April 2001 1

2 CERAMICS MONTHLY
 April 2001

Volume 49

Number 4

Teabowl, 3¾ inches
(10 centimeters) in height,
thrown and faceted
stoneware, salt glazed,
by Phil Rogers, Rhayader, FEATURES
Powys, Wales.

42 36 Jim Koudelka’s Layered Contraptions

by Daniel Duford
Assembled forms with multifired surfaces to suggest age
“Blue Cross Bourbon Bar,”
22 inches (56 centimeters)
411ational Cup Invitational in height, multifired, sand­
Works by 50 ceramists at the Society of Arts and Crafts in Bostonblasted stoneware, by Jim
Koudelka, Portland, Oregon.
423hil Rogers
Functional stoneware at Pucker Gallery in Boston 36
45 Vera Tamari by Carol Malt
Sculpture reflecting social and physical environment

47 Mary Barringer’s Conversations

by Leigh Taylor Mickelson
Using the vessel to explore the landscape of communication

52 Firing the Hikarigama by Janet Buskirk

Wood firing with women of the Northwest

59 Summer Workshops 2001

“Tall Bottle,” 27 inches Contact information for opportunities in the U.S. and abroad
(69 centimeters) in height,
handbuilt earthenware, 63 Charmian Johnson by Jim Weaver
with underglaze, glaze, Canadian ceramist benefits from cross-cultural experiences
graphite and paint,
by Gary Schlappal, Peter Voulkos constructs a
65 Gary Schlappal by Marlene England large form during a workshop
Frederick, Maryland.
Experimenting with the vessel form for art’s sake at Anderson Ranch, Snowmass
65 68 Cherchez la forme by Kerina Schweer
Village, Colorado.

Exploring form and surface through architectural structure 59

“Lily, Iris and Rose,”

The cover: “Small Vase,” 40 inches (102 centimeters)
5 inches (13 centimeters) in length, stoneware, by
in height, handbuilt stoneware, Charmian Johnson,
with slips and glazes, Vancouver, British
by Mary Barringer, Columbia, Canada.
Shelburne Falls, Massachusetts;
page 47. Photo: Wayne Fleming 63
April 2001 3
 UP FRONT
12 Potters Council
Professional association to benefit studio ceramists
Editor Ruth C. Butler
12 Viktor Schreckengost Associate Editor Kim Nagorski
Retrospective at the Cleveland Museum of Art
Assistant Editor Renee Fairchild
12 Allison Skinner Assistant Editor Sherman Hall
Slip-cast sculpture at Material Matters in Toronto, Ontario, Canada Proofreader Connie Belcher
12 Celebrating Winter Design Paula John
National invitational of functional forms at Baltimore Clayworks in Maryland Production Manager John Wilson
Production Specialist David Houghton
14 Everson’s Ceramic National
Invitational at the Everson Museum of Art in Syracuse, New York Advertising Manager Steve Hecker
Advertising Assistant Debbie Plummer
14 John Glick Circulation Supervisor Cleo Eddie
Sculpture at Sybaris Gallery in Royal Oak, Michigan
Circulation Administrator Mary E. May
16 African Ceramics in the Netherlands Customer Service Mary R. Hopkins
Sculpture from 6 countries at Princessehof Leeuwarden Publisher Mark Mecklenborg
16 John Balistreri
Monolithic sculpture at gallerymateria in Scottsdale, Arizona Editorial, Advertising and Circulation Offices
735 Ceramic Place
16 MaryLou Higgins Post Office Box 6102
Figurative sculpture at Somerhill Gallery in Chapel Hill, North Carolina Westerville, Ohio 43086-6102
Telephone: (614) 523-1660
18 National Ceramics Exhibition in Texas Fax: (614) 891-8960
Juried show of 98 functional and sculptural works at the University of North Texas in Denton
E-mail: [email protected]
18 Exhibition of Soup Tureens [email protected]
Interpretations by 12 artists at gallerymateria in Scottsdale, Arizona [email protected]
[email protected]
20 Carl Erickson Teapot Acquired by the Renwick Website: www.ceramicsmonthly.org
The Smithsonian’s Renwick Gallery adds to permanent collection
Ceramics Monthly (ISSN 0009-0328) is published monthly, except July
20 Rimas VisGirda and August, by The American Ceramic Society, 735 Ceramic Place,
Vessels and sculpture at the Lithuanian Museum of Art in Lemont, Illinois Westerville, Ohio 43081; www.ceramics.org. Periodicals postage paid at
20 Fund-Raising Events at the Clay Studio Westerville, Ohio, and additional mailing offices.
Opinions expressed are those of the contributors and do not necessar­
Auction of more than 250 works realizes over $97,000
ily represent those of the editors or The American Ceramic Society.
20 Christian Petersen Subscription Rates: One year $28, two years $53, three years $76. Add
Retrospective of sculpture and drawings at the Brunnier Art Museum of Iowa State University $15 per year for subscriptions outside North America. In Canada, add
GST (registration number R123994618).
22 Online Merger of Art and Auctions Change of Address: Please give us four weeks advance notice. Send the
GUILD.com and eBay offer live-auction format for art on the web
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Juried national in Maryland Contributors: Writing and photographic guidelines are available on
request. Send manuscripts and visual support (slides, transparencies,
24 National Clay Invitational in Texas photographs, drawings, etc.) to Ceramics Monthly, 735 Ceramic PL,
Works by 26 artists at the University Gallery at Texas A&M University-Commerce PO Box 6102, Westerville, OH 43086-6102. We also accept
unillustrated texts faxed to (614) 891-8960 or e-mailed to
26 Holly Hanessian [email protected].
Installation at Blue Pony Gallery in Charlotte, North Carolina
Indexing: An index of each years feature articles appears in the
26 Exhibition of Japanese Ceramics December issue. You may also visit the Ceramics Monthly website at
Functional works from the 1970s at Longwood Center for the Visual Arts in Farmville, Virginia www.ceramicsmonthly.org to search an index of all feature articles
since 1953. Feature articles are also indexed in the Art Index and daai
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DEPARTMENTS Copies: For a fee, searchable databases and document delivery are
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tion, or for advertising or promotional purposes, or to republishing items
78 Solo Exhibitions in whole or in part in any work in any format. Please direct republication
79 Group Ceramics Exhibitions or special copying permission requests to the Director of Publications,
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88 International Events issue).
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110 Comment: Copyright © 2001
The American Ceramic Society
Opening Doors by JeffZamek All rights reserved
112 Index to Advertisers

