated on fundamentals of design, such as dark/ light, continuation/alignment, groupings, rhythm and movement. Relief patterns, seen by walking along the mural, were also important. When the composition felt close to being right, Menning and Buckrey pushed the tiles together and climbed atop ladders to check perspective from a distance. Minor adjustments were then made, and each tile was coded for installation (with a number, letter and arrow pointing up). Finally, to protect them from the grouting process as well as eventual effects of audience interaction, a masonry sealer was applied. The result is an interdisciplinary installation of subtly toned clay in dramatic relief. The heavily textured tiles invite touching. At every passing, students, faculty and guests see something new, either by identifying yet another realistic object or a visual pun in the composition, or in the aesthetic interplay of shapes, tonality and imagery. The author P. A. Chatary, an artist, writer and instructor in ceramics, lives and works in Holland, Michigan. April

54 Friends and Inspirations Covered jar, 8 inches in height, wheel-thrown stoneware, salt glazed, NFS, by William Strickland ( ). Functional and sculptural clayworks by 13 artists were featured in the invitational exhibition Friends and Inspirations, at the Mendocino Art Center in California. In curating the show, studio potter Doug Browe (Ukiah, California) originally intended to assemble a group of pieces that would somehow tell the story of how my work has come to be. Instead, his selections became a showcase for a group of important artists who work, for the most part, outside the mainstream of contemporary ceramics. Not in terms of the cutting edge or the hot and newest or the vanguard of clay. Quite the contrary. The majority of artists in this show have dedicated themselves to Tamari Ewer, 5 inches in height, wood-fired stoneware, $75, by Jan Hoyman, Ukiah, California. Wood-fired vase, 10 inches in height, stoneware, $55, by Julie Porter, Cedarville, Michigan. 52 CERAMICS MONTHLY

55 Footed jar, 12 inches in height, wheel-thrown stoneware, wood fired, $55, by Brent Heerspink, Cedarville, Michigan. Oval tray, 32 inches in length, wood-fired stoneware, NFS, by Alleghany Meadows, Alfred Station, New York. April

56 making work that touches people with compassion and embraces their political commitments by creating a complete circle, a closed loop of designer-maker and user, person to person, a model not based on the starmaker machinery of the academic art world of universities, museums and galleries, but on the practical needs of daily life of family and friends. These are the makers of pots designed for the needs of our lives. They encourage us to take time for tea, to enjoy sharing a dinner with friends and family, to look for the beauty in all our tools and toys. A Teapot, 6 inches in height, glazed stoneware, wood fired, $60, by Willem Gebben, Colfax, Wisconsin. Altered jar, 14 inches in height, woodfired stoneware, $265, by Leslie Campbell, Mendocino, California. Handbuilt teapot, 10 inches in height, stoneware, $150, by Larry Henderson, Guerneville, California. 54 CERAMICS MONTHLY

57 Carol Townsend by Jeanne Raffer-Beck Large stoneware vessels with complex surface designs in black, cream, brown and gray slips are characteristic of Carol Townsends current daywork. Nature has always been an inspiration to her, and many of these pieces have a gourdlike quality and seem to grow as I make them, she explains. Nonetheless, her responses don t tend to be immediate. What I make today may have been rolling around in my mind for a long time, or be based on sketches I ve stumbled upon from years ago that trigger a response when I see them again. My approach to my work has become more contemplative at this time in my life; perhaps I m more willing to allow a longer creative gestation period. Townsend spends a long time looking at potential subjects, making notations on patterns and compiling ideas. In addition to images from nature, she has been influenced by the indigenous ceramics of Crete, as well as visits to the pottery villages of Mexico and the pueblos of the American Southwest. Many of the recent forms have fairly round bottoms so they need support while being built. She begins them in Southwest American Indian fashion, using one of the shallow bowl forms she has collected as a puki. After strips of Skeuomorphs, 20 inches in height, handbuilt stoneware with slips, $350 each. April

58 Recipes Vase, 11 inches in height, and platter, 16 inches in length, handbuilt stoneware with slip brushwork, $225 and $275 respectively. Patchwork Bowl, 11 inches in height, handbuilt, slip-decorated stoneware, $375. Stoneware Clay Body (Cone 7-10) Custer Feldspar parts Cedar Heights Goldart Cedar Heights Redart Fireclay Kentucky Ball Clay (OM 4) Flint Grog* parts *Varied mesh sizes of grog can be added to desired workability. White Slip Edgar Plastic Kaolin parts Kentucky Ball Clay (OM 4) Stoneware Clay Body* parts *Omit grog for a smoother slip. Black Slip Edgar Plastic Kaolin... 5 parts Kentucky Ball Clay (OM 4)... 5 Stoneware Clay Body Manganese Dioxide*... 4 Red Iron Oxide *Toxic; handle with care. 116 parts Cornwall Stone Glaze (Cone 7-9, oxidation or reduction) Whiting... 15% Cornwall Stone % Somewhat transparent, leaning toward beige in oxidation, gray in reduction. Tracing a pattern onto a Southwest Stool. 56 CERAMICS MONTHLY

59 fabric are draped in the bowl to prevent the clay from sticking, she slaps and pinches a clay base that will fit down in. In traditional Southwest pottery, coils are put on next, but what I do is make wide slabs with a rolling pin and cut them into strips, she explains. The thickness of the original slab is wider than the vessel wall. Once the top edge is scored, I put the strip on and seal it by working both the inside and the outside wall. The combination of pinching, paddling, scraping and squeezing takes that thick slab and thins it out. Some of the fairly tall pieces can take her a month to create. In response to people who ask why she doesn t opt for the faster method of throwing big sections on the wheel, she says, Tree rings don t grow overnight there s something that appeals to me about that slow accretion. It gives me time to decide about the form, because the form can be coaxed to move in very subtle ways that I haven t quite planned. If I m building slowly, nothing goes haywire too quickly. It seems to be a building technique that works with my lifestyle. In between adding layers, Townsend drapes the whole piece in plastic in order to retain sufficient moisture. She has to hold these pieces at leather hard from top to bottom in order to achieve a good surface for slip painting. If the bottom is bone dry and the top is fresh, cracking problems can arise. Townsend tries to create the feeling that necks are actually growing from the form, so she looks at gourds, pumpkins and similar natural objects, not to copy nature, but to learn from it and try to infuse a natural feeling or quality in the work, she explains. A series of small forms that she s throwing on the wheel is a departure from the larger works. One that she cites as an example has small fan-shaped designs painted on it, which appeal to her because they remind her of ginkgo leaves. Although wheel thrown, these forms are then distorted so they re no longer round; she has splayed out and cut into the rim so there may be some throwing rings on the inside, but on the outside the pieces have a definite handbuilt quality. Originally, Townsend thought she wanted to be a functional potter. She now finds it interesting that my new Gingko Vase, 9 inches in height, handbuilt stoneware, with slip and incised decoration, $200, by Carol Townsend, Snyder, New York. work pays homage to functional pottery. I don t think I ve ever gotten the insides of vessels out of my system. My work deals with interiors as much as exteriors. When teaching (at the State University College of New York at Buffalo), she always tries to give her students some sociocultural background, so they don t think ceramics is just coming into the studio and digging clay out of bags they bought in the bookstore. I want them to appreciate that people claw this substance out of the earth, Townsend says. She also urges them to explore the clay s creative potential by taking the time, as she does, to really feel the clay, feel its interaction with them, and let their fingers begin to learn and understand its language. PHOTOS: K.C. KRATT, KATHI ROUSSEL April

60 Melon Pitcher, 13 inches in height, thrown and altered stoneware, with slip trailing and manganese-saturated glaze, single fired. Where You've Been Is Good and Gone; All You Keep Is the Gettin' There by Steven Hill _/Vs the wheel slows, I am putting the final details on a freshly thrown pitcher. My personal language is in these details the way I spread a rim into a wide flange with a raised inner edge, alter the rim into an oval or quadrilateral, and articulate the changes from a narrow foot swirling into a swollen belly, through high shoulders and a twisting neck. The music filling my studio is gently urging me on until the throwing is complete. I love this moment. This is why I make pots. In fact, it was the magic of throwing that first seduced me 28 years ago. Some of my most satisfying moments have been stepping back from a freshly thrown pot, the clay still glistening with a hint of slurry on the surface, and letting the joy of the work sink in. The manifestation of that joy, not yet a functional pot, is pure form. Sure, the basic parameters of that form have been defined by the pots intended function and by the inherent limitations of the clay, but it is the energy expressed in the line of the profile that excites me. The sensation of skin stretched almost to the point of bursting gives form that essence of life I am searching for. In this moment...my vision is nakedly revealed. But this moment has not always been so joyous. I clearly remember sitting at the wheel three years ago as a vague dissatisfaction was gnawing at my subconscious. It seemed like my finished pots never quite lived up to the promise of those wet forms. Having been increasingly troubled by the 58 CERAMICS MONTHLY

61 Cypress Ewer, 19 inches in height, stoneware, thrown and altered, with pulled spout and handle, sprayed with manganese-saturated glaze, single fired. April

62 Platter, 20 inches in diameter, thrown and altered stoneware, with sprayed contrasting glazes emphasizing brushed slip spiral. visual relationship between glaze and form, I was ready for a change of direction. The process of change was nothing new, as I ve been facing and sometimes even embracing it throughout my career. Twenty-five years ago, my dilemma was how to continue single firing without the salt kiln I had come to depend on in school. In the mid 80s, it was how to lighten and brighten my glaze palette without switching to low fire. And many times along the way I have quit making pots whose inspirational fires had burned out, even though they were received well. Change, although sometimes a frightening and uncertain beast, has been the one constant factor that has kept my life in pottery fresh and exciting. As I sat at the wheel that day, I was pondering this need for change. Just then, the plaintive voice of Townes Van Zandt wrapped his words around my consciousness. His song s use of the road as a metaphor eased me into my upcoming journey. Ah, Mother thinks the road is long and lonely, Little brother thinks the road is straight and fine, Little darlin thinks the road is soft and lovely, Im thankful that old road's a friend of mine. For 20 years, I had been refining a personal approach of using slip and glaze as if I were painting. Transparent and matt glazes often cut diagonally across my forms, roughly symbolizing water and shoreline. Textures were applied and layers of glaze overlapped to create visual depth. I eventually became aware, though, that in my zealous use of color and texture, clarity of form had often been the victim. Lookin low and lookin high, lookin far and lookin wide, Try to tell myself that I m fine, but it just ain t true. Actually, I have never questioned the importance of form in my work. My blindness to these surface distractions arose out of the intimacy I felt with those wet pots. No matter how many competing waves of color and contrast were splashed around a form, I still saw the soft patina of a leather-hard pot glowing through. Although increasingly dissatisfied with glitzy surfaces, I didn t quite know how to proceed. The richness of terra sigillata was enticing, but my pots seemed to require the Ribbing the rim into a wide flange with a raised inner edge. 60 CERAMICS MONTHLY

63 Melon Pitcher, 12 inches in height, thrown and altered stoneware, with trailed slip and sprayed Sohngen Stony Yellow. relative permanence of stoneware. The hardness, the durability, the oneness of clay and glaze, all figured into it. Woodand soda-fired pots are a genuine inspiration, but being an urban potter prevented me from pursuing those firing methods. And I certainly couldn t see myself applying just one glaze to each piece. One thing I experienced during years of increasingly complex glaze application was a seduction, not so much by color, but by rich and varied surfaces. How could I give that up? Time flows through brave beginnings, And she leaves her endings beneath our feet... Pulling on opposite sides to reshape the rim as an oval. Then came Italy. Two years ago my family and I had the opportunity to spend two glorious weeks in Tuscany. The art, the food, the countryside and the people were all incredible; Michelangelo s David, the interior of St. Peter s Basilica, the ancient Roman roads lined with towering cypress trees, all left their mark. But the single most inspirational aspect for me was the architecture. It wasn t just the spatial relationships and the details of buildings, but the way in which architectural form has stood the test of time. Seeing buildings that have been in constant use for hundreds, even thousands, of years gave me a new appreciation for surface quality and how it relates to form. The weather-worn stone, painted wood and stucco, with numerous layers of color exposed, seemed to communicate the spirit of the buildings and the generations of people who have inhabited them. In America, peeling paint is disgraceful; in Italy, it reveals the soul. After returning home, I found myself thinking about the relationship of glaze and form differently and seeing the architectural elements of my pottery more clearly. Although I work with organic form, I use the details of rims, feet and handles to add definition in much the same way that a door frame defines an opening, or the way the soffit and fascia visually articulate form changes where wall and roof meet. Your dead misconceptions have proven you wrong... For the first time, I could clearly see how my glazing techniques had been denying much of what I had been saying with form. Shouldn t I be applying glaze to emphasize form instead of treating my pots as if they were a three- April

64 Adding a spout extension to a leather-hard melon pitcher; an important design consideration is the line that begins at the tip of the spout, sweeping across the rim and continuing down the handle in an S-curve. dimensional canvas? Why not glaze the rim of my pots to contrast with the body, much like a window frame is painted to make it stand out from the wall of a building? And what if I used subtle, textured matt glazes to enhance and unify the body? My new-found awareness occurred after I realized how much one of the matt glazes I use, Sohngen Stony Yellow, reminded me of the textured walls I had seen in Tuscany. The next step was to imagine the pot s rim as a door or window frame. The problem of how to apply contrasting glazes to adjoining areas, such as rim, handles, neck, shoulder, belly and feet, was a challenge, though. Dipping and pouring were out, as they create hard edges that aren t likely to coincide with form changes. Brushing has its possibilities, but I ve never been too comfortable with a brush and I didn t want the marks that result from uneven application. That left spraying as the most logical alternative. I use an automotive touch-up gun for all the detail work, and a larger gun to spray the body of each piece. It is a relatively straightforward process, and the small amount of overspray doesnt prevent me from making abrupt color changes from rim to neck to body, etc. In fact, overspray Teabowli 5 jnches hjgh thrown and a tered stoneware, with sprayed Shino and manganese glazes emphasizing the spiraling form. 62 CERAMICS MONTHLY

65 Oval tray, 19 inches in length, thrown, altered and assembled stoneware, single fired. Spraying glazes allows subtle variations, yet the small amount of overspray does not prevent abrupt color changes. allows the additional opportunity to blend glazes together for subtle variation. The downside of spraying is the compressor noise, the need to wear an appropriate mask and the difficulty judging thickness of glaze application. Nevertheless, any negatives were more than offset as I discovered the flexibility that spraying offered. Soon, I was glazing pots to emphasize the various elements of their form, influenced by those ancient walls of Tuscany. You cannot count the miles until you feel them... In retrospect, it all seems so simple. The changes I have made are obvious to me now, but they didn t come easy. There were no maps to lead the way and the road was initially obscured by my own preconceptions and resistance to change; however, once my objective of emphasizing architectural elements was established, the puzzle pieces began falling into place. While my journey was mostly intuitive, and it s only in looking back that I can see with this much clarity, I would like to suggest that pottery deserves as much in-depth analysis as any other form of art. Furthermore, perhaps intuition April

66 Covered jar, 4½ inches in height, thrown and altered stoneware, with contrasting glazes sprayed to emphasize spiral on lid, single fired, by Steven Hill, Kansas City, Missouri. and analysis are no more separate or disconnected than breathing in and out. It is this breath that sustains our life and growth. Working within the relatively narrow framework of function should not be a limitation for a potter, but a point of departure. The small design decisions we make are magnified in importance, and no aspect of form or surface is insignificant. Without paying attention to these details, our techniques can easily take on the stagnant, lifeless and mindless repetitiveness of factory work. Is this what we want? Isn t this the antithesis of why we got into this potter s life in the first place? If we approach each piece as if it had the potential of being the best pot we ve ever made, however, then the way is clear for an important journey. The explorations we make will keep our work alive for us and ensure that we will be in a different place tomorrow than we were yesterday. For me, this road of discovery is more important than the finished pots (although you might not believe I mean that statement if you were around while I was unloading a disappointing kiln!). By remaining open to change, I hope to come to a deeper understanding of myself and the ceramic processes I am involved in. And if I m lucky, I might leave a few good pots behind. To live is to fly, both low and high, So shake the dust off your wings, and the sleep out of your eyes. For now, I m enjoying the feeling of satisfaction derived from seeing the need for change, following through with it, and finally achieving a sustained level of success. Although excited about my latest solution, I know it won t be my last. Pretty soon, complacency is likely to settle in. The road will once again beckon and as the late Townes Van Zandt said, I m thankful that old road s a friend of mine. Yes, those pots that were ready for change three years ago are finally good and gone, and even though we ll all be good and gone someday too, it s the gettin there that keeps giving us the opportunity to make it count. 64 CERAMICS MONTHLY

67 Blue Plate Special by Jeff Huebner X hanks to Blue Plate Special, many Chicago collectors will now be able to dine with works by their favorite local artists that is, if they choose to. (Prices ranged from $300- $ 1000 a plate.) Presented at Chicago s Eastwick Gallery, the exhibition brought together a baker s dozen of high-profile and cutting-edge artists who (with one exception) had never worked in the medium before, much less had a hand in producing cobaltdecorated porcelain in the style of Ming or Delftware. The idea, according to curator Tom Billings, was to arrange for an eclectic array of artists-painters, printmakers, photographers, illustrators to transpose their distinct, some- Glenn Wexler times subversive, imagery onto traditional forms, and in the process breaking that barrier of fine art as craft, and craft as fine art. The results 52 oneof-a-kind plates, or four by each artist were proficient, whimsical and technically sophisticated. The process of organizing and facilitating the collaboration was as much a part of the project as the finished ware itself. When Billings, a longtime Chicago painter, relocated to Dallas in mid 1996, he began thinking of ways to stay creatively active with former associates in the Chicago art scene. Last winter, he approached ceramist Sam Rosby Porcelain plate with cobalt underglaze decoration, sprayed with clear glaze, fired to Cone 10 in reduction, by Sam Rosby, who produced, glazed and fired all the plates decorated by the other Blue Plate Special artists. about making a set of porcelain plates. But soon, says Billings, the idea of making plates in collaboration with other artists in Chicago reared its ugly head. He made some phone calls, started commuting, and Blue Plate Special was on the menu. The inclusion of such nationally recognized painters as Ed Paschke, Paul Sierra and the Zhou Brothers, lent the exhibition a cachet of artworld respectability. Not that the other participants aren t respected in Chicago and elsewhere. Besides Billings and Rosby, the show in Ed Paschke eluded plates by Tim Anderson, Daniel Christmas, Paul Elledge, Charise Mericle, Marya Veeck, Daniel Wenk and Glenn Wexler. Rosby, a ceramist with more than two decades of experience, was recruited as the project technician. He says that working with the initially clueless Blue Plate Special artists was an eye-opening experience. The plates were not revolutionary in terms of ceramic technique, explains Rosby. It was more about the concept of using contemporary images with historic references. Tim Anderson There s this incredibly academic argument in the ceramics world of, Is it craft, or is it art? But these artists didn t care about that. I found that really refreshing. It wasn t an issue for Veeck, a painter who brushed garden and architectural scenes onto her plates. I don t necessarily consider it a craft it s art that s functional, she says. It was my first venture into ceramics, but it was still a flat picture plane to me. It wasn t a big leap. It was fun, very interesting. Working in his Ukrainian Village home/studio, Rosby produced scores of wheel-thrown and handbuilt plates, which he delivered to the artists along with the cobalt blue underglaze. On their return, Rosby sprayed them with a clear porcelain April