4 CERAMICS MONTHLY
April2001 5
 horrible are within their rights to criticize,
Letters but should not expect to convert others to
their points of view. It has taken me many
years of potting to come to this “state of
A Plea for Slide Uniformity independence.” I know what I like to make,
To the organizers and jurors of the great what I like to buy, what I can’t understand
and beautiful competitions we all want to and what I want to learn more about.
enter: Right now, some of you want slide I don’t really care if my thrownlaltered
frames to have only writing (no labels) on piece that sold for $25 is almost identical to
them; some of you accept labels. Some of you two pieces shown for $1200.1 enjoyed mak­
have asked for our name to be written on the ing it, was amused to see its twins in CM, but
slides; some have asked for the last four digits disagree that they were worth that price!
of our Social Security numbers. Some of you More power to the artist who can pass
want the word “top”; some want an arrow. such pieces off for that sum. Helshe is prob­
Some of you want just the medium and the ably famous, under a lot of pressure to con­
year; some want details. Some of you want tinue such production.
dimensions given in the order of height X I enjoy my freedom of choice, in a small,
width X length; other don’t specify order. unknown basement studio, being inspired by
As potters, we have only limited money the open spaces and mountains of Montana,
for extra slides and limited time to prepare happy to read about others doing the same,
entries, but we are so eager to enter! We need more or less, in other parts of the country.
uniform standards for slide submissions so Connie Christison Moss, Great Falls, Mont.
that a slide, oncelif returned, can be sent out
another time. Comments Kudos
I suggest that slide frames be labeled A, B, I have watched Ceramics Monthly evolve
C, etc., to correspond to sections on the entry over the past 40 years. Although at times the
form where additional information is re- works presented may have been questionable,
questedlgiven. Writing on the slide frames their presentation has never been. CM is first
should be limited to 1) the word “top” with rate—best of show.
an arrow pointing upward; 2) the last four I have most recently enjoyed the Com­
digits of the potter’s Social Security number, ment column dealing with aesthetics and
plus the initial letter of the potter’s last name criticism. The contributors have been pro­
(I would be 7073E); 3) the dimensions as found, incisive, comprehensive and readable.
height X width X length; 4) the year; 5) the John Kudlacek, Topeka, Kans.
medium (Cone 10 stoneware, raku, etc.).
The additional information provided on In Praise of a Bread Bowl
the application form could be as detailed as After a move last summer, I discovered
you like: title, series number, forming de­ that my bread bowl was broken. One of the
scription, decorating andlor glazing method, most satisfying parts of settling into a new
firing process, etc. home has always been finding just the right
We know whose side you’re on. Just place for my bread bowl. When I opened the
make it a little simpler for us, please. box I’d packed it in, something didn’t feel
Risa Hirsch Ehrlich, New York City right. Sure enough, the bowl that had trav­
eled from California to Montana to find me
Beauty vs. Gimmickery 22 years ago, then back to California, only to
Please do not forget the value of beauty. move to Wyoming years later had shattered.
So many of the avant-garde pieces seem to be My bread bowl had been both beautiful
opposed to the concept. I am not interested and functional. It was high-fired, glazed
in gimmicky productions. stoneware, sturdy, yet light, with a nice wide
Willow Connery\ Denver base, finely trimmed bottom, graceful slope
to the shoulder and well-set rim. It was a
State of Independence good bowl to make bread in.
Making pottery, ceramics, whatever you Baking bread isn’t the same now. The
want to call it, should give pleasure to its yeasty dough still rises in the replacement a
creator. Those arrogant enough to rant on friend sent me from Williams Sonoma, but it
and on about whether it is marvelous or isn’t the same. I keep that bowl in the cup­
board instead of out on the counter.
In keeping with our commitment to providing I know better than to try to throw a bread
an open forum for the exchange of ideas and bowl for myself; the standard is just too high.
opinions, the editors welcome letters from all My life has been a series of vessels thrown off
readers; we may edit for clarity and brevity. the hump. There are tall elegant pitchers
All letters must include the writer’s full name
and address, but these will be withheld on
inspired by my mother’s love of ice tea;
request. Mail to Ceramics Monthly, PO Box plump-bellied bowls that my children ate
6102, Westerville, OH 43086-6102; e-mail to their morning cereal from; and planters with
[email protected]; or fax to drip catchers filled with herbs and plants
(614) 891-8960. lining my windowsills. Of course, there are

8 CERAMICS MONTHLY
Letters bowl. I remember watching him throw for
hours. (I had met him on my first day of
In the holiday season, six and a half years
earlier, the long-distance telephone call had
college in my first class—art history.) come from the middle of Pennsylvania to the
also teapots and mugs—my morning simply To quote Marguerite Wildenhain: “If middle of Texas—my twin sister Nancy had
doesn’t start without a cup of jasmine tea. you’re any damn good, you’ll make another cancer. Thus began what was to be yearly
Most precious are the raku covered jars that one.” You know where you are, Bob Hamil­ flights out of Austin, through Chicago
hold the ashes of my father and my daughter. ton. I’ll expect a call after you’ve made it. O’Hare, then into Harrisburg International,
I cannot separate myself from being a potter. Dulcie Hills, Buffalo, Wyo. followed by that long car ride up the highway
When I close my eyes, I can see the wheel to Mifflinburg, Pennsylvania.
turning, and I know life is good. A Ceramics Oasis In each of those special moments during
I have tried to find the potter who threw It seemed almost through the mists of succeeding years, I seemed to fall back
my bread bowl, but he isn’t listed anywhere. I time that I could be there, like a brief dream through the decades, back to youth, when
imagine that he’s quietly living somewhere in of return. Surely, I would soon awaken to Nancy and I had been together, skating on a
the Sierra Nevada Mountains. When I close find myself back in my real life, with my wife nearby pond, warming our hands at a bon­
my eyes, I can see his fingers on the bread and children half a country distant. fire, laughing at our collie who, also trying to
skate, would flop-slip on the ice. To scoops
of newly fallen snow our mother would add
canned milk and vanilla, mixing it into snow
ice cream, a bowl of which we would save in
the freezer for our father.
Initially, the prognosis had been lugubri­
ous: maximum hope, a year and a half. But
medicines improved, and the year and a half
have stretched into years. One thing that
added good cheer to the days for my sister
was the world of ceramics. So it was no
surprise that Nancy, her husband and I
ended up turning the car wheels into the
driveway of a pottery located in a former
flour mill beside Penn’s Creek. In fact,
Penn’s Creek Pottery, a production studio
and showroom since 1989, describes its
location as “at the creek’s edge on Route
104.” On that October day, in the brilliance
of multicolored leaves, it seemed a setting for
a Robert Frost poem.
How pleasant and down-to-earth the
owner turned out to be. Bill Lynch took all
the time in the world for what felt more like
a conversation than a sales pitch. With my
sister, he warmly conversed about the spe­
cifics of temperature and material, and lis­
tened closely to her thoughts about her own
work. Knowing this to be sweet pause in her
battle with non-Hodgkin’s lymphoma, which
all doctors said would one day win, her
husband and I were truly happy that this
wonderful pottery by a creek could transport
Nancy to an oasis of happiness.
Tom McFadden, Austin, Texas

Life in Clay
“I am a potter.” This statement means
hours of my life spent with clay, in clay, by
and for clay, and for me. CM provides me a
dignity and a sense that I am not alone in this
singular occupation, but connected with
another more artistic and social earth. Thank
you forever.
Lynn Marzoni, Oak Harbor, Wash.

Ohs and Ahs

Great magazine! My roommates call it my
ceramic porn mag. I can’t stop ohhing and
ahhing over the beautiful photography.
Kat Coveney, Chico, Calif.

10 CERAMICS MONTHLY
Up Front 1920s. When he began teaching there at age 25, he was the
youngest faculty member. By the mid 1930s, he began pursuing
his interest in industrial design, and founded CIA’s Department
Potters Council of Design. (He continues to teach there today, at the age of 94.)
Along with the first mass-produced American dinnerware,
To provide professional and informational support for indi­ Schreckengost designed the first Mercury bicycle for Murray in
vidual potters and ceramics artists, The American Ceramic Ohio, as well as childrens pedal cars, a printing press and the
Society (ACerS) recently launched Potters Council. A non­ first cab-over-engine truck.
profit subsidiary of ACerS, it will promote studio ceramics as a
professional and recreational activity. Allison Skinner
In order to serve the best interests of the studio ceramists,
Ceramic sculpture by Canadian artist Allison Skinner was
Potters Council will be governed by a board of volunteer
exhibited recently at Material Matters in Toronto, Ontario,
members who will work with ACerS to establish further
Canada. This “Accumulation Series,” which was slip cast from
benefits; for instance, liability insurance, credit card programs or
colored porcelain, “was created in reaction to observing industri­
other professional services.
ally manufactured wares that mimic handmade pottery,” she
Members will receive a 20% discount on all ACerS publica­
noted. “The sculptural vessels of this series exploit the produc­
tions, which include Ceramics Monthly, Pottery Making Illus­
tion process of slip casting by deliberately exaggerating the
trated and books, plus assistance from the Ceramic Information
inevitable seams and the ability to create multiples of an original
Center (copies of published articles, technical papers, etc.). The
pattern.
20% discount also applies to all ACerS meetings, including the
“Since the Industrial Revolution, manufacturers have sup­
annual artist workshop.
planted potters for providing the mainstay of traditional domes-
Informational forums provided by Potters Council will
include an online directory of members (beginning October
2001), support of the Clayart online discussion group and a
printed quarterly newsletter for members.
For further information, or to become a member of Potters
Council, please contact Chris Schnitzer at (614) 794-5819, or
[email protected], or visit the Potters Council website at
www.potterscouncil.org.