68 glaze, then used the kiln at Harper College in suburban Palatine (where he has taught for ten years) to fire them to Cone 10 in reduction. Though some of the artists early attempts failed, they grew more competent with practice. They were amazed at what they Paul Elledge Marya Veeck Zhou Brothers produced, says Rosby, who often worked alongside the artists. Sierra, who s known for his intensely colorful figural landscape paintings, admits he had reservations about working in one hue. Painting implies color, and if you paint in just one color, that s drawing, he says. And the blue you apply may not be the blue you get. The project s trickiest technical challenge fell to Wexler, a printmaker and mixed-media artist. Though he has screen-printed images onto numerous unconventional objects, he d never done so on a wet, sticky surface. The first step, explains Wexler, was to take a high-contrast photograph and shoot a halftone of it onto film transparency so that the image could be transferred to a screen. Through trial and error, he discovered that there was a one-hour window of opportunity in which to screen-print on a flat, wet porcelain slab (before shaping and firing). If you print too soon, the clay and the image will distort, says Wexler. But if you wait too long, you might get a nice print, but when you go to shape it into a plate, it ll crack. He also found that he had to squeegee over the screen mesh three to four times per piece, applying just the right amount of pressure so the image wouldn t distort. Nearly a year in the making, Blue Plate Special was more than porcelain packaged as postmodern event. The project fostered a vital exchange of technologies, energies and ideas among a diverse group of Chicago artists. They saw it as a fresh, intriguing opportunity to broaden their creative palates uh, palettes and to keep from going stale. I m always up for learning new things, always curious to expand my horizons and to see how my sensibilities adapt to a different medium, says Paschke, whose hard-edged, neony figural paintings became associated with Chicago imagism 30 years ago and whose work has since become identified with the city s visual art aesthetic. Working on porcelain, he says, was really not that far from the painting I do. But will buyers display the plates, or actually dine with them? People will probably be afraid to eat off them, says organizer Billings, who s been bartering unexhibited ware with the other artists. But I can t wait till I m eating off Paschke s face. You might have to regurgitate your food, Paschke countered. This is for bulimics only. Charise Mericle Paul Sierra Tom Billings 66 CERAMICS MONTHLY

69 Recycle That Old Kiln by David G. Wright I have been salt firing off and on for over 15 years first as a student at the Philadelphia College of Art, later at the University of Colorado, Peters Valley Crafts Center, University of the Arts, and currently at the Perkins Center for the Arts in Moorestown, New Jersey. My initiation to salt glazing was like many other beginning potters, taking the advice of someone who said, Don t trash that pot. Put it in the salt kiln. Besides, it couldn t get any worse. Well, it did, and I have since learned that you must make the clay work for the benefits of salt glazing, or as Don Reitz puts it, The pots must demand it. I started by using straight salt in a hardbrick kiln and firing about 24 hours to Cone 10. I also experimented with soda and wood firing, and was equally pleased with the results. There is nothing like the rich effects of a wood or salt firing to make you feel closer to the elements of the earth, indeed more directly connected to your pottery. I eventually dropped my firing temperature to Cone 6 because of the energy crunch and a desire to do my part. I also began using a mixture of half salt, half sodium bicarbonate, and the addition of 3% borax to melt the mixture at Cone 6. This combination resulted in a glossy and fairly respectable salt surface, but with little to none of the orange-peel effect one expects. (More recently, I have eliminated the borax completely.) Nevertheless, the results were acceptable to me because my interest in vapor firing was changing, and I no longer desired the thick, heavy, pebbly look of salt. Rather, I was more concerned with unifying the disparate parts of my pottery and creating a feeling of sensuality on its surface. At that time, I was using the salt kiln at the University of the Arts, or firing the wood kiln at the Chester Springs Studio (the only place I know that will rent a 40- cubic-foot wood kiln), but I was growing tired of the packing and unpacking, the breakage that occurred, the traveling back and forth, and the extremely long hours involved with the process. Because I work slowly and the pots are small, it took forever to make enough work to fill the kiln. If I had a bad firing, a great deal could be ruined. I especially disliked my The Perkins Center salt kiln, made by removing the elements from an old electric kiln, cutting holes for flues and coating the interior with a wash of equal parts alumina and kaolin. dependence on these kilns to finish my work. I needed a change; however, I could not afford to build the type of salt kiln I wanted, so I decided to put salt firing on the back burner for a while and try other things that I had been wanting to do. Over the years, I had noticed a great number of kilns being discarded, mostly because of broken elements, or softbricks that were chipped. Many of these kilns could have been repaired easily by replacing parts or patching holes. Often the owners were either uninformed or just too lazy. I always felt that too many of these kilns were simply wasted. As luck would have it, I had the opportunity to conduct a workshop on Alternative Kilnbuilding at the Perldns Center for the Arts in Moorestown, New Jersey. So, with the help of a great group of students, I altered an old 12-cubic-foot electric kiln, which was headed for the trash, into a propane-fired, updraft kiln for salt, soda and wood. We fire within a temperature range of Cone 1-8. This type of kiln is certainly not meant to be a permanent long-time equipment solution, but rather a way of introducing the fundamentals of gas and vapor firing to students, without the usual expense or commitment to construction and space. Eventually, the bricks will disintegrate, but by then the kiln will have served its purpose as a teaching tool. The particular kiln that we resurrected was circular, just one wall of softbrick, held in place by sheet-metal casing. The floor was connected to the wall and could not be easily separated. We had decided to make an updraft kiln, so we started by cutting a hole in the lid for an exit flue, and another on the lower side of the kiln, just above the floor, for the burner. We pulled the electrical components out, and April

70 Glazes for Salt, Soda and Wood Firings Teapot, 6 inches in height, thrown, altered and assembled stoneware, salt fired. filled the element grooves with a mixture of fireclay, grog and alumina. We also coated the entire interior with a wash of equal parts alumina and kaolin. The shelves we had available to us at the time were made of cordierite. These were washed with the same mixture on top, while the bottoms received a much thinner coating. We eventually replaced these shelves with silicon carbide. To date, I have fired this ldln at least 30 times with very little wear and tear on the sidewalls. The bottom of the kiln, however, has begun to deteriorate and will soon need to be replaced with a hardbrick floor. The kiln is fired with propane to Cone 5-6 in about five hours. A neutral atmosphere is maintained until Cone 4 starts to bend, at which time both salt and wood (about 2-3 pounds of salt and ten lxlxl 2-inch sticks or branches) are introduced. Over the next half hour, the temperature reaches Cone 6 at the bottom, but is usually lower at the top, around Cone 2. Every firing is unique, as I like to try different approaches and techniques each time. I usually throw any combustible I can find lying around the art center into the kiln. As an inexpensive and experimental teaching tool, this kiln is extremely beneficial and a whole bunch of fun. Of course, we don t achieve the kind of drippy, ash-covered richness that you expect from a Cone 10 firing, but that is not what we re after. The firings are softer and not so severe or labor intensive. Old kiln bricks are another wonderful resource for small experimental kilns. Many brickyards or tile companies are glad to give away their discards. Building kilns from single bricks is a great learning tool, as you can easily alter the shape of the kiln to discover which design works best. You might build one type of kiln for straight reduction, then rebuild it to be used for sawdust firing. Many electric kilns, as well as loose soft- and hardbricks are simply tossed away, when they could be put to good use for teaching purposes. The experience of designing, building and firing a temporary kiln is a wonderful group project for all age levels. Before scrapping old kilns and damaged refractories, I hope everyone reading this short article will consider donating them to a local art center to be recycled for just this purpose. A Many standard glaze recipes are suitable for salt, soda and wood firings, but because of the differences in temperature within the Perkins Center recycled kiln, I prefer to use glazes that have greater than normal firing ranges. Amber Gloss Glaze (Cone 1-6) Cedar Heights Redart... 50% Gerstley Borate % A burnt orange where thin and amber where thick in oxidation; celadon green in reduction. For a purple gloss, add 0.25% cobalt carbonate and 2% manganese dioxide. Wright s Water Blue Glaze (Cone 1-6) Lithium Carbonate... 3 % Strontium Carbonate... 9 Frit Edgar Plastic Kaolin Flint % Add: Bentonite... 2% Copper Carbonate... 5 % A glossy turquoise in oxidation. Blue-Green Matt Glaze (Cone 4-8) Whiting... 30% Cornwall Stone Edgar Plastic Kaolin Gerstley Borate % Add: Tin Oxide... 4% Copper Carbonate... 4% A wonderful glaze for both oxidation and reduction. Bagel Bottom Bowl, 8 inches in height, Cone 6 stoneware, by David Wright, Moorestown, New Jersey. Peach Terra Sigillata Cedar Heights Redart.. 20 grams Kentucky Ball Clay (OM 4) Water grams Add: Calgon grams For bone-dry ware. Flashes nicely. 68 CERAMICS MONTHLY

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73 Call for Entries Application Deadline for Exhibitions, Fairs, Festivals and Sales International Exhibitions May 15 entry deadline Naples, Maine 101 Clayart Mugs (June 25- September 7), open to potters who subscribe to Clayart. Juried from slides, photos, actual works or digital files. Entry fee: $10 (refunded if not selected). For further information, contact Marshall Talbott, c/o Pottery By Celia, PO Box 4116, Naples 04055; telephone (207) or Naples, Maine Second Annual Clayarters International (June 25-September 7), open to artists who subscribe to Clayart. Juried from slides, photos, actual works or digital files. Contact Marshall Talbott, c/o Pottery By Celia, PO Box 4116, Naples 04055; telephone (207) or Dieulefit, France International Ceramic Competition: The Ceramic Phone Booth (May 30- August 31). Juried from drawings of the booth at 1:5 scale and/or other visual support needed for presentation, plus resume. Works should not exceed 1100 pounds, 7½ feet in height or 13 square feet. Four finalist awards of US$300; winner will receive US$2500 at completion of project in Provence. No entry fee. Contact Maison de la Terre Parc de la Baume, Dieulefit; or see website at Dieulefit/ June 1 entry deadline Mashiko, Japan The 2nd Mashiko Ceramics Competition 98 (October 4-November 29). Juried from actual works. Jurors: master potters Tatsuzo Shimaoka, Shinsaku Hamada, Hideyuki Hayashi, Ryusaku Miwa; plus art critics Hiroshi Aoki, Mitsuhiko Hasebe, Kenji Kaneko and Hiroshi Mizuo. No fee. Awards: Shoji Hamada Award and Shoji Kamoda Award, each, 1,000,000 yen (approximately US$7800), plus judges special awards, 100,000 yen (approximately US$780). For further information, contact Secretariat, Mashiko International Pottery Contest Executive Committee, 2030 O-aza Mashiko, Mashiko- Machi, Haga-Gun, Tochigi-Ken ; or fax (81) July 25 entry deadline Sandton, South Africa 1998 National Ceramics Biennale (September 18-October 10), now open to artists around the world. Juried from 3 slides. Awards: first place, R10,000 (approximately US$2024); Altech Sculpture Award, R5000 (approximately US$1012); 5 merit awards, R1000 (approximately US$200) each; best New Signature, R1000; best handwork, R500 (approximately US$100); best thrown piece, R500. For further information, contact the Association of Potters of Southern Africa, 1998 National Ceramics For a free listing, please submit information on juried exhibitions, fairs, festivals and sales at least four months before the event s entry deadline (add one month for listings in July and two months for those in August). Regional exhibitions must be open to more than one state. Mail to Call for Entries, Ceramics Monthly, PO Box 6102, Westerville, OH , to or fax to (614) Biennale, PO Box 184, Florida Hills 1716, Gauteng, R. S. A.; or telephone/fax Gail de Klerk, (27) or telephone Cynthia McAlpine (27) , fax (27) August 28 entry deadline Zanesville, Ohio 1998 International Ceramists Invitational Biennial (October 25 November 29). Juried from slides. For prospectus, send business-size SASE to Zanesville Art Center, 620 Military Rd., Zanesville September 30 entry deadline Columbus, Ohio Ceramics Monthly International Competition (March 15-21, 1999), open to utilitarian and sculptural ceramics. Location: Columbus Convention Center, in conjunction with the National Council on Education for the Ceramic Arts (NCECA) 1999 conference. No entry fee. Juried from slides. Cash awards. Color catalog. For prospectus, contact CM International Competition, PO Box 6102, Westerville, OH ; fax (614) ; or download from United States Exhibitions April 17 entry deadline Laramie, Wyoming Second Annual Wyoming Pottery Show (May 1-30).'Theme: teapots and pitchers. Juried from actual works; up to 4 entries. Cash awards. For prospectus, send SASE to Artisans Gallery, 213 S. Second St., Laramie April 19 entry deadline Southport, North Carolina Exhibition of twoand three-dimensional work (July 1-August 1). Juried from slides. Juror/3-D: Sid Oakley. Awards: $5000; best of show, $ For prospectus, send SASE to Associated Artists Southport, PO Box 10035, Southport April 30 entry deadline Middletown, Ohio The Miami Valley Annual Cross Roads in Clay Exhibition (June 26-July 23). Juried from slides. Fee: $10 per entry or $25 for 3. Juror: Josh DeWeese, director, Archie Bray Foundation, Helena, Montana. Contact Cross Roads in Clay, Arts in Middletown Building, PO Box 441, Middletown 45042; or telephone (888) May 30 entry deadline Philadelphia, Pennsylvania Invitational Artist Series (three solo exhibitions throughout ). J uried From slides. No entry fee. For application, send SASE to the Clay Studio, 139 N. Second St., Philadelphia or download from website at June 1 entry deadline Chester Springs, Pennsylvania Working with Function (September 18-October 11). Juried from 5 slides per entry. Juror: Linda Sikora. Entry fee: $15 (refunded if not accepted). For application, send #10 SASE to Working with Function, Chester Springs Studio, PO Box 329, Chester Springs 19425; telephone (610) or June 12 entry deadline Milwaukee, Wisconsin Constant Cravings: A Juried Exhibit (August 9-September 19), open to works reflecting the cravings and/or obsessions people have for food. Juried from slides. Fee: $25 for up to 3 entries. Contact Constance Lindholm Fine Art, (414) June 15 entry deadline Helena, Montana ANA 27 (August 28-October 27). Juried from slides. Juror: Peter Frank. Cash awards. For prospectus, send SASE to Holter Museum of Art, 12 E. Lawrence, Helena June 30 entry deadline Philadelphia, Pennsylvania Exhibition of functional works (April 1999), open to professional artists making utilitarian work who have never shown at the Clay Studio and who rarely show in the Philadelphia area. Juried from up to 12 slides with description sheet, and resume (with SASE). Contact K. E. Narrow, The Clay Studio, 139 N. Second St., Philadelphia Philadelphia, Pennsylvania Tiles (October). Juried from slides. No entry fee. For application, send SASE to the Clay Studio, 139 N. Second St., Philadelphia or download from website or, for information only, telephone (215) July 1 entry deadline Lindsborg, Kansas Aesthetics 98 (October- November), open to all media. Juried from slides. Awards. Location: Sandzen Memorial Art Gallery. For application, send business-size SASE to Aesthetics, 300 N. Main, McPherson, KS July 22 entry deadline New Castle, Pennsylvania The 17th Annual Hoyt National Art Show (October 4-November 7), open to artists over 17 years old working in any medium. Juried from slides. For prospectus, send SASE to Hoyt National, 124 E. Leasure Ave., New Castle Regional Exhibitions April 24 entry deadline Gatlinburg, Tennessee Spotlight 98 (August 13 October 24, then traveling), open to artists over 18 residing in Alabama, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Virginia and West Virginia. J uried from slides of up to 3 works. Juror: David McFadden, chief curator, American Craft Museum, New York City. Entry fee: $20. Cash and merit awards. For entry form, send SASE to Billi R. S. Rothove, Arrowmont School of Arts and Crafts, PO Box 567, Gatlinburg 37738; or telephone (423) May 1 entry deadline Kingston, Rhode Island Earthworks: Open Juried Clay Annual (May 7-23), open to current and former residents (or students) of Rhode Island. Juried from work. Juror: Robert Green. Fee: $8 per entry; up to 6 entries. Cash awards. For prospectus, send #10 SASE to Earthworks, South County Art Association, 2587 Kingstown Rd., Kingston Bellingham, Washington Eighteenth Annual Northwest International Art Competition (July 10-October 10), open to artists residing in Oregon, Washington, and British Columbia, Canada. Juried from slides. Fee: $8 per entry; up to 3 entries. For application, send SASE to Allied Arts of Whatcom County, PO Box2584, Bellingham Fairs, Festivals and Sales April 6 entry deadline Chautauqua, New York Chautauqua Crafts Alliance (July and/or August 7-9). Juried from 3 slides of work plus 1 of booth. Entry fee: $10 per show. Booth fee: $175 per show. For prospectus, send business-size SASE to Devon Taylor, Festivals Director, Chautauqua Crafts Alliance, PO Box 89, Mayville, NY April 7 entry deadline Boston, Massachusetts Crafts at the Castle (December 2-6). Juried from 5 slides. Entry fee: $25. Booth fee: $550-$850 for an 8x10- or 10x10-foot space. For application, send name and address to Gretchen Keyworth, Crafts at the Castle, Family Service of Greater Boston, 34½ Beacon St., Boston 02108; or fax (617) April 10 entry deadline Staten Island, New York First Annual Out-of- Hand Fine Craft and Performance Festival (October 16-18). Juried from 5 slides. For application, April