Viktor Schreckengost
The first major retrospective of works by Cleveland, Ohio,
artist/designer Viktor Schreckengost was presented through
January 6 at the Cleveland Museum of Art. Featured in “Viktor
Schreckengost and 20th-Century Design” were over 150 works,

Viktor Schreckengost’s “American Limoges Manhattan

Meerschaum (Working Model) Shapes,” to 6½ inches
(approximately 17 centimeters) in height, 1935; at the
Cleveland (Ohio) Museum of Art.

about half of which were ceramics, including vessels, sculptures Allison Skinner’s sculpture from the “Accumulation Series,”
of animals, political figures, etc., and functional dinnerware. 10½ inches (approximately 27 centimeters) in height, slip-
Shown here is the first modern American dinnerware design cast colored porcelain, with cast aluminum; at Material
Matters, Toronto, Ontario, Canada.
to be mass produced.
Schreckengost studied ceramics at the Cleveland School of tic ceramics. In essence, I have reversed the influence. This work
Art (now the Cleveland Institute of Art or CIA) in the mid adopts and recognizes the relatively recent mass-production
technology, and consequently enables the creation of individu­
Submissions are welcome. We would be pleased to consider ally conceived forms.”
press releases, artists' statements and photos/slides in con­
junction with exhibitions or other events of interest for publi­ Celebrating Winter
cation in this column. Mail to Ceramics Monthly, Post Office The sixth annual “Winterfest 2000,” a national invitational
Box 6102, Westerville, Ohio 43086-6102. featuring functional forms by 25 artists, was presented recently

12 CERAMICS MONTHLY
April 2001 13
y P Front senior curator Thomas Piche Jr. then selected the individual
objects to represent each artist.
Although the worlds fell into one of three categories—
functional, sculptural or conceptual—“there is only one teapot
in ‘Ceramic National 2000’ and less than one-third of the
objects refer to the vessel tradition in any guise. This seems like
a good thing,” states Piche in the accompanying catalog. “To

Linda Cordell’s “Pursuit of Happiness,” 25 inches

(approximately 64 centimeters) in length; at the Everson
Museum of Art, Syracuse, New York.

me, this indicates that artists working with ceramics are lessen­
ing their reliance on the historically strong pull of ceramics
traditions and breaking away from the essentializing mire that
an overarching reverence for material produces in any medium.
Victoria Christen’s “Yellow Teapot,” 10 inches “By and large, the ceramists in this show are producing work
(25 centimeters) in height, red earthenware;
at Baltimore Clayworks, Maryland.
that is content driven, that speaks about our particular moment
in time, about the fragmentation of long-existing orders, about
at Baltimore Clayworks in Maryland. Among the works on view the uncertainty of meaning. They frequently question the
were teapots, platters and vases by Oregon potter Victoria historical legitimacy of ceramics traditions, sculptural traditions,
Christen. “I intend my pots to function at several levels, both painting traditions, and the historical divisions that have kept
for myself and the user,” she commented. “First, I strive to make them separate and unequal.”
everyday objects for the home, pieces that individuals use in the
supposedly mundane activities of their lives. My cups, bowls, John Glick
cake platters and containers, I hope, emphasize the beauty and “Place,” an exhibition of ceramic sculpture by Michigan artist
significance of these daily rituals. John Glick, was presented recently at the Sybaris Gallery in
“On another level, I intend my pots to embody my own
experiences, attitudes and values. My work is both thrown and
constructed, intuitive and patterned, self-conscious and flam­
boyant. [There are] references to my seamstress mother’s use of
patterns and tucks to make highly functional creations infused
with her own passion, to my father’s work as both a machinist
and a maker of folk art, to my own paradoxical desire for both
order and freedom, and to my pots as both containers/dispens-
ers of everyday materials and as metaphors for the body as both
receiver and giver.
“While I do not intend others to share in all of these mean­
ings, I hope that the personal level of the work will free users to
perceive their own selves in these objects.”

Everson’s Ceramic National

The 30th “Ceramic National,” an exhibition of works by 67
artists, was presented recently at the Everson Museum of Art in
Syracuse, New York. For this show, the museum assembled a
panel of 10 advisers, including ceramics artists, educators,
John Glick’s “Place Series #1,” 14 inches (approximately
curators and critics. Each was asked to nominate 8 artists at any 35 centimeters) in height, glazed and soda-fired stoneware,
career stage (emerging, mid career or established). Everson’s $3500; at the Sybaris Gallery, Royal Oak, Michigan.

14 CERAMICS MONTHLY
April 2001 15
Up Front the Netherlands, the exhibition featured works from Mali,
Burkina Faso, Ghana, Togo, Nigeria and Chad. Many of the
figures were loans from private individuals, as well as from the
Royal Oak, Michigan. While Glick is best known for his Ethnographic Museum in Antwerp.
functional ware, he also enjoys creating sculpture. “Place,” his The small tribes in northeast Nigeria seem to have had a
latest series of free-standing works, reveals his interest in paint­ strong tradition of figurative pottery representing humans,
ing and drawing, as well as landscape imagery. animals and imaginary beings. Their pots often had heads with
The forms are surfaced with multiple applications of glazes open mouths, and were usually arranged in groups as an altar.
and may be fired several times. Further imagery is developed by
masking with various materials and sandblasting through the John Balistreri
glaze layers, sometimes exposing the clay body beneath. Monolithic sculpture by Ohio artist John Balistreri was exhib­
“The power of place’ to capture the imagination is what ited recently at gallerymateria in Scottsdale, Arizona. Handbuilt
fascinates me,” Glick commented. “Having experienced the from stoneware then wood fired, Balistreri’s large forms often
beckoning of landscapes that felt magical or meaningful, each of
us can recall childhood visits to enchanted places. My ideas float
in that twilight realm between memory and reality, where a
place’ can re-emerge transformed.
“These small-scale sculptures are a passport to travel to the
landforms we loved, the skyscapes we glimpsed, and the spirit-
homes of our hearts.”

African Ceramics in the Netherlands

“Magic Earth: Figurative Ceramics from Africa” was on view
through February 4 at Princessehof Leeuwarden in Leeuwarden,
Netherlands. The first showing of African figurative ceramics in

John Balistreri’s “Neocubic Figure #8,” 61 inches

(155 centimeters) in height, handbuilt stoneware,
wood fired; at gallerymateria, Scottsdale, Arizona.

reach 10 feet (nearly 300 centimeters) in height. He prefers to

fire with wood because he likes the direct connection between
himself and the fire.

MaryLou Higgins
Stoneware sculptures of figures on cars, drawings and furniture
by North Carolina artist MaryLou Higgins were exhibited
“Mother with Child,” 33 centimeters (13 inches)
in height, figure from a Mbari altar of the Ibo tribe
recently at Somerhill Gallery in Chapel Hill, North Carolina.
(1900-1950) in Nigeria; at the Princessehof Leeuwarden Higgins’ appreciation of cars extends back to her childhood,
in Leeuwarden, Netherlands. when her father was a traffic manager; however, a model-car

16 CERAMICS MONTHLY
Up Front see; John Gargano, Louisiana; Suze Lindsay, North Carolina;
and Brad Schwieger, Ohio. Jim Connell, South Carolina; Ryan
Fitzer, Ohio; and Mark Peters, North Carolina, received honor­
able mentions.
Shown from the exhibition is a sculpture by Jason Briggs,
Tennessee. Images of all the works in the show can be seen at
the website alphal.fmarion.edu/-cusa2000/index/html.

Exhibition of Soup Tureens

An invitational featuring soup tureens by 12 artists was on view
recently at gallerymateria in Scottsdale, Arizona. Shown from
the exhibition are works by Farraday Newsome Sredl, Phoenix,
and Eric Van Eimeren, Helena, Montana.

Eric Van Eimeren tureen, 12½ inches (32 centimeters)

in height, assembled from cast, thrown and press-molded
elements, whiteware and steel; at gallerymateria,
Scottsdale, Arizona.

Assembled from cast, thrown and press-molded elements,

MaryLou Higgins’ “On Top of It All,” 151/4 inches much of Van Eimeren s work “tends to be tongue-in-cheek,
(39 centimeters) in height, stoneware;
at Somerhill Gallery, Chapel Hill, North Carolina. whimsical renderings of everyday pottery objects. I am inspired
to find innovative solutions to century-old problems regarding
purchase for a grandson was the impetus for this series of functional ceramics,” he explained. “The mechanical nature of
sculptures. Bright glazes and conspicuous symbolism were used the forms often hint at the future, while the colors and fluid
to illustrate the relationship between people and their vehicles. movement of the glaze will suggest something aged. I regard the
pot as sculpture, always extending the possibilities of form
National Ceramics Exhibition in Texas without sacrificing function.”
“Ceramics USA 2000,” a national juried exhibition, was on Like Van Eimeren, Sredl assembles her forms from various
view recently at the University of North Texas in Denton. From elements, which may be thrown, handbuilt, slab rolled, press
over 600 entries from 44 states, juror Ellen Shankin selected 98 molded and/or extruded. Glazing is done in a painterly style

Jason Briggs’ “White Fetish,” 14 inches (36 centimeters) in

length; at the University of North Texas, Denton.

works ranging from functional ware to sculpture by both

established and emerging artists.
From the works on view, California potter/gallery owner
Farraday Newsome Sredl’s “Yellow Life Drift Soup Tureen,”
Sandy Simon chose the award winners: merit awards were 15 inches (approximately 38 centimeters) in height, thrown,
presented to Ruth Borgenicht, New Jersey; Jeff Brown, Tennes­ press-molded and extruded terra cotta.

18 CERAMICS MONTHLY
April 2001 19
Up Front

using her own, as well as commercial, glazes. “After applying a

round of white glaze, I brush on successive layers of color, using
full-bodied glazes rather than the more common majolica
practice of brushing on thin washes of colored oxides or stains.
This enables me to build up a fatter and more complex glaze
surface. The resultant translucency allows for visual mixing of
the layers, and a depth and fluidity of color.”

Carl Erickson Teapot Acquired by the Renwick

Minnesota potter Carl Ericksons “Teapot with Rattan Wrap”
was recently added to the permanent collection of the
Smithsonian American Art Museum’s Renwick Gallery in

Rimas VisGirda’s “Looking toward the future thinking about

the past,” 15 inches (38 centimeters) in height, coil-built
white stoneware, with black engobe, underglaze pencil and
lusters; at the Lithuanian Museum of Art, Lemont, Illinois.

not always efficiently converse, but rather function as separate

dialogues. Through these technical diversions, VisGirda conveys
images of historical and cultural significance.
“The comic strip is a consistent vehicle for his repeatable
subjects,” Jacobi continued. “VisGirda’s work, like the best
comic strips, is most clearly understood when the commonplace
and the extraordinary are simultaneously realized. This format
and its social commentary enable [him] to satirize at one time
both himself and his society.”