74 Call for Entries send SASE to Snug Harbor Cultural Center Crafts Fair, Att: Alison Johnson, Out-of-Hand Director, 1000 Richmond Terr., Staten Island 10301; or telephone (718) April 15 entry deadline Evergreen, Colorado 32nd Annual Evergreen Arts Festival (August 22-23). Juried from 4 slides of work plus 1 of display. For application, contact Evergreen Artists Association, Danna Cuin, PO Box 1511, Evergreen 80437; or telephone Danna Cuin (303) New Britain, Connecticut American Arts Fair (September 19-20). Juried from 3 slides or photos. Entry fee: $10. Booth fee: $100 for a 10x10- foot space. Jurors: Laurene Buckley, director/ curator, New Britain Museum of American Art; Ann Grimm, painter; Robin Johnson, ceramist; Kari Lonning, basket maker; Elizabeth Mac Donald, ceramist; and Thomas Michie, curator, decorative arts, Rhode Island School of Design. Contact New Britain Museum of American Art, 56 Lexington St., New Britain 06052; or telephone (860) May 1 entry deadline Richmond, Virginia 34th Annual Hand Workshop Art Center s Craft and Design Show (November 13-15). Juried from 5 slides. Entry fee: $15. Booth fee: $325 for a loxlo-foot space, $490 for a 10x15-foot space, or $650 for a 10x20-foot space. Contact the Hand Workshop, 1812 W. Main St., Richmond 23220; telephone (804) or fax (804) May 5 entry deadline Tampa Bay, Florida ACC Craft Show Tampa Bay (December 4 6). Juried from slides. Telephone the jamerican Craft Council (800) Charlotte, North Carolina ACC Craft Show Charlotte (December 11 13). Juried from slides. For further information, telephone the American Craft Council (800) Bellevue, Washington Second Annual Bellevue Showcase of Fine Crafts (September 18-20). Juried from slides. Telephone the American Craft Council (800) May 15 entry deadline San Francisco, California 1998 Celebration of Craftswomen (December 4 6 and 11 13). Juried from slides. Entry fee: $15. For application, send business-size SASE to Celebration of Craftswomen, c/o San Francisco Women s Building, th St., San Francisco June 1 entry deadline Tampa, Florida CraftArt 98 Outdoor Fine Craft Festival (October 17-18). Juried from 3 slides of work plus 1 of booth. Entry fee: $15. Booth fee: $185 for a 12x12- or 12xl5-foot space. Juror: Lloyd Herman, former director, Renwick Gallery, Smithsonian Institution. For application, send large SASE to Florida Craftsmen, Inc., 501 Central Ave., St. Petersburg, FL 33701; or telephone (813) Mason City, Iowa MacNider Museum Outdoor Art Market (August 23). Juried from up to 5 slides. Fee: $40. Cash awards. Contact Charles H. MacNider Museum, 303 Second St., SE, Mason City 50401; or telephone (515) August 17 entry deadline Zanesville, Ohio Zanesville Art Center Outdoor Festival (September 19). Juried from slides. Entry fee: $10. Exhibitor s fee: $25. No commission. Awards. For prospectus, send business-size SASE to Zanesville Art Center Festival Committee, 620 Military Rd., Zanesville CERAMICS MONTHLY

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76 Suggestions From Readers Oodles of Noodle Uses When cut into various shapes and lengths, the 4-foot-long foam noodles that children use for swimming are great as shaping tools or for bracing sculptural pieces. They can also be used to wipe tools clean; after the clay dries, simply squeeze the noodle several times and it will be clean. I even cut a disk from one noodle and put it inside a jar; now I can drop in all my sharp tools without danger of ruining the points. Available in glowing colors under various trade names in toy stores and swimming departments, noodles are sold for $2 $3. What a bargain! Suzanne Hershey, Rocky Hill, Conn. Transporting Glazeware I am often invited to a kiln party to which everyone brings glazeware for the firing. This used to pose a problem, due to the chipping of raw glaze during transportation. When I had the time, I used to sinter the glazes, now I simply spray over the dry glaze with a commercial acrylic floor sealer purchased from a concrete supply house. The glaze will harden as if it had been sintered, so that transportation and handling seldom result in any damage, and the sealer burns off without affecting the glazes. DonaldAdamaitis, Vancouver, Wash. Free Packing Material Furniture stores are a good source of free packing material, as they regularly throw out thin blankets of closed-cell foam that have protected headboards and mirrors during shipment. Van Moore, College Park, Md. Inventorying Supplies For an orderly and efficient studio, make a large computer-printed chart of all your suppliers main chemicals, frits, clays, etc. (I made mine 2 feet square.) Attach this chart to a wall or handy closet door, and cover with a sheet of clear Plexiglas. Use a dry-erase marker bing chunks. An old credit card makes a to record the number of pounds, bags, etc., great rib for smoothing the surface afterward. Linda Strydom, Secunda, Republic available. Letter coding can be used to indicate in of South Africa which cupboard (C), hall (H), kiln room (KR), etc., the supply is located. A quick wipe Interlocking Extruded Coils of the Plexiglas with an eraser or your shirt sleeve will allow you to bring your inventory up to date, which in turn will aid in reordering your stock at the appropriate time. Brother Llewellyn Kouba, Richardton, N.D. A peel ing Trimming Trimming small pots with thin necks is sometimes difficult, but using a vegetable peeler facilitates this task. When trimming at the leather-hard stage, the sharp blade removes a lot of clay at a time without grab- A vegetable peeler can aid in the trimming of small pots. Extruded coils in the shape of an inverted U or chevron are easier to work with when throwing or handbuilding because each additional coil locks over the previous coil. Building with such interlocking coils is also 74 CERAMICS MONTHLY

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78 Suggestions more structurally sound than using rounded coils. To make an extruder die for an interlocking coil to your desired specifications, design on paper (using a copy machine to increase or decrease size incrementally), then transfer to ½-inch hardwood and cut out with a scroll saw. Jeannie Cole, Broomfield, Colo. Eliminating Glaze Waste To eliminate waste when glazing, set a companion bucket of water beside each glaze bucket, then use it to rinse that glaze from hands, tools, sponges, etc. Allow the residue to settle overnight. The next day, pour or siphon the clear water from the top, then pour the glaze sediment into the original glaze bucket. Diahanne McBride, Hokes Bluff, Ala. easier grip. Palette knives also come in a variety of shapes, which opens further possibilities. Mona Arritt, Huntington, W. Va. Pad Sponges Women s shirts frequently come with sewn-in shoulder pads. If you are like me Easier Grip (or know someone like me), you remove Due to carpal tunnel syndrome, my hands these doodads as soon as possible. But, are not as strong as they once were, so I ve don t thrown them away! The thin foam devised alternative ways of doing things when inside is perfect for use as a smoothing throwing. The hardest part was holding a sponge around handle joins. Mary Ella flexible rib to smooth the surface of a platter. Yamashita, Monroe, La. I found that a bent palette knife worlds as well as a rib and the handle allows me to have an Coarse Sieve Use an old 5-gallon bucket to make a coarse sieve by cutting out the bottom and gluing on window screen. Ben Shelton, Las Cruces, N.M. Recycled Mailers When transporting tall vases to craft shows, I protect them with recycled padded envelopes (used to ship kiln elements and other mail-ordered items) by sliding one of the envelopes over each pot before crating. Pat Kelly, West Hyannisport, Mass. Keeping Track of Slides To keep track of slides or photos taken at exhibitions or conferences, go prepared with a numbered sheet of paper to make notes as you take each shot. Glen B. Blakley, Saint George, Utah Bag Cap Those potters with bad wrists who frequently lose the twist ties and want to avoid the stress of lifting and inverting a bag of clay to store can use an empty commercial glaze jar for a sufficiently tight closure. Just stuff the top of the bag in the inverted jar. Carol Ratliff, San Diego Hand Dryer I keep a stack of single sheet, quarterpage newspapers in my studio for drying my hands between projects. The waddedup newspaper then goes directly into my wood stove. It is much cheaper than paper towels and helps in the recycling process. Val Prophet, Dillon, Mont. Share your ideas with others. Ceramics Monthly will pay $10 for each one published. Suggestions are welcome individually or in quantity. Include a drawing or photograph to illustrate your idea and we will add $10 to the payment. Mail to Ceramics Monthly, PO Box 6102, Westerville, Ohio , to or fax to (614) CERAMICS MONTHLY

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80 Calendar Events to Attend Conferences, Exhibitions, Workshops, Fairs Conferences North Carolina, Charlotte May Cer- MATECH 98 will include keynote speech Marketing and Marketing on the Web with Sheri Marshall, potter/marketer/designer. Also includes sessions on clay bodies, orange and red stains, controlling glaze properties using electrolytic methods, glaze and body fit, use of gold in decoration, rheology, prepared clays and testing, reduction firing, gas vs. electric kilns, plaster mold forming,extrusion techniques and equipment, and pressing. Contact CerMA, PO Box 2188, Zanesville, OH ; telephone (740) , fax (740) , or website North Carolina, Winston-Salem April Congress of Craft and Art Educating Communities, symposium for artists, students, educators and administrators, will include ceramics workshops with Mary Louise Carter and Lana Wilson. Fee: $150, full session; or $100 per day. Contact the Sawtooth Center for Visual Art, 226 N. Marshall St., Winston-Salem 27101; or telephone (336) Ohio, Cincinnati May 3-6 The American Ceramic Society s 100th Annual Meeting and Exposition. For further information, contact The American Ceramic Society, PO Box 6136, Westerville, OH ; telephone (614) , or see website Ohio, Dayton May First Annual Artists Marketing and Skills Development Conference, designed for beginning and intermediate artists, although all artists may attend. Contact the Artists Marketing and Skills Development Conference, do DeEarnest McLemore, Riverbend Art Center, 1301 E. Siebenthaler Ave., Dayton 45414; or telephone (937) Australia, Gulgong May 7-13 Hyperclay Gulgong 1998 will include hands-on workshops in making pottery, sculpture and installations, building and firing the Red Bellied Black, plus exhibitions and tours. Presenters include Dan Anderson, Claude Champy, Ross Mitchell-Anyon, Alan Peascod, Don Reitz (keynote speaker), Gabriele Schnitzenbaumer, Sandra Taylor and Masamichi Yoshikawa. For further information, contact Ceramics Art and Perception, 35 William St., Paddington, NSW, 2021, Australia; telephone , fax , or see website Canada, Alberta, Edmonton May Fireworks 98 will include keynote speaker Janet Mansfield, plus guest artists Ryan Cameron, John Chalke, Jun Kaneko, Warren MacKenzie, Frederick Olsen, Diane Sullivan, Barbara Tipton and William Truchon. A pre-seminar kilnbuilding workshop will also be held May For further information, contact Fine Arts, Faculty of Extension, University of Alberta, 93 University Campus NW, Edmonton T6G 2T4; telephone (403) or , or see website at www. extension, ualberta.ca/finearts/fireworks Canada, Ontario, Mississauga May Different Paths, annual conference of Fusion: The Ontario Clay and Glass Association, will include workshops with Peter Powning and Chris Staley, panel discussion, slide presentations, glaze consultations with Ron Roy, exhibition. Fee: Can$240 (approximately US$160), includes 1-year membership; students/seniors, Can$205 (approximately US$140); members, Can$185 (approximately US$125); student/senior members, Can$l65 (approximately US$110). Late fee of Can$25 (approximately US$15) after April 30. Contact Fusion: The Ontario Clay and Glass Association, Gardener s Cottage, 225 Confederation Dr., Scarborough, Ontario MIG 1B2; telephone (416) , fax (416) or England, Preston September 4 6 International Festival of Ceramics: Fired Print will include demonstrations, lectures and workshops by Greg Bell, Neil Brownsword, Maria Geszler, Juliette Goddard, Jefford Horrigan, Mo Jupp, Les Lawrence, Patrick King, Philomena Pretzell and Helen Talbot. Contact Caroline Till, 21 Hamilton Way, Acomb, York, Y02 4LE, United Kingdom. Lithuania, Panevezys July Panevezys International Symposium 10th Anniversary Conference will include demonstrations and slide lectures by Romualdas Aleliunas, Vilija Balciuniene, Eugenijus Cibinskas, Nerute Ciuksiene, Philip Cornelius, Greg Daly, Luisa Figini, Makoto Hatori, Nina Hole, Yih-Wen Kuo, Juozas Lebednykas, Peteris Martinsons, Hans Meeuwsen, Fred Olsen, Thomas Orr, Egidijus Radvenskas, Giancario Scapin, Mitsuo Shoji and Rimas 78 CERAMICS MONTHLY

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82 Calendar VisGirda. Also includes exhibitions. Contact Jolanta Lebednykiene, Director, Panevezys Civic Gallery, Respublikos 3, 5319 Panevezys; or fax (370) Solo Exhibitions Arizona, Phoenix through April 19 Ah Leon ceramic bridge; at the Phoenix Art Museum, 1625 N. Central Ave. Arizona, Tempe through April 19 Richard Shaw; at Tempe Arts Center, 54 W. First St. California, Berkeley April 3-25 Jane B. Grimm, sculpture from the Evolution Series ; at the Fig Tree Gallery, 2599 Eighth St., #42. California, Los Gatos April 5-26 Teresa Hotta, Native American pit-fired pottery and sculpture; at the Friendship Gallery, First United Methodist Church, 19 High School Ct. California, San Francisco through May 2 Richard Shaw, porcelain sculpture; at Braunstein/Quay Gallery, 250 Sutter St. April 1 14 Bonita Cohn, Dances with Fire, anagama-fired pottery and photographs ofwoodburning kilns; at Ruby s Clay Studio and Gallery, 552A Noe St. Illinois, Chicago through April 19] ohn R. Kevern, sculpture; at Vale Craft Gallery, 230 W. Superior St. Indiana, Indianapolis May 1-31 Judith Titche; at Artifacts Gallery, 6327 N. Guilford Ave. Louisiana, New Orleans May 9 August 2 Picasso Ceramics from New Orleans Collections ; at the New Orleans Museum of Art, City Park, 1 Collins Diboll Circle. Maryland, Hagerstown through April 5 Scott R. Jones platters and pots, Many Styles ; at Washington County Museum of Fine Arts, City Park. Massachusetts, Boston April 1 30 Stephen Robison and Kathleen Guss, soda- and woodfired functional pottery with carved slip designs; at Infinity Gallery, 645 Tremont St. April 4 May 5 Fance Franck, The Poetry of Nature ; at Pucker Gallery, 171 Newbury St. Massachusetts, Northampton through April 19 Megan Hart, porcelain; at Ferrin Gallery, 179 Main St. Michigan, Ferndale through April 11 Susanne Stephenson vessels and platters; at Revolution, Woodward Ave. Michigan, Pontiac April 4-May 2 John Woodward. May 8 30 Lee Stoliar, One of the Ways ; at Shaw Guido Gallery, 7 N. Saginaw St. Minnesota, Minneapolis through April 18 Eddie Dominguez, Influences of Home, Land and Culture ; at the Northern Clay Center, 2424 Franklin Ave., E. through April 18 Eddie Dominguez, Influences of Home, Land and Culture ; at CreArte, Chicano Latino Art Center and Museum, 1921 Chicago Ave. New York, Alfred^4pn718-July23 The Stonewares of Charles Fergus Binns: The Father of American Studio Ceramics ; at the International Museum of Ceramic Art at Alfred, Alfred University. New York, New York through April 4 Ralph Bacerra. Junko Kitamura. Beatrice Wood. April7 May 2 Ken Ferguson. Michael Cleff. May 5-June 6 Bodil Manz. Claudi Casanovas; at Garth Clark Gallery, 24 W. 57th St. New York, Nyack April 16-May 14 Stephen A. Rodriguez; at the Klay Gallery, 65 S. Broadway. New York, Port Chester April 3-25 Julia Galloway, functional ceramics. May 1 30 Christina Pitsch, Transmogrified Interpretations ; at the Clay Art Center, 40 Beech St. North Carolina, Asheville May 8-June 23 Scott Rayl; at the Folk Art Center, Milepost 382, Blue Ridge Pkwy. North Carolina, Durham through April22 Gayle Tustin, wall reliefs; at the Durham Art Guild, 120 Morris St. North Carolina, Seagrove April 1-30 David Byron, copper-matt raku-fired vessels, vases and body sculptures; at Blue Moon Gallery, 1387 Hwy. 705, S. Pennsylvania, Philadelphia April 3 26 Ken Vavrek, Clay Studio founder, sculpture. Resident artist Doug Herren, monumental stoneware vessels. May 1-24 Kukuli Velarde, Evelyn Shapiro Foundation Fellowship recipient; at the Clay Studio, 139 N. Second St. Pennsylvania, Pittsburgh through May 24 Michael Lucero, Sculpture ; at the Carnegie Museum of Art, 4400 Forbes Ave. Pennsylvania, Sewickley through April 15 Mark Yasenchack, terra-cotta boxes and vessels; at Sweetwater Center for the Arts, 200 Broad St. Texas, Commerce through April 3 Marty Ray, illustrated pottery; at Texas A &: M University- Commerce, University Art Gallery. Texas, Houston April 19 May 23 Gary Kosmas, Tables of Content, porcelain, bronze, aluminum and found wood; at Archway Gallery, 2013 W. Gray. Texas, Lancaster through April5 Mary Law, sodafired stoneware and porcelain. April 6 May 3 Sandi Pierantozzi, terra cotta. Neil Patterson, wood-fired stoneware; at the Cedar Valley College Ceramics Gallery, 3030 N. Dallas Ave., E Bldg. Virginia, Bridgewater through April 3 Tamara Laird; at the Kline Center Gallery, Kline Campus Center, Bridgewater College. Group Ceramics Exhibitions Arizona, Phoenix through April 18 Legacy of Generations, works by 28 Native American women potters; at the Heard Museum, 22 E. Monte Vista Rd. California, Davis through April 25 More than Clay: Toki Collection of Ceramics ; at Pence Gallery, 212 D St. through May 3 12th Annual Thirty Ceramic Sculptors Show ; at John Natsoulas Gallery, 140 F St. April 2 May 15 Wallwork, ceramic sculpture by Steve Braun, Robert Charland, Linda Fitz Gibbon and Arthur Gonzalez; at SMUD Art Gallery, SMUD Customer Service Center, 6301 S St., off 65th St. April 3-May California Clay Competition ; at the Artery, 207 G St. California, Laguna Beach through June 30 Ceramics from the Igal and Diane Silber collection; at the Laguna Beach Museum of Art, 307 Cliff Dr. California, La Jolla through April 3 Current Clay VII, juried exhibition of works by artists residing in southern California; at Gallery Eight, 7464 Girard Ave. California, Lincoln May 16 June 7 Feats of Clay XI ; at Gladding McBean terra-cotta factory. Reservations required; telephone (916) California, San Francisco through May 31 British Potters: Dixon Long Collection ; at the San Francisco Craft and Folk Art Museum, Building A, Fort Mason. California, Santa Monica through April 1 Clayworks by Akio Takamori and Kurt Weiser; at Frank Lloyd Gallery, 2525 Michigan Ave., B5b. Connecticut, Brookfield through May 3 Salt Fired: Form and Surface ; at Brookfield Craft Center, 286 Whisconier Rd. Hawaii, Makawaoy4pr/l77 May 9 Y\.u\ No eau Juried Ceramics Show ; at Hui No eau Visual Arts Center, 2841 Baldwin Ave. Continued 80 CERAMICS MONTHLY

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84 Calendar Illinois, Chicago through April 26 Vessels That Pour, works by over 45 clay artists. May 9-June 21 Unaffected: The New Naturalism of Four Emerging Women Ceramists, works by Tanya Behrbass-Schulze, Jessica Bohus, Adelaide Paul and Angelica Pozo; at Gallery 1021: Lill Street, 1021 W. Lill. Kansas, Baldwin City through April 7 The 1998 International Orton Cone Box Show ; at Baker University, 618 Eighth St. Louisiana, New Orleans May 9-August 2 Singing the Clay: Pueblo Pottery of the Southwest Yesterday and Today ; at the New Orleans Museum of Art, City Park, 1 Collins Diboll Circle. Maryland, Baltimore through April 26 A Fresh Perspective, work by resident and member artists; at Baltimore Clayworks, 5706 Smith Ave. Massachusetts, Boston May 2-June 28 Functional Clay, works by 12 ceramists; at the Society of Arts and Crafts, 175 Newbury St. May 5 June 26 Emerging Artists*Functional Clay ; at Society of Arts and Crafts, 101 Arch St. Massachusetts, Ipswich April4 30 Oceanlines. May 2 June 30 Garden Adornments ; at the Ocmulgee Pottery and Gallery, 317 High St. (Rte. 1A). New Mexico, Roswell through May 24 Ceramics: Celebration 98 ; at Roswell Museum and Art Center, 100 W. Eleventh St. New York, Alfred through September 18 The Students of Binns ; at the Ceramic Corridor Innovation Center, Rte. 244, 200 N. Main St. New York, New York April 2 June 14 Art and Industry: 20th-Century Porcelain from Sevres, featuring almost 200 one-of-a-kind and limited production works, plus artists original drawings and designs; at the American Craft Museum, 40 W. 53rd St. North Carolina, Charlotte through August 23 The Knouff Collection of Asian Ceramics ; at the Mint Museum of Art, 2730 Randolph Rd. May 5-30 Attention to Detail, pottery by Terry Gess, Maren Kloppman, Jeff Noska and Jane Shellenbarger; at gallery W. D. O., 2000 South St., Ste North Carolina, Seagrove May 1-31 Susan and Jim Whalen, pit-fired vessels and organic sculptural wall forms; at Blue Moon Gallery, 1387 Hwy. 705, S. Ohio, Chagrin Falls May 15-June 14 Raku Festival and Exhibit ; at Valley Art Center, 155 Bell St. Ohio, Cleveland through July 5 Gifts of the Nile: Ancient Egyptian Faience ; at the Cleveland Museum of Art, East Blvd. Ohio, Wooster through April 18 Functional Ceramics 1998, works by 25 potters; at the Wayne Center for the Arts, 237 S. Walnut St. Pennsylvania, Ephrata May 3 24 Sixth Annual Strictly Functional Pottery National ; at the Market House Craft Center, 100 N. State St. Pennsylvania, Philadelphia May 1-24 Made at the Clay Studio, sculpture and functional ware created during international artist residencies. May 31-June28 Contemporary Puerto Rican Ceramics, works by 20 artists; at the Clay Studio, 139 N. Second St. Pennsylvania, Pittsburgh through May 24 Pittsburgh Collects Clay ; at the Carnegie Museum of Art, 4400 Forbes Ave. Texas, Dallas through April 1 Pottery by Richard Aerni and Malcolm Davis; at the Creative Arts Center, 2360 Laughlin. through April 5 Clay Traditions: Texas Educators and Their Teachers, works by 14 ceramics edu- 82 CERAMICS MONTHLY

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86 Calendar cators and their mentors; at Dallas Museum of Art, 1717 N. Harwood. through April 24 Texas Tea, works by John Britt, Sally Campbell, Mark Epstein, Barbara Frey, Ginger Geyer, Gary Huntoon, Susie Moody, Michael Obranovich and Marty Ray; at Edith Baker Gallery, 2404 Cedar Springs at Maple. through May 1 Fireworks: On and Off the Wall, works by approximately 35 Texas ceramists. through May 2 Two Peas Outta the Pod, saltand raku-fired stoneware by Randy Brodnax and Michael Obranovich; at the Dallas Visual Arts Center, 2917 Swiss Ave. Texas, El Paso through April5 From the Ground Up XVII, juried regional; at Los Paisanos Gallery, Chamizal National Park. Texas, Ft. Worth through April 3 Within the Borders, juried exhibition of works by Texas potters; at Bank One Texas, 500 Throckmorton. Texas, Irving through April 8 Making It in Clay: Celebrating Student Success, works by past and present students of North Lake College; at North Lake College Gallery, 5001 N. MacArthur Blvd. through April 26 To Have and to Hold: Ceramic Vessel Making in Texas, works by approximately 50 ceramists; at the Irving Arts Center, 3333 N. MacArthur Blvd. Texas, San Angelo April 16-May 31 Twelfth San Angelo National Ceramic Competition ; at San Angelo Museum of Fine Arts, 704 Burgess St. Vermont, Montpelier April 1-30 The Pottery of Mata Ortiz, Central American Village Pottery. May 1 29 Women in Clay, works by Nancy Burroughs and Helen Otterson; at Vermont Clay Studio, 24 Main St. Virginia, Alexandria April 1-26 Works from Mother Earth, ceramics by Washington Kiln Club members; at Scope Gallery, Torpedo Factory, 105 N. Union St. Ceramics in Multimedia Exhibitions Arizona, Mesa through April 18 The Draping Game. April 28-May 30 Myths, Metaphors and Icons ; at Mesa Arts Center, 155 N. Center St. Arkansas, Little Rock April 26-June 14 Pure Vision: American Bead Artists ; at Arkansas Arts Center, MacArthur Park, Ninth and Commerce. Arkansas, Springdale April 6-May 25 16th Annual Women s National Juried Art Exhibition ; at the Art Center of the Ozarks, 214 S. Main. California, Fresno April 7 August 9 A Taste for Splendor: Russian Imperial and European Treasures from the Hillwood Museum, over 180 decorative and fine-art objects; at the Fresno Metropolitan Museum, 1555 Van Ness Ave. California, La Jolla May 5 30 Tea for Two, ceramic or glass, paired teacups; at the UCSD Grove Gallery. California, Sacramento April 2 25 Figurative Works, dual exhibition with bronze and clay sculpture by Helen Post; at Solomon Dubnick Gallery, 2131 Northrop Ave. California, San Diego through April 30 Arts of the Amazon, 250 art and ritual objects; at Mingei International Museum of Folk Art, Balboa Park, Plaza de Panama. California, San Francisco through April 19 Treasures of African Art from the Tervuren Museum ; at the California Palace of the Legion of Honor, Fine Arts Museums of San Francisco, Lincoln Park, 34th Ave. and Clement St. April 16 July 28 Art from Around the Bay: Recent Acquisitions ; at the San Francisco Museum of Modern Art, 151 Third St. Connecticut, New Haven April 13-May 22 Visual Poetry: Word as Image ; at Creative Arts Workshop, 80 Audubon St. Connecticut, New Milford through April 26 Colors of Spring, three-person exhibition including ceramics by Mary Lou Alberetti; at the Silo, Hunt Hill Farm, 44 Upland Rd. D.C., Washington through April 26 Japanese Arts of the Meiji Era ( ) ; at the Freer Gallery of Art, Smithsonian Institution. Florida, Hollywood through May th Florida Craftsmen Exhibition ; at the Art and Culture Center of Hollywood, 1650 Harrison St. Florida, St. Petersburg May 8 June 19 Young Floridians, juried exhibition of crafts by college students; at Florida Craftsmen Gallery, 501 Central Ave. Florida, Tampa April 18 June 10 Artful Toys ; at Artists Unlimited, 223 N. 12th St. Georgia, Atlanta through May 1 Convergence 8: Annual City of Atlanta Art Centers Faculty and Staff Exhibit ; at the City Gallery at Chastain, 135 W. Wineca Rd., NW. Georgia, Savannah May 8 June 1 Arts on the River Festival 19th Annual Juried Fine Arts Competition ; at the West Bank Gallery, 322 Martin Luther King Jr. Blvd. Hawaii, Makawao May 30-July 11 Juried Members Exhibit ; at Hui No eau Visual Arts Center, 2841 Baldwin Ave. Illinois, Chicago April 5 May 11 Teapots, Fun, 84 CERAMICS MONTHLY

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88 Calendar Funky and Functional ; at Chiaroscuro Galleries, 700 N. Michigan Ave. Illinois, Galesburg through April 11 GALEX 32 ; at Galesburg Civic Art Center, 114 E. Main St. Kansas, Wichita through April2 Art Show at the Dog Show ; at the Foyer Gallery, Century II Convention Center. April 3-5 Art Show at the Dog Show ; at the Sunflower Cluster Dog Shows, Kansas Coliseum. Louisiana, Lafayette through April 23 National juried exhibition of 2- and 3-dimensional art; at the Lafayette Art Gallery, 412 Travis St. Massachusetts, Boston through May 17 A Grand Design: The Art of the Victoria and Albert Museum ; at the Museum of Fine Arts, Boston, 465 Huntington Ave. Massachusetts, Cambridge through April 12 Illuminations: Into the Light, juried exhibition of lighting devices, including candlesticks, lamps, lanterns and sconces; at Cambridge Artists Cooperative, 59A Church St. Massachusetts, Lexington through May 3 Clay/ Paper/Paint and Glazes, with architectural ceramics by Joan Carcia; at Depot Square Gallery, 1837 Massachusetts Ave. Massachusetts, Wellesley through June 7 Memory: Luba Art and the Making of History ; at the Davis Museum and Cultural Center, Wellesley College, 106 Central St. Massachusetts, Worcester through April 25 New Traditions 98 Visiting Artists Exhibition, including ceramics by Karen Karnes. April 3-May 16 Bread and Butter In the Spirit of Everyday Living: Works in Clay, Fiber, Metal and Wood, with pottery by Robbie Lobell; at the Worcester Center for Crafts, Main Gallery, 25 Sagamore Rd. New Jersey, Morristown through April 19 Flora 98, including pottery by Debra Betancourt; at Macculloch Hall Historical Museum, 45 Macculloch Ave. New York, Albany through April 26 The 1998 New York State Biennial ; at the New York State Museum, Empire State Plaza. New York, New York through April 4 Animals and Animal Designs in Chinese Art, 25 artworks, including ceramics, dating from the Shang period to the late Ming period; at Eskenazi, 28 E. 78th St. through May 2 The Dragon s Tale, calligraphy and art objects, including ceramics; at E & J Frankel, 1040 Madison Ave. through May 3 Great Cities Small Treasures: The Ancient World of the Indus Valley, approximately 100 objects, including ceramics; at the Asia Society, 725 Park Ave. through June 28 Finnish Modernism in Design: Utopian Ideals and Everyday Realities, ; at Bard Graduate Center, 18 W. 86th St. North Carolina, Asheville through May 10 Haywood Community College Graduating Students Exhibition. August 8-November 8 Annual Members Exhibition: The Cubic Foot: An Exhibition of Miniatures ; at the Folk Art Center, Milepost 382, Blue Ridge Pkwy. Ohio, Cincinnati through May 24 Designed for Delight: Alternative Aspects of 20th-Century Decorative Arts ; at the Cincinnati Art Museum, Eden Park. May 3-31 The Art of Tea and Coffee ; at Woodbourne Gallery, 9885 Montgomery Rd. Ohio, Columbus through April 1 A Change of Place, works by Ohio Arts Council arists-inresidence, including ceramics by Walter Zurko; at the Ohio Arts Council, 727 E. Main St. through April 30 The 118th Student Exhibition ; at Columbus College of Art and Design, Canzani Center, 60 Cleveland Ave. April 5-26 Three-person exhibition including ceramics by Denise Romecki; at the Cultural Arts Center, 139 W. Main St. April 25-June 28 The Best of 1998, juried exhibition of Ohio crafts; at the Ohio Craft Museum, 1665 W. Fifth Ave. Ohio, Dayton May 3-31 The Art of Tea and Coffee ; at the Woodbourne Gallery, 175 E. Alex Bell Rd. Ohio, Lancaster through May 9 Garden Sculpture Art for Your Garden ; at the Gallery at Studio B, 140 W. Main St. Pennsylvania, Philadelphia April 1-30 Exhibition including ceramics by Gary DiPasquale, Frank and Polly Martin; at the Works Gallery, 303 Cherry St. Tennessee, Chattanooga through May Sculpture Garden Exhibit ; at River Gallery, 400 E. Second St. Tennessee, Gatlinburg through April 11 New Form/New Function: Surface. National Spring Faculty Invitational Exhibition. April 15 May 16 Artists-in-Residence Exhibition ; at Arrowmont School of Arts and Crafts, 556 Parkway. Tennessee, Nashville April 18-May 30 The Best of Tennessee Crafts ; at Parthenon Gallery, Centennial Park. Texas, Dallas through April 4 Surfaces, threeperson exhibition with ceramic sculpture by Lisa Ehrich and Marla Ziegler; at Craighead-Green Gallery, 2404 Cedar Springs, Ste Utah, Salt Lake City through April 5 ME WE, collaborative exhibition of works by ceramist Tre Arenz and metal sculptor Amie McNeel; at the Salt Lake Art Center, Main Gallery, 20 S.W. Temple. Wisconsin, Milwaukee May 15 June 26 Messing About in Boats ; at Constance Lindholm Fine Art, 3955 N. Prospect. Fairs, Festivals and Sales California, Lincoln May 16 Lincoln Clayfest ; at Beermann Plaza, Fifth and F sts., downtown. California, Sierra Madre May Sierra Madre Art Fair ; at Memorial Park, 110 W. Sierra Madre Blvd. Connecticut, Hamden May 2 Hamden Arts Commission Arts and Crafts Festival ; at Hamden Arts Commission, 2901 Dixwell Ave. D.C., Washington April Smithsonian Craft Show ; at the National Building Museum, 401 F St., NW. Florida, Jacksonville May ArtWorks ; at Prime Osborn Convention Center. Georgia, Savannah May th Annual Arts on the River Festival ; on River St., Historic District. Illinois, Chicago May ACC Craft Show Chicago ; at Navy Pier. Maryland, Baltimore April National Clay Jewelry Exhibition and Sale ; at Baltimore Clayworks, 5706 Smith Ave. Maryland, Frederick May th Annual Frederick Craft Fair ; at the Frederick Fairgrounds. Maryland, Gaithersburg April 3 5 Sugarloaf Crafts Festival ; at the Montgomery County Fairgrounds. Maryland, Timonium April Sugarloaf Crafts Festival ; at the Maryland State Fairgrounds. Massachusetts, Merrimac April Open House and Sale ; at Purple Sage Pottery Studio, 3 Mechanic St., Studio D. Massachusetts, Worcester May th Annual Craft Fair ; at the Worcester Center for Crafts, 25 Sagamore Rd. Michigan, East \,&nsm%april 30-May 2 Greater Lansing Potters Guild Annual Spring Sale ; at All Saints Church, 800 Abbott Rd. Michigan, Kalamazoo May 30 25th Annual Mayfair ; at Bronson Park, downtown. Continued 86 CERAMICS MONTHLY