Fund-Raising Events at the Clay Studio

Carl Erickson “Teapot with Rattan Wrap,” 9 inches “Couplets: Duality in Clay,” an exhibition and auction featur­
(23 centimeters) in height, porcelain with blue celadon ing over 250 works that examined the idea of “two,” helped
glaze, rattan-wrapped handle; at the Renwick Gallery,
Smithsonian American Art Museum, Washington, D.C.
raise funds for the Clay Studio in Philadelphia. Participating
artists depicted such dualities as inner/outer, front/back, posi­
Washington, D.C. Made of porcelain and glazed in blue tive/negative, functional/sculptural, yin/yang, etc. Traditional
celadon, the teapot was donated by Kenneth R. Trapp, curator-
in-charge of the Renwick, in honor of Gretchen A. Mehring.

Rimas VisGirda
Sculpture and vessels by Champaign, Illinois, artist Rimas
VisGirda were exhibited recently at the Lithuanian Museum of
Art in Lemont, Illinois. “The vocabulary of VisGirdas creations
is drawn from his eclectic personal history of Lithuanian heri­ Christyl Boger’s “Couplet,” pair of figures, 10 inches
tage, California landscape and Midwestern academia, and (25 centimeters) in height, earthenware with decals
includes late-model cars and trucks, cigarettes, haircuts and and luster; at the Clay Studio, Philadelphia.

dogs,” noted Catherine Jacobi, a Chicago designer, in an essay

accompanying the exhibition. “VisGirda’s ceramic work is not ceramic sets, such as salt and pepper shakers, creamers and
confined by the conventions of vessels or sculptures. His ap­ sugars, cups and saucers, were also created for the event.
proach enables vessels to be slab built, sculptures to be thrown, The auction of many of the works realized over $97,000.
and the integrity of dimension to be disrupted by a blanket of Artists received up to 50% of the winning bids for their pieces.
cartoons and illusory drawings.
“Following the lines of his heavy, black-outlined cartoons, Christian Petersen
one remembers that a form exists beneath the painted slip, A retrospective of 90 sculptures and 100 drawings by Christian
beside the drawing. Form and drawing, bound by proximity, do Petersen (1885-1961) was presented recently at the Brunnier Art

20 CERAMICS MONTHLY
April 2001 21
Up Front

Museum of Iowa State Univer­

sity in Ames. Petersen arrived at
the university in 1934 to com­
plete a commissioned sculpture
project. Although he initially in­
tended to stay only a few
months, he remained for 21
years, becoming the country’s
first artist-in-residence at a uni­
versity.
While at Iowa State, he pro­
duced 12 sculptures for sites on
campus; among these is “The
Gentle Doctor,” which has be­
come an international symbol Christian Petersen’s “Veterinary Medicine Mural,” approximately 23 feet (7 meters) in length, and “The
for veterinary medicine. He also Gentle Doctor,” terra cotta, late 1930s; at the Brunnier Art Museum, Iowa State University, Ames.
created hundreds of smaller
sculptures and drawings of family members, friends, colleagues, Maryland. “There’s something about the teapot that brings out
and campus life as well as nationalevents. the best and most creativity in an artist,” commented juror Peter
Pinnell, faculty artist at the University of Nebraska. “Teapots are
Online Merger of Art and Auctions naturally friendly objects, and as such make an excellent vehicle
GUILD.com, the latest extension of the 15-year-old art publish­ for delivering just about any idea.”
ing company, and eBay, the online auction site, have announced Since many artists entered more than one piece for jurying,
their plan to offer art in a live-auction format. The agreement Pinnell “had to decide whether it was better to have depth—
coincided with the launch of eBay Premier, a new site for art, several pieces each from a smaller group of artists—or
antiques and rare collectibles. breadth—only one piece each from a larger group. In the end,
Every day, GUILD.com puts up new works for sale on eBay
Premier, where they remain for seven days; eBay users are also
able to access the GUILD.com website and purchase artwork in
a fixed-price format.
“Our relationship with eBay is in line with our mission to
increase access to original artwork and ensure that our artists can
market their works to an even greater global audience,” stated
Toni Sikes, GUILD.com’s chair and founder. “The live auction
format provides any art collector or enthusiast with the ability
to bid on one-of-a-kind artwork with just the click of a mouse.”
GUILD.com also recently announced that it is being ac­
quired by Ashford.com, an Internet retailer of fine personal and
home accessories. Following the acquisition, GUILD.com will
become the Art Division of Ashford.com.

Baltimore Clayworks’ Teapot Exhibition

“100 Teapots,” a juried national featuring 100 functional and
sculptural teapots by 71 artists from across the United States,
was presented through February 24 at Baltimore Clayworks in

Tom Schiller’s “Black and White Teapot,” 10½ inches

(27 centimeters) in height, earthenware; at Baltimore
Clayworks, Maryland.

I decided to include as broad a range of work (and artists) as

possible,” he explained. “I felt this would make a more interest­
ing show, and give the viewer a better feel for the incredible
diversity of work that can fall under the heading of teapot.’
“My method for jurying exhibitions is a simple one. I look
Eunjung Park’s “Korean Landscape IV,” 8½ inches for good work. I’m not looking for any particular approach or
(22 centimeters) in height, porcelain. technique. I simply look at which artists have succeeded in

22 CERAMICS MONTHLY
April 2001 23
Up Front Washington, Illinois. Beasecker’s work in the show is “one of a
series of ‘carriers’ that have recently occupied my interest in the
studio. It represents a combination of things seen and felt in my
travels this year,” he explained. “Encountering Richard Serras
Torqued Ellipses has reinvigorated my investigation of interior
and exterior space—particularly that enclosed, cavernous space
between two imposing walls. Also a simple drum ‘carrier’ I saw
in a flea market in western Massachusetts, resembling an open
wooden hatbox with a thin metal handle spanning the volume,
struck me as a beautifully sparse and sturdy object. In their own
way, both the sculpture and carrier express a sense of clarity and
elegance. The piece in this exhibition reflects my wish to have
such qualities in a functional object.”
Miller wants her figures to “communicate on a profound
level. I make art in order to express what I can not in words,”