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90 Calendar M ichigan, N ovi April S ugarloaf Art F air ; at the Novi Expo Center. Minnesota, St. Paul April St. Paul Art Crawl, tours of 150 artists studios; downtown. April ACC Craft Show St. Paul ; at the St. Paul Civic Center at River Centre. Missouri, St. Louis May 8 10 Laumeier Sculpture Park Contemporary Art Fair ; at Laumeier Sculpture Park, Rott Rd. New Hampshire, Hampton May 2 Rockingham Craftsmen Fair ; at Hampton Junior High. NewJersey, Flemington^4pnl 18 I.9 Flemington Crafts Festival ; at the Flemington Fairgrounds. New Jersey, Somerset May Sugarloaf Crafts Festival ; at Garden State Exhibit Center. New Jersey, Verona May Fine Art and Crafts Fair ; at Verona Park. New York, Hempstead May 3 15th Annual Dutch Festival ; at Hofstra University. New York, Long Island May Planting Fields Art and Fine Craft Festival ; at Planting Fields Arboretum, Oyster Bay. New York, New Yorkv4pn7,9-12 SOFA NYC ; at the Seventh Regiment Armory, Park Ave. and 67th St. Oregon, Portland May 8 10 Ceramic Showcase, sale of works by Oregon Potters Association members; at the Oregon Convention Center, 777 N.E. Martin Luther King Jr. Blvd. Pennsylvania, Allentown May Mayfair Festival of the Arts 1998 ; at Cedar Beach Park, Hamilton and Ott sts. Pennsylvania, Philadelphia April Philadelphia Furniture and Furnishings Show ; at the Pennsylvania Convention Center. Vermont, Montpelier May Benefit Seconds Sale and Open House ; at the Vermont Clay Studio, 24 Main St. Virginia, Manassas May 1 3 Sugarloaf Crafts Festival ; at the Prince William County Fairgrounds. Wisconsin, Stevens Point April 5 Festival of the Arts ; at the University of Wisconsin-Stevens Point, Fine Arts Building, Interior Courtyard. Workshops California, Irvine April 25 A Viewpoint: The Artist-Teacher, slide lecture on the role of an artist in the classroom and demonstration on large, thrown/ handbuilt vessels with Patrick Crabb. Contact the Irvine Fine Arts Center, (714) California, Northridgeylpnl24-26Hands-on maskmaking with Lynette Yetter. Fee: $40; members, $35. Materials: $5. Call Patti Hallowes, Program Coordinator, American Ceramic Society-Design Chapter, Southern California Section, (818) California, Rancho Palos Verdes May 16A session with Mary Ogawa, Japanese and majolica brush- work and calligraphy. Participants must bring 2-3 bisqued pieces and small/medium Oriental brushes. Beginning through advanced skill levels. Fee: $30; members, $25. For further information, contact Janene Ferguson, Palos Verdes Art Assn., 5504 W. Crestridge Rd., Rancho Palos Verdes 90275; telephone (310) , fax (310) or California, Walnut Creek May 16Slide presentation and demonstration with Frank Boyden. Fee: $45, includes potluck lunch. Contact Walnut Creek Civic Arts Education, PO Box 8039, Walnut Creek 94596; or telephone (510) Colorado, Durango May Hands-on kilnbuilding with British potter Svend Bayer. Focus on Sukhothai/Sawankhalik type kiln. Limited enrollment. Deadline: May 1. Fee: $375. Contact Quien Sabe Pottery, Kay Roberts, 4246 C.R. 203, Durango 81301; (970) Colorado, Glenwood Springs May Raku Workshop with Robert Piepenburg; participants should bring 4 bisqued pieces. Fee: $225. All skill levels. For further information, contact Glenwood Spring Center for the Arts, (970) Connecticut, Brookfield April 4 Paper Clay with Rebecca Peck Jones. April 18 Working with Porcelain with Angela Fina. April25-26 l,owtemperature Salt Firing with Richard Launder. May 2-3 Colors, Clays and Firing with Penelope Fleming. May 9 10 Spirit/Bird Houses with Barbara Allen. May Throwing Large Forms with Maishe Dickman. Contact Brookfield Craft Center, PO Box 122, Rte. 25, Brookfield 06804; or telephone (203) Connecticut, New Canaan April25-26Hands-on workshop with Woody Hughes, low-fire handbuilding and wheel-thrown components, plus discussion on glazes. Fee: $150. Contact Silvermine Guild Arts Center, 1037 Silvermine Rd., New Canaan 06840; or telephone (203) Connecticut, New Wzvzn April25 An Overview of Korean and Japanese Ceramics from the Neolithic Period to the 20th Century, lecture with Robert Moes. Fee: $30; members, $27. Contact Creative Arts Workshop, 80 Audubon St., New Haven 06510; or telephone (203) Florida, Atlantic Beach April 4 5 Throwing, Altering and Assembling Utilitarian Pottery with Steve Loucks. Contact the Atlantic Beach Potters, (904) or Florida, Belleair^4pnli? Insights through Decorative Arts, lecture with Cynthia Duval. April 17 Lunch with an Artist Series with clay artist Mark Fehl. April 24.2dT Pueblo Pottery, demonstration by N athan Youngblood. Contact Florida Gulf Coast Art Center, Education Dept., 222 Ponce de Leon Blvd., Belleair 33756; or telephone (813) Florida, Pensacola May Architectural Ceramics Workshop with Peter King. Fee: $550. Limited registration. Contact StoneHaus, 2617 N. 12th Ave., Pensacola 32503; telephone (850) or fax (850) Hawaii, Makawao April 4 5 Clay Pots: An Experience of Intimacy, Delight, Uncertainty and Revelation with Randy Johnston. Contact Hui No eau Visual Arts Center, 2841 Baldwin Ave., Makawao 96768; telephone (808) or fax (808) Illinois, Evanston April Postmodernist Majolica: Historical Context, Contemporary Practice with Walter Ostrom, handbuilding, throwing, decoration. May 1-3 Handbuilding Functional Pots with Gail Kendall. May Teaware, Baskets and Dinnerware with Anne Fallis-Elliott. All skill levels. Contact Vanessa Smith, Native Soil, 602 Davis St., Evanston 60201; telephone (847) or fax (847) Maine, Portland April 21 or May 23 Raku Workshop, participants should bring up to four medium-sized pots; fee: $35. A/ay.9 Porcelain Wheel Throwing and Glazing with Laurie Adams. May 21 Clay Sculptress with Abby Huntoon. Contact Portland Pottery, 118 Washington Ave., Portland 04101; or telephone (207) Maryland, Frederick April 1 Raku From Zen Tradition to Modern Innovation, lecture with Patrick Timothy Caughy. April 4 Eastern and Western T echniques in T rimming, lecture/demonstration with Richard Lafean; fee: $60. April25 and May 9 Playing with Words Painting with Fire, producing ware (April 25) and raku firing (May 9 in Baltimore); fee: $145, includes 25 pounds of raku clay and firing. April 26 Tin- Glazed Earthenware: Who, What, Why, Where, When and How, lecture with Louana Lackey. May 7 2 Ceramic Restoration, lecture and work- 88 CERAMICS MONTHLY

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92 Calendar shop with Colin Knight-Griffin; participants can bring a piece for appraisal. Workshop fee: $65. Lecture fee: $5. Contact Hood College Ceramics Program, 401 Rosemont Ave., Frederick 21701; or telephone (301) or (301) Massachusetts, Plymouth April Demonstration and slide lecture with Svend Bayer. Contact the Plimoth Plantation, (508) , ext. 356, or (781) Massachusetts, Stockbridge May 2 3 Throwing with Porcelain with Angela Fina. Contact the Interlaken School of Art, (413) Massachusetts, Williamsburg April25-27 Working with Colored Clays: A Japanese Approach to the Vessel with Debbie Freed. May 9-11 Get Hot! Alternative Firing and Decorating Techniques with Bob Green. Contact Horizons, 108 N. Main St., Sunderland, MAO 1375; telephone (413) , fax (413) , or website Massachusetts, Worcester April 4 5 A session with Karen Karnes. Fee: $175; members, $140. Contact Worcester Center for Crafts, 25 Sagamore Rd., Worcester 01605; telephone (508) Minnesota, Minneapolis April 18 Regis Masters Series, lecture with Ruth Duckworth. May 16 Regis Masters Series, lecture with James Melchert. Free. Location: Minneapolis Institute of Arts. Contact the Northern Clay Center, (612) Montana, Helena April30-May 3 Cone 6 Soda Glaze Firing Workshop with Julia Galloway. Fee/session: $150, includes firing. All skill levels. Contact Josh DeWeese or Teresa Hastings, Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave., Helena 59601; telephone (406) , fax (406) , or see website at New Jersey, Layton May22 24 What and How: Exploring the Dialogue between Idea and Process with Mary Barringer. Fee: $249. May Raku with Mike Carroll. Fee: $269. Contact Jennifer Brooks, Peters Valley Craft Education Center, 19 Kuhn Rd., Layton 07851; telephone (973) , fax (973) or net New Mexico, Albuquerque to Santa Fe April Clay into Spirit with Anita Griffith. Contact Horizons, 108 N. Main St., Sunderland, MA 01375; telephone (413) , fax (413) , or website New Mexico, Roswelly4pnl23-2^Demonstration of throwing large double-walled vessels with J ames Watkins. Fee: $50. Contact the Roswell Museum and Art Center, (505) , ext. 16. New Mexico, Taos May 4 9 Micaceous Cookware with Jeri Track. Contact Taos Institute of Arts, 5280 NDCBU, T aos 87571; telephone (800) or (505) ; see website at or New York, East Setauket May 2-3 Japanese Throwing and Altering Techniques with Peter Callas. Contact Hands on Clay, Inc., 128 Old Town Rd., East Setauket 11733; or telephone (516) New York, Port Chester April Two Approaches to Wheel Work with Polly Ann and Frank Martin. Contact the Clay Art Center, (914) New York, West Nyack April 19 Surface Strategies for the Electric Kiln with Mary Barringer. Fee: $65. Contact Rockland Center for the Arts, 27 S. Greenbush Rd., West Nyack 10994; or telephone (914) New York, White Plains April The Func- CERAMICS MONTHLY

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94 Calendar tional Teapot with Lisa Stinson, handbuilding and throwing. Fee: $141.25; currently enrolled students, $103. April 24 Creative Stretches in Clay with Vera Lightstone. Fee: $40; current students, $25. May 8 Form and Texture with Sandi Pierantozzi. Fee: $40; current students, $25. Preregistration required. Contact SUNY/ Westchester Community College, Westchester Art Workshop, Westchester County Center, 196 Central Ave., White Plains 10606; or telephone (914) North Carolina, Asheville April 4 A Day with Chris Staley, demonstration of throwing techniques. Fee: $50, includes lunch. May 8-9 Demonstration and slide lecture with Svend Bayer. Fee: $125. All skill levels. Contact Mark Burleson, Odyssey Center for the Ceramic Arts, 236 Clingman Ave., Asheville 28801; telephone (704) , fax (704) or website North Carolina, Bailey April Hands-on workshop with Siglinda Scarpa, paper clay. Fee: $90. Contact Jackie Allen, (919) or or telephone Dan Finch, (919) North Carolina, Brasstown April 5-11 Handbuilding with Coils with Julie Larson. April Porcelain: On the Wheel and under the Brush with David Voorhees. May 1-9 Wood Firing in a Grand Manner with Hogue Vernon. Fee: $400. May A Bird in the Hand, handbuilding animal sculptures with Mary Dashiell. May Clay Vessels with Natural Materials with Lenore Vanderkooi. May Making Pottery with Terry Gess. Skill requirements vary. Fee (unless noted above): $258. For further information, contact Registrar s Office, John C. Campbell Folk School, 1 Folk School Rd., Brasstown 28902; telephone (800) FOLK- SCH, fax (704) , website -jeefs or Ohio, Kent May Blossom Ceramics Workshop, lectures and demonstrations on handbuilding, throwing, slip painting, firing, plus tile and mosaic, and large ceramic sculptures, with Eva Kwong and visiting artists Aurora Chabot and Tony Marsh. Intermediate through professional. Fee: $608; plus $45 lab fee. Contact Becky Summers, Kent State University Art Dept., Kent 44242; telephone (330) or fax (330) Ohio, Wooster April Functional Ceramics Workshop, including demonstrations with Cynthia Bringle, Pete Pinnell and Patty Wouters; plus presentations by Tom Huck on approaching galleries, and Pepper Fluke on her trip to Mata Ortiz. Fee: $ 180/students, $90; three days, $140/ students, $75; includes lunches, 1 dinner and catalog of Functional Ceramics exhibition. Contact Phyllis Blair Clark, 102 Oakmont Ct., Wooster Oklahoma, Norman April Lecture and workshop with Louis Marak. Fee: $69. Contact the Firehouse Art Center, 444 S. Flood, Norman 73069; or telephone (405) Pennsylvania, Farmington May Woodfiring Workshop with Kevin Crowe. Contact Touchstone Center for Crafts, RD #1, Box 60, Farmington 15437; or telephone (724) Pennsylvania, Pittsburgh April 21 Adults Obsessed with Fired Mud, lecture on collecting ceramics with Garth Clark. Contact Carnegie Museum of Art, (412) Rhode Island, Kingston May 3 Pit Firing with Bob Green. Fee: $45; members, $40. For further information, contact South County Art Association, 2587 Kingstown Rd., Kingston 02881; telephone (401) Texas, Ft. Worth May Throwing and altering workshop with Ellen Shankin. Fee: $75; Texas Pottery and Sculpture Guild members, $50; membership, $20. Limited registration. Contact Rachel Bates, (817) or Texas, Houston April24 25A session with Tom Clarkson, altering thrown forms. Fee: $40. Contact Barbara Phillips, Halkin Ct., Spring, TX 77379; or telephone (281) Vermont, Montpelier April 17 Demonstration with Elizabeth Roman, throwing and altering vessels. Fee: $4; members, $3. May 8 Demonstration with Helen Otterson, handbuilding large open vessels. Fee: $4; members, $3. For further information, contact the Vermont Clay Studio, 24 Main St., Montpelier 05602; or telephone (802) Virginia, Gainesville May Traditional Nigerian Handbuilding with Winnie Owens- Hart. Fee: $100, includes materials, sawdust firing and lunch. All skill levels. Contact the Clay Connection, PO Box 3214, Merrifield, VA ; telephone (703) or Wisconsin, La Crosse April Traditional Japanese Craft Workshops in Ceramics and Metal, with ceramic demonstrations by Ryoji Koie. Fee: $75; students, $15. Contact William Fiorini or Karen Terpstra, University of Wisconsin-La Crosse, Art Dept., 1725 State St., La Crosse 54601; or telephone (608) Wisconsin, McNaughton April Fast-fire Wood-fueled Workshop with Joan Slack- DeBrock. All skill levels. Fee: $150, includes 92 CERAMICS MONTHLY

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96 Calendar materials, firing and meals. Contact Joan Slack- DeBrock, River Run Pottery, PO Box 95, McNaughton 54543; telephone (715) or International Events Canada, Alberta, Banff May Clay and Mythology: The Trickster with George Kokis, storytelling and clay forming. Fee: Can$249 (approximately US$170). May Explorations in Raku with Ed Bamiling. Fee: Can$l45 (approximately US$100). For further information, contact Office of the Registrar, Banff Centre, (800) or (403) , fax (403) , or website www-nmr.banffcentre.ab.ca Canada, B. C., Nanaimo April26-May 9 Anagama Kiln Firing with Jackson Hirota, loading, firing and unloading anagama. Advanced skill level. Fee: Can$300 (approximately US$200), includes firing. Contact Jackson Hirota, Malaspina University-College, 900 Fifth St., Nanaimo V9R 5S5; telephone (250) or fax (250) Or contact the Tozan Cultural Society, RR 4, Ladysmith, BC V0R 2E0; telephone (250) , fax (250) or Canada, B.C., Victoria May 2 3 Workshop with Michael Sherrill, unusual techniques in throwing, altering and assemblage. Fee/session: Can$100 (approximately US$67). Contact Meira Mathison, Metchosin International School of Art, 650 Pearson College, Victoria V9C 4H7; telephone (250) or May Fired Up Contemporary Works in Clay, exhibition and sale; at Metchosin Community Hall, 4401 William Head Rd. Canada, Ontario, Bowmanville through April 9 Winter s Harvest, juried exhibition of crafts; at the Visual Arts Centre of Clarington, Cream of Barley Mill, 143 Simpson Ave. Canada, Ontario, Haliburton May 4-8 Crystalline Glazes. Intermediate and advanced skill levels. Fee: Can$ (approximately US$115). Contact Haliburton School of Fine Arts, Sir Sandford Fleming College, Box 839, Haliburton K0M ISO; telephone (705) , fax (705) or Canada, Ontario, Toronto April 2 25 Exhibition of ceramics by Mimi Cabri; at Prime Gallery, Gallery 11, 52 McCaul St. April 30-May 3 Fifteenth Annual Summer Show and Sale ; at Woodlawn Pottery Studio, 80 Woodlawn Ave., E. Canada, Quebec, Montreal May 7-27 Microcosmos, ceramic sculpture by Rose Szasz; at the Canadian Guild of Crafts, 2025 Peel St. England, Chichester April Handbuilding and throwing workshop with Alison Sandeman. Contact the College Office, West Dean College, West Dean, Chichester, West Sussex PO 18 0QZ; or telephone (243) England, Hundon May Workshop on handbuilding, smoke and organic firing with Jane Perryman. Fee: 240 (approximately US$392), includes materials, firing and lunch. Contact Jane Perryman, Wash Cottage, Clare Rd., Hundon, Suffolk CO 10 8DH; telephone/fax(440) England, Ipswich Spring Two-week workshops on handbuilding, throwing, decorating with sprigs and slips, firing a salt kiln, plus wood-fired raku, with Deborah Baynes. Fee: 590 (approximately US$964), includes materials, firing, lodging and meals. Contact Deborah Baynes Pottery Studio, Nether Hall, Shotley, Ipswich, Suffolk 1P9 1PW; telephone (473) or fax (473) England, London through April 5 Japanese Influences ; at Crafts Council Shop at the Victoria & Albert Museum, S. Kensington. through May 1 Exhibition of new work by Claudi Casanovas. May 13-June 26 Ceramics and glass by Bernard Dejonghe; at Galerie Besson, 15 Royal Arcade, 28 Old Bond St. April 9-June 28 Three-person exhibition featuring ceramics by Walter Keeler and Janice Tchalenko. Handmade in India, exhibition of contemporary Indian crafts; at the Crafts Council Gallery Shop, 44a Pentonville Rd., Islington. France, Burgundy May 4-9, 4-15 or 4 22 A Korean and Japanese Approach to Ceramics: Throwing and Decoration Workshops with Dauphine Sealbert (1 -, 2- or 3-week sessions). Contact Terres est-ouest, Le Manoir, Lain, France; telephone (86) or fax (86) France, Paris through April 4 Exhibition of ceramic sculpture by Jana Bednarkova; at Galerie Bernanos, 39, ave. Georges Bernanos. France, Sevres April 7 Franz Anton Bustelli et la porcelaine de Nymphenburg, lecture with Katarina Hantschmann. May 5 La ceramique montee de Louis XIV a la Regence, lecture with Jean-Neret Ronfort./une.9 La faience fine anglaise de 1740 a 1800, lecture with Diana Edwards. Contact the Societe des Amis du Musee National de Ceramique, Place de la Manufacture, Sevres 92310; or telephone (41) Italy, Tuscany April Mosaics: An Ancient Italian Tradition Made Contemporary with Elizabeth MacDonald. Contact Horizons, 108 N. Main St., Sunderland, MA 01375; telephone (413) , fax (413) , website or Jamaica, Montego Bay April Making Pottery in Jamaica with David Pinto and Jeff Shapiro. Contact Anderson Ranch Arts Center, PO Box 5598, Snowmass Village, CO 81615; telephone (976) or fax (976) Netherlands, Delft through April 18 Stoneware bowls by Alev Siesbye. April25 June Stoneware wall plates/slabs by Cathy Fleckstein; at Terra Keramiek, Nieuwstraat 7. Netherlands, Deventer through April 4 Ceramics by Felicity Aylieff. April 18-May 76Glazed stoneware by Vincent Potier. May 23 June 20 Ceramics by Anne Floche, Ulla Hansen and Inger Rokkjaer; at Loes and Reinier, Korte Assenstraat 15. Netherlands, Landsmeer April4 June 7 Global Ceramics, works by 64 artists from Europe, North America, Australia and South Korea; at Babel, Van Beeksstraat 272. Netherlands, Oosterbeek through April 12 Exhibition of collaborative works by ceramist Resi Arts and painters Ad Gerritsen and Klaas Gubbels. April 26-May 25 Exhibition including ceramics by Arja Hoogstad and Nicoline Nieuwenhuis; at Galerie Amphora, van Oudenallenstraat 3. New Zealand, Auckland May 1-June 2 Fletcher Challenge Ceramics Award ; at the Auckland Museum. Switzerland, Geneva through May 77 Scent Bottles of the 18th Century ; at Ariana, Swiss Museum of Ceramics and Glass, 10, ave. de la Paix. April 21-June 20 Exhibition of sculpture by Daphne Corregan; at Galerie d Art Couleurs du Temps, 24, rue de la Cite. For a free listing, submit announcements of conferences, exhibitions, workshops and juried fairs at least two months before the month of opening. Add one month for listings in July; two months for those in August. Mail to Calendar, Ceramics Monthly, PO Box 6102, Westerville, OH , e- mail to or fax to (614) CERAMICS MONTHLY

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98 Questions Answered by the CM Technical Staff Q I am having a problem with my oil lamps. The oil I use, Ultra Pure Paraffin, leaks out the bottom, seeping through the foot. I have broken some open and found my glaze application to be okay on the inside. I use a commercial clay, bisqued to Cone 08. The glaze is then applied and fired to Cone 6. Test cones show that my kiln is firing to temperature. My glaze recipe is: Gerstley borate 27.0%, nepheline syenite 47.3%, Edgar Plastic Kaolin 5.4%, flint 20.3%, plus colorant. What is the problem? A. V. I have had similar problems with my oil lamps and have also wondered why this happens. The problem is not in your glaze or in the way you are firing the lamp base but in the very nature of the oil itself. You will probably note that the same ceramic vessel will hold water without seeping as you described with the light lamp oil. One would think that because the hydrocarbon molecules in the oil are so much larger than the water molecules, it would mean that the smaller water molecule would surely slip through if the much larger oil molecule could seep out. As we both have discovered, that is unfortunately not what is occurring. What is apparently happening is that water hydrogen bonds to unpaired electrons in the clay and glaze. This acts to dam up the gaps that exist in any clay cross section, similar to the way blood clots to close a wound. A few molecules attach to the clay and then a few more until openings are thoroughly blocked with water. Oil has no such affinity because it is nonpolar and does not react with the surface molecules. Oil therefore does not dam the gaps (on a microscopic level) like the water, but simply passes through the clay wall, thus the oil seep. I remedied the problem in my studio by lining the inside of the lamp with an oilbased urethane sealer. You can buy this sealer in any paint store. It is typically used as a wood finish. I poured the sealer into the lamp base, sloshed it around and poured it out. Several days to a week are required to allow the sealer to cure completely before you can fill the base with lamp oil. Your climate will drastically affect the curing time. You will have to do a series of tests with your clay body and lamp oils to find the best way to seal the inside of your bases, but this should point you in the right direction. Leaking oil lamps can pose a danger of fire as well as ruin furniture. It is certainly our responsibility to thoroughly test any product we sell. W. Lowell Baker The University of Alabama Tuscaloosa, Alabama Q I am currently using a copper red glaze that contains borax, which does not keep very long when mixed with water. I know that it disassociates after a while; however, I am still not certain why it does this exactly. I hate to waste the excess glaze needed to dip the piece or to spray it. I also read somewhere that it can be dried out and reused again. If this is true, what happens to it after it is dry? Could you please help me out with this and possibly suggest a never-fail copper red recipe that I can test at Cone 10 reduction? J.M. Borax compounds tend to reduce viscosity in glazes. Too much borax can render a glaze solution unworkable. It is important to understand glaze viscosity as well as specific gravity, as they both affect application of the glaze, its subsequent thickness on the ware, and finally, its developed color, or for that matter, the lack of successfully developed color. Specific gravity is the weight of a specific solution, as compared to the weight of the 96 CERAMICS MONTHLY

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100 Questions same volume of water. It is also the barometer for the amount of solids present in the mixture, or its corollary, the amount of water present in a mixture. Usually, the known amount is a pint of water, which weighs 454 grams, or 1 pound. Glazes are suspensions of material in water, and like slips, weigh more than the same volume of water, expressed as 1 point something. There is no standard for specific gravity of glazes, as there are variables from shop to shop and manufacturer to manufacturer. We adjust our glazes between 1.45 and 1.60 depending on the glaze, the type of ware and the application. The only reliable way to ascertain the specific gravity of a slip or a glaze is to weigh a known volume. Hydrometers do not work. Viscosity is defined as the resistance to flow, and it can be used to define a quality in the wet glaze batch or in the fired glaze, as in this is a highly viscous glaze. A glaze needs to have a good set on the ware and this is indeed affected by both the specific gravity of the glaze, its viscosity, as well as additives and binders used in the glaze. To answer your question, there is really no problem in recycling dried glaze. We recycle the overspray that we scrape off by adding it to new batches and sieving before it is used. There are many variables in copper red production. Copper red glazes depend not only on the recipe (whether there is tin present), but also on the heating cycle and the early start of reduction, as well as the end point and the cooling cycle of the kiln. Some stellar copper red glazes can be found in Tom Coleman s book Glazes I Use (see page 110), available from the author. I would not wish to suggest a never-fail copper red glaze, nor for that matter, any glaze that is never fail. I can only suggest glazes that work for me in my pottery under our controlled conditions. There is always a chance that a recipe that may work splendidly for others might not work for you under your specific circumstances. Always test. Jonathan Kaplan Ceramic Design Group Steamboat Springs, CO Have a problem? Subscribers questions are welcome, and those of interest to the ceramics community in general will be answered in this column. Due to volume, letters may not be answered personally. Mail to Ceramics Monthly, PO Box 6102, Westerville, Ohio , to or fax to (614) CERAMICS MONTHLY

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102 Summer Workshops Continued from page 34 Jimmy Clark (August 3 7). Porcelain Workshop with Malcolm Davis, focusing on the teapot (August 10-14). Ceramic Workshop with Robert Winokur, discussion of salt-glaze techniques (August 15-16); fee: $120; members, $100. Carving Clay with Stephen Fabrico; participants should have experience with throwing (August 17-20). Thrown, Handbuilt and Touched with David Wright (August 24-28). Clay as Sculpture with Mark Davies (August 31- September 4). All week-long sessions run from 9:30 AM to noon. Skill requirements vary. Fee (unless noted above): $90; materials and firing not included. Contact Meg Mathews, Executive Director, Long Beach Island Foundation of the Arts and Sciences, 120 Long Beach Blvd., Loveladies 08008; telephone (609) , ext. 301, or fax (609) New Mexico, Abiquiu Handbuilding, glass slumping and soft slabs with Kathy Triplett (June 4 7); fee: $145, includes firing; or $176, includes firing, lodging and meals. All skill levels. Contact Penne Roberts, New Mexico Potters Association, 4530 Bermuda Dr., NE, Albuquerque, NM 87111; telephone (505) or New Mexico, Santa Fe Traditional Micaceous Pueblo Pottery with Bea Tioux; instruction in English and Tewa (June 8-12). Micaceous Pottery, Pit Firing and Poetry with Camilla Truillo and Joan Logghe; instruction in English and Spanish (June 15-20). Design and Fabrication of Tile Installations with Shel Neymark (June 22-26). Mold Making for Sculpture and Pottery: Bronze and Ceramic Casting Molds with Brett Chomer (June 29-July 3). Creative Figure Sculpture and Armature Building with Lisa Gordon (July 6-10). Portrait Sculpture with Ed Lane (July 13-17). Ceramic Tiles: Traditional Glazing and Decorative Techniques with Jay Bonner (August 17-21). Skill requirements vary. Fee/session: $325; or $525 for 2 workshops. Contact jart and Clay Studio, 851 W. San Mateo #4, Santa Fe 87505; or telephone (505) Michael Simon (July 27-31). From the Ground Up with Arnie Zimmerman (August 3-7). Color, Color, Color with Eva Kwong (August 10-14). Skill requirements vary. Fee/session: $345, includes materials and firing. Contact John Addison, Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe 87501; or telephone (505) Artists Retreat IX: Micaceous Clay Pottery, first week consists of coiling and scraping, burnishing, pit firing with Felipe Ortega; second week consists of making large vessels with Jacobo de la Serna (July 5 18,9 AM-3 PM). Instruction in English and Spanish. All skill levels. Fee: $1300, includes materials, firing, lodging, breakfast, lunch and field trip. Contact Dr. Marion F. Jefferson, Dept, of Art and Art History, University of Miami, PO Box , Coral Gables, FL ; telephone (305) or New Mexico, Taos ATewa Woman and Her Clay with JeriTrack (June 14-17, 20). Contemporary Figurative Sculpture of Taos Pueblo with Sharon Dryflower (June 17-19, 22). Beginning Anasazi Pottery with Clint Swink (July 12-15, 18). Advanced Aiiasazi Pottery with Clint Swink (July 19 22, 25). Mask Making (July 23-31). Pueblo Pottery with Sharon Dryflower (August 3-6, 8). Pueblo Storytellers with Juanita Suazo Dubray (August 9-12,15). Traditional Pueblo Pottery with Soje Track (August 16-19, 22). For further information, contact Taos Art School, PO Box 2588, Taos 87571; telephone (505) or Mask Making with Bernadette Track (June 21-27). Micaceous Cookware with Jeri Track (June 28-July 4). Building the Traditional Horno with Carmen Velarde, building a beehive-shaped adobe oven (June 29-July 3); fee: $345, includes materials. Traditional Coil Handbuilding Techniques with Sharon Dryflower Reyna (July 5-11). Storytellers with Juanita Dubray (July 12-18). Creative Tiles with Aliah Sage (July 27-31); fee: $395, includes materials and firing. Emerging from the Flames: Secrets of Raku with Richard St. John Hawley (August 2-8). Traditional Coil Handbuilding Techniques with Sharon Dryflower Reyna (August 30 September 5). Skill requirements vary. Fee (unless Covered Vessels with Cynthia Bringle (June 15- noted above): $385, includes materials and firing. 19). Functional Form: Relationships, Handbuilding Most sessions take place on Taos Pueblo. For further and the Wheel with Mark Pharis (June 22-26). information, contact Judith Krull, Associate Director, Taos Institute of Arts, Box 5280 NDCBU, Taos Construction Zone with Dan Anderson (July 6 10). Building and Carving with Christine Federighi 87571; telephone (800) or (505) 758- (July 13-17). The Magic of Majolica with Nansika 2793, fax (505) , or Richardson (July 20-25). Functional Pottery with website Handbuilt and decorated pots are fired in a trench kiln during a workshop with Gregory Wood in Mesa Verde, Colorado. 100 CERAMICS MONTHLY

103 New York, Alfred New Voices, New Systems, New Solutions with John Gill and 4 emerging ceramics artists, exploring throwing, handbuilding and mold making as interrelated processes (June 15-July 10). Glaze Calculations (July 13-24). Contact Kathy Isaman, Alfred University, (607) or Marlene Wightman (607) New York, Clayton Garden Sculpture with Kevin Mulcahy (July 13-17). Raku with Inyo Bayer (August 3 7); fee: $235, Ceramics Dept., Craft Students League, 610 Lexington Ave., New York 10022; telephone (212) 735- includes clay and glazes. Basic Throwing with Kevin 9804 or fax (212) Mulcahy (August 10-14). Skill requirements vary. Fee (unless noted above): $170, includes materials Student Anna Babcock detailing a sculpture during a workshop with John Mason at Santa Fe Clay in New Mexico. and firing; members receive 15% discount. Contact Lisa Larue, American Handweaving Museum and Thousand Island Craft School, 314 John St., Clayton 13624; or telephone (315) New York, Middlesex New York, Port Chester Apprenticeship in a production pottery, clay and Introduction to Majolica with Posey Bacopoulos glaze making, throwing, handbuilding, surface deco (Junration, kiln loading Quly 28-Fall); participant must Raku: Throwing and Firing with Steve 5); fee: $55, includes materials and firing. Branfman be willing to share in other chores of the farming craft (June 19-21); fee: $125, includes firing. Tiles, Plus community. Beginning and intermediate. Contact Annie Schliffer, Rochester Folk Art Guild Pottery, 1445 Upper Hill Rd., Middlesex 14507; or telephone (716) or New York, New York Beginning throwing with Frank Bosco (June 1-July 8, Mon. and Wed., 6 9 PM). Tile studio with Frank Giorgini (June 4 July 9, Thurs., 10 AM-5 PM). Intermediate throwing with Carmen Soriano; instruction in English and Spanish (June 1-July 8, Mon. and Wed., noon-3 PM). Handbuilding Illustrative Sculpture with Bruce Morozko (June 2- July9,Tues. and Thurs., 6-9 PM). Skill requirements vary. Fee/session: $70, includes materials and firing. For further information, contact DeBorah Goletz, Parsons School of Design, Product Design Dept., 2 W. 13th St., New York 10011; telephone (212) or fax (212) Japanese Wheel-throwing Techniques with Yuji Yasui (July 6-9); fee: $245; members, $230. The Personal Place Setting, throwing with Virginia Piazza (July 7, 14, 21 and 28, 6-9 PM). Creative Stretches in Clay, handbuilding with Vera Lightstone (July 7, 14, 21 and 28, 10 AM-1 PM). Little Things Mean a Lot: An Exploration in Terra-cotta Miniatures with Thomas Folino (July 13-16); fee: $245; members, $230. Introduction to Porcelain: Wheel Throwing with Arthur Gerace Quly 14, 15, 22 and 29, 10 AM-1 PM). Glaze Chemistry with Richard Zakin (July 17-18); fee: $165; members, $150. East Meets West: Tradition Meets Contemporary with Sang Joon Park (July 20-23); fee: $245; members, $230. The Figure in Relief with Sarah Coble (July 20, 22, 27 and 29, 10 AM-1 PM). Japanese Potters Tool-making Workshop with Keiko Ashida and William Gundling; instruction in English and Japanese (July 25); fee: $90; members, $75. Form and Texture with Sandi Pierantozzi, Neil Patterson (August 1-2); fee: $165; members, $150. Skill requirements vary. Fee (unless noted above): $125; members, $110. Contact Alan J. Davidson, Director, Handbuilding with Tom Kerrigan; or throwing with Lisa Stinson (July 8-12). Introduction to throwing with Barry Bartlett; or handbuilding with Kim Dickey (July 15 19). Handbuilding with Eddie Dominguez; or throwing with Ron Meyers (July 22-26). Throwing with Mary Roehm (July 29-August 2). Skill requirements vary. Fee/session: $330, includes materials; plus $10 registration fee for new students. Contact Lynne Lerner, Greenwich House Pottery, 16 Jones St., New York 10014; telephone (212) or fax (212) New York, Oneonta Forming, glazing, decorative techniques for moist clay, sawdust and oxidation firings (June 28 July 18). Beginning and intermediate. Fee: $975 and up, includes lodging and meals. Contact Nancy Brandow, Assistant Director, Hartwick College, West St., Oneonta 13820; telephone (607) , fax (607) or New York, Otego August Clay Workshop with Elizabeth Nields, covers all aspects of production, including handbuilding, throwing, constructing large sculptures, glazing, firing in an 80-cubic-foot gas kiln, and setting up a show (August 3-16); fee: $690, includes materials and lunch on weekdays. Raku Workshop with Elizabeth Nields, making suitable clay, throwing, handbuilding, glazing and firing (August 17-18,24-25); fee: $135, includes materials and firing for 8 pieces; extra pieces, $5 each. All skill levels. Contact Elizabeth Nields Clay Workshops, 429 Chicken Farm Rd., Otego 13825; or telephone (607) with Annabeth Rosen (June 26); fee: $60. Ceramics for Teachers with Harriet Ross (J une 30 J uly 2); fee: $245, includes materials and firing. Raw Glaze/ Single Firing with Jane Herold (July 15 18); fee: $220. Pots for the Table Top with Silvie Granatelli (August 10-14). Skill requirements vary. Contact Reena Kashyap, Clay Art Center, 40 Beech St., Port Chester 10573; or telephone/fax (914) New York, Rochester Clay: Color/Texture/Surface with Moi Dugan (June 1-12); fee: $1101, includes 3 credits. Beginning through advanced. Contact Robert D. Schmitz, College of Imaging Arts and Science, School for American Crafts, Rochester Institute of Technology, James E. Booth Bldg., 73 Lomb Memorial Dr., Rochester ; telephone (716) , fax (716) or A one-day workshop on raku firing/glazing with Mike Carroll and Andrew Denney (July, Sat.); fee: $65, includes materials and firing. Beginning skill level. Contact Rick White, Genesee Pottery, 713 Monroe Ave., Rochester 14607; telephone (716) or New York, Rosendale Maiolica Madness with Liz Quackenbush (June 22-26); lab fee: $40. Earthenware Processes: The Power of Objects with Gina Bobrowski (July 6-10). Roll, Throw, Flip, Stack: Building Up Pots in Terra Cotta with Jane Dillon (July 13-17); lab fee: $40. Wishbones and Dream Soup with Mary Forker and April