Matthew Hyleck’s “Shino Teapot,” 5 inches (13 centimeters)

in height, porcelain with iron slip, reduction fired to Cone 10.

reaching their own goals. As for the process of jurying,” Pinnell

continued, “I prefer to sit alone in a dark room, looking at the
slides over and over, gradually winnowing things out until I
think I have a good show.
“In this case, it was difficult to keep with the ‘alone’ part,” he
concluded. “I kept finding myself running out to grab students,
saying ‘Look at this one! Isn’t that great?’ and then shooing
them out again so I could think.”

National Clay Invitational in Texas

Twenty-six ceramics artists from across the country were invited
to present work in the recent “Texas A&M University-Com-
merce National Ceramics Invitational 2000.” Curated by
faculty artist Barbara Frey, the show represented a cross section
of current trends in ceramic art, including sculpture, figurative
forms, functional pottery and vessels. Marlene Miller’s “Queen,” 19 inches (48 centimeters)
“In selecting work for this exhibition, I opted to emphasize in height, stoneware with underglazes and stains; at the
the diversity of approaches and possibilities in working with University Gallery, Texas A&M University-Commerce.
clay,” Frey commented. “Viewing this exhibition provided an
excellent opportunity to see what is happening in contemporary she stated. “In its raw state, clay responds to the makers hand
American ceramics. I was also motivated to include work by with unrivaled sensitivity and expressive power. Fingerprints,
artists who support themselves in a variety of ways with respect gouges and tool marks remain, energizing the surface of figures
to their involvement with ceramics.” Many, for example, are that emerge.”
also instructors. Immediate concerns in Fenci s work are “intimate scale, the
Included in the exhibition were works by Peter Beasecker, history of use, the tactile qualities of touching and lifting, and,
Dallas; Piero Fenci, Nacogdoches, Texas; and Marlene Miller, above all, the interaction of surface and form. My work...con-

Peter Beasecker’s “Carrier,” 14 inches (36 centimeters) Piero Fenci’s “Leaf,” 10 inches (25 centimeters) in height,
in diameter, porcelain. handbuilt earthenware.

24 CERAMICS MONTHLY
April 2001 25
Up Front forgotten books add a sense of holding, loss, intimacy and
awareness of knowledge. Old photographs and rusty hardware
link the narrative structure created in the assemblage.
stitutes loosely rendered reinventions of the past,” Fenci com­ “My work does not stem simply from a love of romantic
mented. It is “my attempt to build a family tree of spiritual handmade objects and all things old, but acts as a visual refer­
ancestors, a heritage of my own passions.” ence, wedding together parts that have symbolic meaning and,
when combined, form new ideas. The books, photographs and
Holly Hanessian ephemera come from a point in time when people sat down to
“Transitory Memories,” an installation by Michigan artist Holly write elegant handwritten letters and valued the importance of a
Hanessian, was on view through March 31 at Blue Pony Gallery book. Our culture makes cards for us to sign and paperback
in Charlotte, North Carolina. Presented in conjunction with books, which, after a few readings, disintegrate. As information
the National Council on Education for the Ceramic Arts in our society speeds up, we lose the time it takes to write letters
and savor a handsome, well-made book.
“Clay continues to play the central role in the assemblages I
create,” Hanessian noted. “Before I start looking for the found
objects, I sketch and put together various materials to see how
well they match up with the ceramic pieces I’m going to make.
The surface is manipulated with a variety of textures, showing
the inherent malleable quality of the clay. Lastly, I cover the
ceramic pieces with stains and glazes, fire them in an electric
kiln to Cone 02 and add the other nonceramic treatments,
including encaustic and the found objects.”

Exhibition of Japanese Ceramics

“Shaped with a Passion: The Carl A. Weyerhaeuser Collection
of Japanese Ceramics from the 1970s,” an exhibition of over
100 clayworks by Japanese potters, was on view recently at the

Kanjiro Kawai’s glazed stoneware vase, 91/4 inches

(approximately 24 centimeters) in height; at the Longwood
Center for the Visual Arts, Farmville, Virginia.

Holly Hanessian’s “Balancing the up til now with the ever

since,” 9 feet (2.7 meters) in height, earthenware, metal
Longwood Center for the Visual Arts in Farmville, Virginia. “In
and books; at Blue Pony Gallery, Charlotte, North Carolina. 1971, Carl A. Weyerhaeuser began planning a trip to Japan to
collect contemporary ceramics. Three years later, he had as­
(NCECA) conference, the exhibition included books, plumb sembled a group of over 300 pieces produced by many of the
bobs and cradles suspended from the ceiling. leading potters at kiln sites and ceramic centers throughout
“I create sculptural assemblages, which combine ceramic Japan,” stated guest curator Samuel C. Morse. (Morse traveled
handmade objects and salvaged antiquated memorabilia,” with Weyerhaeuser as his research assistant and interpreter.)
Hanessian explained. “Old books play a significant symbolic Weyerhaeuser preferred stoneware, collecting only a few
role in my artwork. For the last ten years, I have been involved porcelain objects, and he favored traditional forms, such as tea-
in either making books by hand or weaving them into my bowls, vases and dishes. The collection was later donated to the
sculptures. Along with the words and stories they imply, these Art Complex Museum in Duxbury, Massachusetts.