104 Summer Workshops Gretchen Stevens Cochran (July 27-31). On the Surface with Ellen Huie (August 10-14). Figurative Ceramics with Helen Hosking (August 17 21). All skill levels. Lab fee (unless noted above): $35. Limited to 9 participants per session. For further information, contact Women s Studio Workshop, PO Box 489, Rosendale 12472; or telephone (914) New York, Saratoga Springs Two sessions from beginning to independent study in Ohio, Oxford handbuilding, throwing, glazing, kilnbuilding, tile Single Firing: Functional Stoneware in the 90s making, raku, pit firing and slip casting (June 1-July with Steven Hill (June 15-19). Beginning Throwing with Kris Nelson (June 22-26). Glaze Chemis 2 or July 6-August 6). Instructors: Regis Brodie, Ted Camp, Cookie Coyne, Doug Klein andjill Kovachick. try and Formulation with Vince Burke (June 29- All skill levels. Fee: $130, includes firing. Contact July 3). Handbuilding Functional Pots with Sandi Marianne Needham, Coordinator, Skidmore College, 815 N. Broadway, Saratoga Springs 12866; telephone (518) , fax (518) or New York, Southampton One- and two-week workshops on various topics, including colored clay techniques, throwing, glazing and firing (June 29-July 31). Instructors: Richard Baumann, Phyllis Kudder-Sullivan and Marc Leuthold. Beginning through advanced. Fee: $433- $457, includes materials and undergraduate/graduate credit. Contact Carla Caglioti, Summer Director, Southampton College of Long Island University, 239 Montauk Hwy., Southampton 11968; telephone (516) , fax (516) , or website www. southampton.liu.edu New York, Walton Wood-Firing Workshop with guest artist Reinaldo Sanguino (June 5-8, July 3-6,30-August3). Instruction in English and Spanish. Beginning through advanced. Fee/session: $150. Limited to 6 participants per session. For further information, contact Maxine Krasnow, c/o East Meets West Pottery, 1456 E. Hedrick Dr., Tucson, AZ 85719; or telephone (520) North Carolina, Asheville Teapot Workshop with Peter Pinnell (July 6 10); fee: $225, includes materials and firing. Handbuilding Workshop with Kathy Triplett (July 13 17). Throwing: Altered and Combined Forms with Gay Smith (July 20-24). Wheel-Thrown Porcelain with Malcolm Davis (July 27-31); fee: $175, includes materials. Skill requirements vary. Fee (unless noted above): $150, includes materials and firing. For further information, contact Mark Burleson, Odyssey Center for the Ceramic Arts, 236 Clingman Ave., Asheville 28801; telephone (704) , fax (704) or North Carolina, Brasstown Colorful Raku Pottery with Robert Chance, emphasizing handbuilding (May 31-June 6). Throwing Large Forms with Leon Nichols (June 7-13). Narrative Clay with Margaret DesJardins, porcelain, with a focus on handbuilding (June 28-July 4). Colorful Containers Sculptural and Utilitarian with Susie Duncan (July 12-18). Clay Basics with Bob Owens (July 19-24). Teapots and Pitchers with Don Davis (July 26-August 1). Skill requirements vary. Fee per session: $258. Contact Hanne Dalsemer, Registrar, John C. Campbell Folk School, 1 Folk School Rd., Brasstown 28902; telephone (800) , fax (704) , or website modations available. Contact William Jean, The Clevebuilding, throwing, altering thrown forms with Mark land Institute of Art, East Blvd., Cleveland 44106; telephone (216) , fax (216) or Ohio, Logan Pipe Sculpture Workshop with Jerry L. Caplan, building sculptures from industrial extrusions 6 and 8 inches in diameter (May 31-June 6); fee: $375, includes materials and firing. Intermediate through professional. Location: Logan Clay Products. For further information, contact Jerry L. Caplan, Pipe Sculpture Workshops, 5819 Alder St., Pittsburgh, PA 15232; or telephone (412) Robert Compton demonstrating the coil-and-throw technique during his Throwing Giant Pots Workshop in Bristol, Vermont. Pierantozzi (July 6-10). Handbuilding on the Wheel: Low-fire Solutions with Woody Hughes (July 13-17). Skill requirements vary. Fee/session: $325, Ohio undergraduate; add $15 for graduate; add $381 for out-of-state fee. Contact Joyce Ponder, CraftSummer, Miami University, Rowan Hall, Oxford 45056; telephone (513) , fax (513) or edu Oregon, Ashland Workshops on handbuilding, sculpture (July 6-10); and/or surface decoration on thrown works (July 13 17). Instructor: John Connors. Beginning and intermediate. Fee: $250 per week, includes materials. Camping facilities available. Contact John Connors, PO Box 3343, Ashland 97520; or telephone (530) Oregon, Portland Low-fire Salt with Paul Soldner, Peter Voulkos and Peter Callas (June 15-19); fee: $550, includes studio fee, materials and firing. Color and Commitment: Decorated Earthenware with Doug Browe and Jan Hoyman (June 22-26); fee: $395, includes studio fee, materials and firing. Skill requirements vary. College Ohio, Cleveland credit available. For further information, contact Discovering and Developing Personal Iconography Shirl Lipkin, Oregon College of Art and Craft, 8245 with Kristen Cliffel, handbuilding sculpture (June 1- S.W. Barnes Rd., Portland 97225; telephone (503) 12). Tableware and Maiolica: A Throwing and or fax (503) Glaze Workshop with Deirdre Daw (June 15-26). All skill levels. Fee: $620, includes lab fee; or $820, Pennsylvania, Chester Springs includes lab fee and 2 college credits. Living accom Demonstration/slide lecture plus hands-on hand 102 CERAMICS MONTHLY

105 Pharis (June 12-14). Intermediate and advanced. Utah, Cedar City Contact Chester Springs Studio, PO Box 329, Chester Salt Kilnbuilding Workshop (June 29-July 3). Springs 19425; telephone (610) or Pennsylvania, Farmington Introduction to Ceramics (June 5-7); fee: $140, includes materials. Textured Pots for the Wood Kiln and Gas Kiln with Jim McDowell (June 8-13); fee: $200, includes materials. Pinch Pots and Pit Firing: Ancient Methods for Modern Times with Jimmy Clark (June 15-20); fee: $220, includes materials. Throwing Pots for Wood Firing with Kevin Crowe (June 22-27); fee: $195. Handmade Tiles with Denise Kupiszewski (July 6-11); fee: $210, includes materials. Thrown, Handbuilt and Touched with David Wright (July 13-18); fee: $230, includes materials. Low-fired Garbage Salt with Steven Murdock (July 27-August 1); fee: $210, includes materials. Apprentice to Clay with Dale Huffman (August 3-8); fee: $215, includes materials. Wheel-thrown Pottery with Valda Cox (August or 17-22); fee/session: $270, includes materials. Wood-fired Workshop with Kevin Crowe (August 24 29); fee: $170, includes materials. Contact Clara Pascoe, Touchstone Center for Crafts, RD 1, Box 60, Farmington 15437; telephone (724) , fax (724) or Rhode Island, Providence Object/Idea in Clay: Exploring the Source with Sharon Pollock-Deluzio; The Decorated Functional Pot with Bruce Winn; Porcelain with Lawrence Bush Qune 22-July 30); fee/session: $1070, includes materials and firing. Intermediate through professional. Living accommodations available. Contact Christine Francis, Assistant Director for Summer Programs, Rhode Island School of Design, 2 College St., Providence 02903; telephone (401) , fax (401) or, for catalog requests, Tennessee, Gatlinburg Animal Imagery in Clay Sculpture with Adrien Arleo (June 1-5). Pot Possibility with Nicholas Joerling (June 8-12). Innovative Cone 6 Ceramics with Peter Pinnell and Lana Wilson (June 15-19). Ceramic Sculpture with Doug Jeck; Function and Fantasy with Diane Rosenmiller (June 22-July 3). Pots Beyond Technique with Bobby Silverman (July 6-10). Wood Firing with the Anagama Kiln with Jim Brashear; Low-Fire/Tow-Tech: Handbuilding Functional Pots with Gail Kendall Quly 13-24). Glazing with Intent with George Bowes (July 27-31). From Function to Aesthetics with Patrick Horsley (August 3-7). Fee: $590 $855, includes materials, firing, lodging, meals and application fee. For further information, contact Registrar, Arrowmont School of Arts and Crafts, PO Box 567, Gatlinburg 37738; telephone (423) , fax (423) , or website Tennessee, Sewanee Individual study with a potter and apprentice (May 25-August 7). Beginning and intermediate. Contact Hallelujah Pottery, Sewanee Hwy., Sewanee 37375; telephone (931) or j net Tennessee, Smithville Put a Lid on It: Handbuilding and Throwing Lidded Pots with Gail Kendall and Jeff Oestreich (June 8-12). Slab Sculpture with William Daley; Ancient Clay with Vince Pitelka (June 15-19). Earthenware Form and Surface with Joan Bruneau; Raku with Karl Borgeson (June 22 26). Making Pots with Kirk Mangus; Wood Firing with Diane Rosenmiller and Nicholas Seidner (July 6-10). Paperclay with Rosette Gault; Tile: Making, Decorating, Marketing with Paul Lewing (July 13-17). Thrown and Handbuilt Forms with Kathleen Guss and Stephen Robison; Framing: Ceramics for Architecture with Neil Forrest (July 20 24). Skill requirements vary. Fee per session: $200, includes firing. Contact the Appalachian Center for Crafts, 1560 Craft Center Dr., Smithville 37166; telephone (615) or (931) , or fax (615) Throwing/Handbuilding and Salt-glaze Firing (July 6-10). Instructors: Susan Harris and Wil Shynkaruk. All skill levels. Fee per week: $190, includes materials and firing. Undergraduate and graduate credit available. Contact Rossina Felstead, Southern Utah University, Dept, of Art, 213L Centrum, 351 W. Center St., Cedar City 84720; telephone (435) or Vermont, Bennington Handbuilt Tableware with Bruce Winn (August 2-8). Narrative Clay with David Stabley, surface decoration and embellishment (August 9-15). Raku and Colored Clay with Makoto Yabe (August 16-22). Advanced. Fee/session: $630, includes materials; or $930, includes materials, lodging and meals. Contact Stephanie Adelman, Art New England Magazine, 425 Washington St., Brighton, MA 02135; telephone (617) , fax (617) or Vermont, Bristol Experiencing the Fire, firing in 5 different kilns, including a salt, raku, sawdust, pit, and climbing multichambered wood kiln (June or 26 29); fee/session: $495, includes materials, firing and meals. Throwing Giant Pots, focusing on methods that do not require great strength (July or 17-19). Thrown and Altered Pots (August 7-9). Instructor: Robert Compton. Intermediate. Fee (unless noted above): $350, includes materials and meals. For further information, contact Robert Compton Pottery, 3600 Rte. 116, Bristol 05443; telephone (802) , or website Vermont, Montpelier Making, decorating and firing ceramics in the Mata Ortiz tradition with Cesar Dominguez (June 8 12); fee: $350. For further information, contact the Vermont Clay Studio, 24 Main St., Montpelier 05602; or telephone (802) Virginia, Forest Beginning Ceramics, throwing, handbuilding, glazing, firing (July 20-24, 9 AM-noon); fee: $125, includes 25 lb. of clay, glazes, tool kit and firing. Raku Workshop with Pat Lester, making, glazing and firing work (July 25 and August 1); fee: $65, includes clay, glazes and firing. Low-Relief Sculpture (July 27-31, 9 AM-noon); fee: $125, includes clay. Instructor: Pat Lester. Skill requirements vary. Preregistration required. Contact Spun Earth Pottery, 171 Vista Centre Dr., Forest 24551; or telephone (804) Virginia, Gainesville Decorated Surface, hands-on workshop with David MacDonald (June 27); fee: $45, includes materials. Hands-on workshop with Winnie Owens-Hart, focusing on the traditional handbuilding techniques of the women of Ipetumodu, Nigeria (July 25 26); fee: $100, includes clay. Hands-on workshop and slide lecture with Syd Carpenter (August 22); fee: $45, includes materials. Limited registration. Contact W. R. Owens-Hart, PO Box 361, Gainesville 20156; telephone (703) or Washington, Ferndale Ancient Clay, handbuilding, decorating, terra sigillata, burnishing/polishing and bonfire firing (July 27-31); fee: $250, plus clay cost. Color and Surface with Slip Techniques, sgraffito, slip layering, stamping, resist, trailing, marbleizing, feather-combing (August 3-7); fee: $275, plus clay cost. Instructor: Vince Pitelka. Skill requirements vary. Camping facilities available. For further information, contact Michael McDowell, PO Box 4125, Bellingham, WA 98227; telephone (360) or Washington, Methow Raku on the River with Karen Krieger, handbuilding sculpture, raku firing (June 21-28, July or August 16-23); fee/session: $600, includes materials, April

106 Summer Workshops firing, camping facilities and 2 vegetarian meals per day. All skill levels. Registration deadline: June 1. Contact Karen Krieger, PO Box 533, Methow 98834; or telephone (509) Washington, Wenatchee Loading, saggar firing and unloading, plus surface development, throwing techniques and marketing information with Ruth E. Allan (June 25-27); fee: $95, includes materials and firing; plus $2 registration Medalta: International Artists in Residence, PO Box 204, 703 Wood St., SE, Medicine Hat; telephone fee. All skill levels. Contact Ruth E. Allan, Wenatchee (403) , telephone/fax (403) or e- Valley College, PO Box 2111, Wenatchee mail 2111; or telephone (509) Canada, British Columbia, Galiano Island Wisconsin, Appleton Building and firing simple kilns, such as pit and Pottery and Porcelain Restoration with Gerlinde wood-burning raku, plus fuming, salt and post firing, Kornmesser, ethics in ceramics restoration, detecting with Randy Brodnax (July 12-18); fee: Can$800 good repairs, removing stains and old repairs, joining (approximately US$530), includes materials, firing, single and multiple breaks, filling chips, plain and lodging and meals. Beginning through advanced. fancy, modeling and casting missing parts, synthetic Contact Sandra Dolph, Cedar Grove Pottery, Galiano glaze, color and design, crazing, texture, matting, Island VON 1P0; telephone/fax (250) special effects, airbrushing and supply sources (June 21-28, July orjuly26-august 2). Fee: $1010, Raku Workshop for women with Meira Mathison includes materials, firing, lodging and meals. Location: Lawrence University. For details/registration sawdust/pit and toilet-paper firing, and postfiring and Sandra Dolph, throwing, raku kiln construction, form, send SASE to Gerlinde M. Kornmesser, 1011 reduction techniques (June 6-7); fee: Can$138 (approximately US$90), includes lunch. Contact Meira Harlem Ave., Glenview, IL 60025; telephone (847) or fax (847) (250) , or Sandra (250) Wisconsin, Bayfield County Canada, British Columbia, Nanaimo Firing a 24-foot anagama with Mike Weber; participants must bring raw or bisqued ware (June 15-25). ning. Noborigama Firing, chopping wood, stack Anagama Firing Workshop (June 11-20). Begin For further information, contact Mike Weber, ing kiln, firing, cooling, removing pots (August 7- PO Box 45, Herbster, WI 54844; telephone (715) 22). Advanced. Contact Tozan Cultural Society, or RR4, Ladysmith, BC V0R 2E0; telephone (250) , fax (250) , Wisconsin, Drummond or One-week workshops with Randy J. Johnston, covering various aspects of ceramics, including throwing Canada, British Columbia, Osoyoos and handbuilding, with an emphasis on salt and raku Handbuilding Sculpture Workshop with Zeljko firing (June or 21-27); fee: $445, includes Kujundzic (June 23 27); fee: US$125. Instruction in materials, firing, lodging, meals and 2 undergraduate English, French, Hungarian and Spanish. Beginning credits; or $585 for 2 graduate credits. Intermediate through advanced. Limited to 8 participants. For through professional. Contact Randy J. Johnston, further information, contact Zeljko Kujundzic or University ofwisconsin, River Falls, 310 S. Third St., Elizabeth, RR2, Site 6 Comp. 9, Osoyoos V0H 1V0; River Falls, WI 54022; telephone (715) , or telephone (250) fax (715) or Wisconsin, Waukesha Firing a 250-cubic-foot anagama with Christopher Davis-Benavides and Jeff Noska, plus demonstrations on handbuilding, throwing, kiln design and critiques of student work (June 15-July 24, Mon., Tues., Wed. mornings); fee: $300, includes materials and firing. Contact Christopher Davis-Benavides or UW-Waukesha Registration, University of Wisconsin-Waukesha, 1500 University Dr., Waukesha ; telephone (414) , fax (414) or International Workshops Canada, Alberta, Banff Clay Camera in the Rockies with Ed Bamiling and Ernie Krueger, making and firing a pin-hole camera in clay, plus photography hiking sessions using selfmade camera (August 29-September 3); fee: Can$395 (approximately US$260). For further information, contact the Banff Centre, Office of the Registrar, (800) or (403) , fax (403) , or website www-nmr. banffcentre. ab. ca Canada, Alberta, Medicine Hat Open-door workshops with the following artistsin-residence: William Truchon, wood kilnbuilding and firing (June 1-12); Yasuo Terada, throwing, handbuilding pottery (June 1-16); Robert Archambeau, throwing/handbuilding functional forms, wood firing (June 1-19); Robert Harrison, handbuilding architectural sculpture (June 1-26); Trudy Golley, handbuilding sculpture (June 8-29); Sandra Lancaster, handbuilding sculpture (June 15- July 24); Ryan Cameron, throwing, slip decoration and reduction firing to Cone 10 (June 22-July 11); Chuck Wissinger, throwing, handbuilding, glazing (June 29-July 24); Katrina Chaytor-Rozman, handbuilding and tiles (July 6 24); Noburo Kubo, throwing functional and nonfunctional forms plus Japanese brush technique (July 13 24). Participants can work with 1 or more residents for 2-, 4-, or 8-week sessions. Fee: Can$250 (approximately US$l65)/2 weeks; Can$400 (approximately US$265)/4 weeks; Can$600 (approximately US$395)/8 weeks; includes glazes and firing. All skill levels. Contact Mona Jesse, Canada, British Columbia, Salt Spring Island Handbuilding and exploring low-temperature firing techniques (June 15-26). Extending Your Creative Force (July 6 17). Instructor: Denys James. Skill requirements vary. Fee: Can$495 (approximately US$330), includes firing. Camping facilities available. Contact Denys James Studio, 182 Welbury Dr., Salt Spring Island V8K 2L8; or telephone/fax (250) Diane Lopez coiling and smoothing a pot during a workshop with Vern Roberts in Penrose, Colorado. 104 CERAMICS MONTHLY

107 Canada, British Columbia, Vancouver Form and Surface with Colored Clays with Vince Pitelka (July 18-22); fee: US$275, plus clay cost. Intermediate and advanced. Contact Olga Campbell, 3866 W. 12th Ave., Vancouver V6R2N8; telephone (604) or Canada, British Columbia, Victoria Crack Pots with Patrick Crabb (June 29-July 3); fee: Can$315 (approximately US$210). Kilnbuilding and Firing: Hands-On with Randy Brodnax; Glaze and Color Development with Robin Hopper; Throwing Everything but Round with Patrick Horsley; Figure Sculpture with Bill Porteous (June 29-July 10). Photo Images on Clay with Andrew Wong (July 4); fee: Can$60 (approximately US$40). Raku with Steven Forbes-deSoule Quly 4 5); fee: Can$l 10 (approximately US$75). Paperclay with Rosette Gault (July 6-10); fee: Can$315. Fee (unless (August 10-14). Raku: Special Effects II (August 10-15); fee: Can$ Skill requirements vary. Fee (unless noted above): Can$ (approximately US$115). Contact Haliburton School of Fine Arts, Sir Sandford Fleming College, Box 839, Haliburton KOM ISO; telephone (705) , fax(705) or Canada, Ontario, North Bay Wood Kiln: Building and Firing with Jane Agnew (June 1-25, 2 days/week); fee: Can$202 (approximatelyus$135), includes materials and firing. Concrete Sculpture with Jane Agnew, for sculptors wanting to experiment in a different medium (June 29- July 3); fee: Can$202, includes materials. Portrait Sculpture in Stoneware with Christopher Vezina (July 6-10); fee: Can$192 (approximately US$125), includes materials. Glaze Technology with Ron Roy Quly 6-10); fee: Can$182 (approximately Instructor Farley Tobin and student Stephan Jaskowak raku firing tiles during a workshop at Miami University in Oxford, Ohio. Canada, Nova Scotia, Halifax Studio Ceramics with Peter Bustin, independent study with seminars and critiques (May 11-June 22). Mold Making with Peter Bustin (May 13-June 26). Skill requirements vary. Fee/session: Can$ US$65) per week. Contact Keith Campbell, Director, Artsperience, Canadore College, Summer School (approximately US$355), includes materials and firing. Contact Walter Ostrom/Neil Forrest, Nova Scotia telephone (705) , ext. 5401, fax (705) 495- of Arts, 100 College Dr., North Bay P1B 8K9; College of Art and Design, 5163 Duke St., Halifax 8397, or B3J 3J6; telephone (902) , fax (902) 423- website or Canada, Nova Scotia, Indian Harbour Historical Context/Contemporary Practice with Walter Ostrom, earthenware decoration, its theory and practice (July 20-25); fee: Can$650 (approximately US$430), includes materials, firing, lodging, meals. Intermediate through professional. Contact Walter Ostrom/Elaine Dacey Ostrom, Walter Ostrom Pottery, Box 1633, Tan tallon, Nova Scotia B0J 3J0; telephone (902) or fax (902) noted above: Can$565 (approximately US$375); all US$120), includes materials and firing. Raku I with fees include lunch. Living accommodations available. Judy Lowry (July 13-17); fee: Can$187 (approxi Contact Meira Mathison, Metchosin International School of Art, 650 Pearson College, Victoria V9C 4H7; telephone (250) , fax (250) or mately US$ 125), includes materials and firing. Stoneware Form with Jim Louie (July 20-24); fee: Can$187, includes materials. Handbuilding Clay Sculpture with Dzintars Mezulis (July 27-31); fee: Can$182, includes materials. Porcelain (Teapots) with Keith Campbell Quly 27-31); fee: Can$192, includes materials and firing. Skill requirements vary. Living accommodations: Can$96.30 (approximately Canada, Ontario, Toronto Hi-Low-Fire Ceramics Multi-Level with Dennise Buckley (June 8-19, weekdays, 9 AM-noon); fee: Can$ (approximately US$185), includes materials. Raku: Building and Operating a Raku Kiln with Ann Cummings (June 13 and 20); fee: Can$ (approximately US$140), includes materials. Exploring Glazes at Cone 6 with Nancy Solway (June 22-26); fee: Can$ (approximately US$ 190), includes materials. Decorative Pottery at Cone 6 with Nancy Solway (June 29-July 3); Canada, Ontario, Haliburton fee: Can$286.95, incudes materials. Exploring Teapots with Debby Black (July 5-10); fee: Can$479 Pottery for Beginners with Barbara J. Peel (June 29- July 4); fee: Can$ (approximately US$130). (approximately US$315). Mold Making for Press Pottery II with Barbara J. Peel (July 6-11); fee: Molds: Bisque and Plaster with Debby Black (July Can$ Figure Modeling and Sculpture ; Paper Clay with Grace Nickel Quly 13 17). Clay includes materials. Skill requirements vary. Contact 20-24); fee: Can$ (approximately US$260), Relief Sculpture ; Clay Tiles (July 20-24). Christine Parsonage, George Brown College, PO Underglazing Techniques (July 27 31). Raku: Box 1015, Station B, Toronto H5T 2T9; telephone Special Effects (August 3-8); fee: Can$ (416) , fax (416) or Handbuilding Clay Sculpture with Dzintars Mezulis Continued April

108 Summer Workshops France, Bordeaux, Chalons and Perpignan Eight-day sessions on restoring china and earthenware, painting on china or raku (July). Instruction in French. Beginning through advanced. Fee: Fr 2000 (approximately US$315), includes materials and firing. Living accommodations available. For further England, Chichester information, contact Pierre Rabiet, Rue de la Noblette, Workshop on pottery, including raku and stoneware Chalons-en-Champagne; telephone (26) 66 glaze firings, with Alison Sandeman (July 25-31) or fax (56) Mosaics in Marble, Glass and Ceramic with Emma Biggs; Handbuilding Ceramics in Stoneware and Greece, Samos Porcelain with Gordon Cooke (August 1-7). Sculptural Ceramics with Tessa Fuchs, focusing on the cast in plaster and multiples made using press mold Relief Sculpture/Tile Making, prototypes will be human figure and animals (August 8-14). Beginning and casting techniques, plus optional tile-installation through advanced. Fee/session: 458 (approximately project (June 22-July 12). Contact Susan Trovas, US$720), includes firing, meals and lodging. Contact Director, Art School of the Aegean, PO Box 1375 Heather Way, Press and Public Relations Coordinator, West Dean College, West Dean, near Chichester, (CM), Sarasota, FL ; or telephone (941) West Sussex P018 OQZ; telephone (243) , fax (243) or England, Eye Three-day demonstrations on handbuilding, throwing, glazing, decorating, painting, plus slide lecture and videos with Robin Welch (Summer, Sun. PM- Wed. PM); fee: 240 (approximately US$375), includes materials, lodging, breakfast and lunch. Beginning through advanced. Contact Robin Welch, Stradbroke, Eye, Suffolk IP21 5JP; telephone (379) England, Hundon Handbuilding, smoke and organic firing, with Jane Perryman (July or August 4 8); fee: 240 (approximately US$375), includes materials, firing and lunch. Beginning through advanced. Contact Jane Perryman, Wash Cottage, Clare Rd., Hundon, Suffolk CO 10 8DH; or telephone/fax (440) England, Ipswich Instructors: Pietro Elia Maddalena, Mo Jupp, Patrick Weekly sessions in which participants can design their Picarelle and Takeshi Yasuda. Instruction in Italian, own experience, choosing from handbuilding, throw Englising, glazing, kiln design, firing, marketing, etc. (Sum lira (approximately US$950), includes materials, fir and German. All skill levels. Fee: 1,800,000 mer). Instructors: Alan and Patt Baxter. All skill levels. ing, lodging and meals. For further information, Fee: 290 (approximately US$455), includes materials, firing, lodging, meals, and travel to and from Certaldo, Firenze, Italy; telephone/fax (57) contact Pietro Elia Maddalena, Loc. Bagnano 135, Ipswich train station. For further information, contact Alan Baxter Pottery Workshop, The White or House, Somersham, Ipswich, Suffolk IP8 4QA; telephone/ fax (473) , or website plus visiting museums, etc., in Tokyo (June 3-13). Weekly sessions on handbuilding, throwing, glazing, Registration deadline: May 15. Contact George pit firing, wood-fired raku with Deborah Baynes (July Dymesich, 7475 Oak Ridge Rd., Aptos, CA 95003; 5-11,26-August 1,2-8,9-15,16-22, or 23-29). All telephone (408) skill levels. Fee: 300 (approximately US$470), includes materials, firing, lodging and meals. Contact Mexico, La Cruz de Huanacaxtle Deborah Baynes Pottery Studio, Nether Hall, Shotley, Handbuilding using clay, bricks and tile, plus wood Ipswich, Suffolk 1P9 1PW; telephone (473) firing, with Kirk Mangus (June 15-26) or Virginia or fax (473) Scotchie (July 13-24). Instruction in English. All skill levels. Fee/session: $950, includes materials, firing, England, Ross-on-Wye lodging and meals. Contact Black Point Clay Workshop, (508) Throwing with porcelain, color and surface treatment, plus soda firing with Jack Doherty (July 27 Netherlands, Oosterwolde August 1 or 3-8); fee: US$400, includes materials, firing and lunch. Intermediate through professional. Contact Jack Doherty, Hook s Cottage, Lea Bailey, Ross-on-Wye HR9 5TY; telephone/fax (989) or England, Rye Five-day sessions on slipware and high-fire earthenware with John Solly (Summer); fee: 175 (approximately US$275), includes materials, firing and meals. Netherlands, Veghel All skill levels. Contact John Solly Pottery, Goldspur Workshops with G. de Rijk (June 28-July 4), C. Teer Cottage, Flackley Ash, Peasmarsh, Rye, East Sussex (July 5-11) and H. V. Alphen (July 12-18). Instruction in Dutch and English. Beginning through ad TN31 6YH; or telephone (797) vanced. Fee/session: $165. Lodging: $50; meals: $55. France, Allegre Contact Instituut Pieter Brueghel, Hr. P. van Melis, Two-week sessions on stoneware, throwing, glazing, Middegaal 23-25, 5461 XB Veghel; telephone (41) firing; 1-weeksessions on raku (Summer). Instructor: Michel Simonot. Instruction in French and English. Beginning through advanced. Fee: US$850/2 weeks; US$400/1 week; includes materials, firing, lodging and meals. For further information, contact Michel Simonot, Mas Cassac, F Allegre; telephone (66) or fax (66) Italy, Faenza Throwing, slip casting, glazing, contemporary sculpture, kiln design and raku workshops with Emidio Galassi and Josune Ruiz de Infante (June 22-28, July 5-11 or 13-19). Intermediate through professional. For further information, contact Emidio Galassi, Arte Aperto, V. Castellina4,48018 Faenza; telephone/fax (54) Italy, Florence Terra Cotta Tuscan Style with Silvia Fossati, handbuilding, slip casting, glazing, sculpture (July 15-August 8 or 21-September 2); fee: 1,800,000 lira (approximately US$950), includes materials, lodging and meals. Contact Silvia Fossati, Studio Giambo, Via Giano della Bella 22,50124 Firenze; or telephone (55) , or telephone/fax (55) Two-week sessions on handbuilding, throwing, glazing, smoke firing, raku and sculpture (Summer). Japan, Mashiko Workshop in Japanese throwing techniques with George Dymesich at full-time functioning pottery, Earthenware and raku workshop with Kees Hoogendam, includes preparing clay, handbuilding, throwing, kilnbuilding and firing (June 15-19); fee: fl 550 (approximately US$280), includes materials, lodging and meals. Contact Kees Hoogendam, de Knolle 3A, 8431 RJ Oosterwolde (Fochteloo); or telephone (51) or fax (41) Netherlands, Waverveen Handbuilding, throwing, glazing, pit firing and raku with Susanne Gast and Hanneke Oort (June 29-July 4 or 27-August 1), or Martha Becker and Hanneke Oort (July 13 18). Instruction in Dutch, English and German. All skill levels. Fee/session: fl 550 (approximately US$280), includes materials, firing, lodging and meals. Contact Hanneke Oort, Poeldijk 8, CERAMICS MONTHLY

109 AW Waverveen; telephone (29) , fax (29) or Puerto Rico, Guaynabo or fax (56) Three-week sessions (three days a week) with emphasis on handbuilding (June and July). Beginning and Wales, Pwllheli intermediate. Contact Ida Gutierrez, Manos Felices, Taller Creativo, Urb. Ponce de Leon P2 #60, Ave. Esmeralda, Guaynabo 00969; telephone/fax (787) Spain, Agost Two- or four-week workshop with Marcia Selsor, focusing on paper clay, using paper in various clay bodies (May 28-June 11 or June 25). Instruction in Spanish and English. All skill levels. Fee: US$2490/2 weeks; US$3590/4 weeks; includes materials, firing, lodging, local transportation, and field trips to Barcelona and Valencia (2 weeks) or Granada and Cordoba (4 weeks). College credit available. Contact David Renfrow/Robert Renfrow, ARTIS, 3119 Pioneer Dr., Columbia, MO 65202; telephone (800) or (573) /fax (573) or week: 25,000 pts (approximately US$155), includes materials and firing. Contact J. L. Aragon, LaTacita, El Colorado, Conil (Cadix); telephone (56) 44 Weekly sessions on throwing and glazing with John Davies (Summer); fee/session: 400 (approximately US$625), includes materials, firing and lunch. Intermediate. Contact John Davies, Bryn Goleu Farm, Pwllheli LL53 6UT; or telephone (758) Wales, Rhayader Throwing and finishing, including reduction firing, with Phil Rogers (June 1-6, 8-13, July 27-August 1, 10-15); fee: 250 (approximately US$390), includes materials, firing and lunch. Beginning through advanced. Contact Phil Rogers, Marston Pottery, Lower Cefn Faes, Rhayader, Powys LD6 5LT; telephone/fax (597) Wales, Tenbury Wells Weekly and three-day-weekend sessions on all aspects of pottery making, with emphasis on all stages of throwing pots, pulling handles, spouts, trimming, modeling, glazing and firing with Martin Homer Paper Clay Sculpture with Marcia Selsor, including (Summer). Instruction in English, with some French soda, low-temperature, wood, raku and electric oxide and Italian. All skill levels. Fee/session: 229 (apfirings (June 8-13); fee: 15,000 pts. (approximately roximately US$360) and up, includes materials, US$90), includes materials and firing. Instruction in ring, lodging, meals and transportation from station. For further information, contact Tina Homer, Spanish and English. Intermediate through professional. College credit available. Realizacion de Una Martin Homer Pottery, Lower Aston House, Aston Pieza de Gran Tamano with Arcadio Blasco (July 1- Bank, Tenbury Wells, Worcestershire WR15 8LW; 15); fee: 25,000 pts. (approximately US$155). Contact Ilse Schiitz, Centro Agost, Calle Teuleria, 11, Agost, Alicante, ES ; telephone (65) , fax (65) or telephone (584) Wales, Wolfscastle Six-day sessions on throwing, handbuilding and sawdust firing with Philip and Maddy Cunningham Spain, Cadix (Summer, Sun.-Sat.); fee: 375 (approximately Weekly sessions on handbuilding, throwing, glazing, US$590), includes materials, firing, lodging and meals. decoration, electric and gas firing, with J. L. Aragon Beginning through advanced. Contact Philip and Toni Cornejo (June 15-August 21). Instruction Cunningham, Wolfscastle Pottery, Wolfscastle, in Spanish, French and English. All skill levels. Fee/ Pembrokeshire; or telephone/fax (43) Denys James firing a wood-burning adobe bottle kiln that was built during his workshop in Salt Spring Island, Canada. April

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114 Comment My Favorite Cup by Holly Hanessian Every day I open the door to my Idtchen cabinet and pull out a handmade mug to fill with hot coffee. Often this ritual is attended to before my brain is fully engaged in the selection process. In the past, that wasn t a problem, as I had always reached for my favorite mug. Some months ago, soon after we had exchanged vows, my beloved broke that mug. As he abashedly told me the mug was in pieces, his eyes mirrored my own regret at the loss of a simple but important part of my life. I was amazed at how much it bothered me that I no longer had this specific cup to drink from. On some level, it had become an important milestone in my life. Finding another favorite would not be easy. The loss of this cup skewered my vision and made it hard to select others from the cabinet. Each was scrutinized as to why it should or shouldn t be used. Harsh judgment to be placed on a pot. I bought the favored mug in 1984 from North Carolina potters Will Ruggles and Douglass Rankin. I was a student at Penland School of Crafts, and my ceramics class had gone up to their studio and home for a visit. The mug was a link to an important period in my life. In some way, it was a symbol of the sense of shared community. The experience of living, if only temporarily, among a community of students and professional potters, and eating daily off well-made pots helped develop an early visual vocabulary of what constitutes a good pot. Later that summer, I sat in on Will and Douglass class, and heard Will talk about the lip of a pot and how it needs to be a certain shape to be comfortable when being used. In the following years, I used their cup in my own ceramics classes to show off its many attributes the lovely roll of the lip, how it tilted slightly to let the fluids gently flow out of it. Then there was the comfort of it in my hand, the proportions that looked raw but, in fact, were balanced. It pleased my eye. I suspect it was inspired by a Japanese teabowl it had no handle but a wall thick enough to grasp with hot liquid in it. It also had tiny black dots, which gave it a sense of whimsy against the cream and brown wood-fired palette. I believe that mug lasted for 13 years of daily use because it had been fired and vitrified at a high temperature. There are certain reasons why some cups don t come out of the cabinet. The lip is thin and has chipped. There are crevices where my hand cannot reach and dark coffee stains persist. (While usage stains can add a warm and lovely patina, on majolica ware, the coffee accents crazing, detracting from the beauty of the decoration.) Liquids fly out too quickly from some cups. My nose, which is the right size for my face, can be the wrong size for drinking out of other cups. The handle is too big, too small, too thick, too thin. Goldilocks would understand. My instincts (and the above reasons) usually inform my buying process, but a quirky cup might catch me off-guard. I take it home because of its visual impact, then find it subtly loses its magic through use. On the other hand, a plain and simple pot can become a winsome beauty by virtue of its ease and comfort in my hand. I am in no hurry to replace my old favorite mug. In due time, I will buy a cup because I like it. If the cup feels right in my hand and the test of time wears well, I may once again wax poetic when it tumbles to the floor. The author Holly Hanessian maintains a studio in Durham, North Carolina. Index to Advertisers A.R.T. Studio...9 Aardvark Aftosa Amaco American Ceramic Society...79, 81 Amherst Potters Anderson Ranch Appalachian Center Arrowmont Axner...Cover 3 Bailey... 1, 6, 7, 25 Bennett s... 5 Bisque USA Bluebird...95 Brent...85 Brickyard...94 Brown Tool Callas Ceramic Millennium Ceramics Monthly... 74, 97 Clark Classified Clay Art Center Clay Factory Clay Times Clayworks Supplies Cleveland Institute Contact Contemporary Kiln...98 Continental Clay Corey Cornell Creative Industries... 72, 96 Davens...87 Dedell Del Val Derek Marshall...72 Dolan...98 Duralite Euclid s Falcon...72 Florida Craftsmen Flourish Geil Georgies Giffin Great Lakes Clay...93 Haystack HBD Hood International Technical Jepson...15, 17, 19, 30, 73 Kelly Place...90 Kickwheel...2 Krause Publications Krueger L & L...69 Laguna Clay Laloba Ranch Leslie Lockerbie...95 Max Miami Clay Mile Hi...88 Minnesota Clay USA...84 Miracle Underglazes Modern Postcard Montgomery College NCECA... 28, 29 New Mexico Clay North Star...75, 99 Olsen...87 Olympic Palissy Paragon Peter Pugger Peters Valley Philadelphia Pottery Potters Guide...93 Potters Shop...90 Pottery Making Illustrated Pure & Simple Ram...89 Randall... Ill Rhode Island School...95 Santa Fe Clay Sapir Scott Creek Sheffield Shimpo...Cover 2 Sierra Nevada College Skidmore College...93 Skutt...Cover 4 Southern Pottery Spectrum Standard Studio Potter Summit Taos Art School...97 Taos Institute Tara...83 Thomas-Stuart Trinity... Ill U.S. Pigment Venco Ward...72 Westerwald Wise...90 Wolfe Worcester Center CERAMICS MONTHLY

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