26 CERAMICS MONTHLY
 Throughout the book, photographs are
New Books captioned with in-depth descriptions about
the work, anecdotes about the artist and/or
artists’ statements. 176 pages, including bib­
liography and index. 233 color and 9 black-
Painted Clay and-white photographs. £28 (approximately
Graphic Arts and the Ceramic Surface US$40). A&C Black, 35 Bedford Row, Lon­
by Paul Scott don WC1R4JH, England; telephone (44) 171
“There is ceramic work that is neither 2420946.
pottery, nor sculpture. It is painting, drawing
or printmaking, but on a ceramic surface,
Wood-fired Ceramics
sometimes, significantly, flat,” observes the Contemporary Practices
author of this nicely illustrated survey. “There by Coll Minogue and Robert Sanderson
are many contemporary artists who use ce­ “The total involvement required during
ramic surface not because of its self-referen­ [wood] firing is undoubtedly part of the
tial possibilities, and not because it occupies attraction—there is a desire to be actively
three-dimensional space or deals with ‘vol­ involved in the final, and in many ways the
ume,’ but because us­ most important, stage of the pottery-making
ing slip, underglaze, process,” state the authors of this survey.
luster, onglaze enamel Most potters, they continue, “decide to wood
and glazes gives an fire because they are attracted by the fired
outstanding palette results, ‘the random yet deliberate mark of
with which to paint, the fire,’ the unique effects which cannot be
draw and print. achieved in any other way.
“Not only does the “With wood firing, the creative involve­
ceramic palette offer ment extends from forming the work, to
extraordinary depths stacking the Idln, to firing the kiln—all these
and ranges of color, but surfaces can have stages are part of what it means to wood fire.
remarkable tactile qualities,” Scott contin­ Even as the work is being fired, the potter has
ues, “and the resulting works have a degree of the opportunity to actively influence the
permanence unobtainable by using any other process and ultimately the outcome.”
paintingldrawing or printmaking medium.” Divided into three sections (Bourry-box
The initial chapters look at “ceramic his­ kilns, nontraditional kilns and Oriental-in­
tory from the view of a painter or graphic fluenced kilns), the book focuses on the work
artist, and examine the development of dif­ and firing methods of, as well as the types of
ferent methods and techniques.” Included kilns used by, 26 individual potters. Each
are examples by artists who are primarily section also includes an annotated “gallery”
Imown for their work in other media, such as of works by other artists.
Raoul Dufy and Pablo Picasso, as well as Kiln schematics and photos are included
studio potters, such as William Stake Murray, as well. For example, Australian artist Sandy
Sam Haile and Robert J. Washington, who, Lockwood fires her work in what she calls a
in the days of Bernard Leach, “swam against “long kiln.” A photo shows that it “consists of
the tide” and created painterly forms. a Bourry-type firebox,
Washington, explains Scott, “was quite connected to a chim­
clear in his belief that ceramics was a valid ney by long, low,
medium for a painter, and without necessar­ parallel walls (the
ily the baggage of painting on forms: T have chamber), and a flat
prepared gesso grounds—made and ground roof which is remov­
my colors—primed panels with glue of the able for packing,” the
old hoof variety—mixed varnishes—boiled authors explain. “This
oil—and can fairly claim to know the quali­ concept is basically an
ties and potentiality of most painting media. extension of the prin­
Therefore when I say to you that...the quali­ ciples used in the series of‘train kilns,’ built
ties of silica and its fluxes in the fire give me by the American potter John Neely.
a satisfaction and an end product in no way “The firebox takes logs 50 centimeters in
similar to any other, you surely have to accept length. In addition to the main firebox, there
its validity.’” are three stokeholes along each side, one
Scott goes on to discuss studio potters adjacent to each stack of pots... .The chamber
working in the same manner in Great Britain roof sections are made from dense cast slabs.
and North America today. Trompe l’oeil and Insulation...fiber pinned to light metal mesh
relief imagery are covered as well. Finally, frames are placed over the slabs, with sheets of
Scott looks at printing and photographic aluminum kitchen foil between to protect
transfers onto plates and tiles. the fiber.” 160 pages, including appendixes

30 CERAMICS MONTHLY
April 2001 31
 New Books the Kan’ei era (1624-44), Kyoto tea taste...
had acquired a momentum of its own
that...shut out the rustic rural wares in
favor of elegant Shigaraki utsushi [copies]
on kiln logs, recipes and kiln drawings from coming from Kyoto. Had Shigaraki de­
various potteries; bibliography; and index. pended solely on tea-ware production for its
102 color and 105 black-and-white photo­ survival, this change in taste would have been
graphs; 34 sketches. £25/$45. A&C Black fatal”; however, survival was guaranteed by
Limited, 35 Bedford Row, London WC1R government decree in 1632, when it became
4JH, England, telephone (44) 171242 0946. the official source of jars for the packaging of
Published in the United States by University of tea. “The annual production of those...tea
Pennsylvania Press, 4200Pine Street, Philadel­ jars (goyo chatsubo) was to be the lifeblood of
phia, Pennsylvania 19104-4011. the Shigaraki kilns throughout the Edo pe­
riod (1603-1868).”
Shigaraki Cort also writes about glazed domestic
Potters’ Valley wares, response to Westernization, the “hiba-
by Louise Allison Cort chi era” of the early 20th century, and mod­
Located near the ancient Japan capital of ern Shigaraki (ofthe 1970s). “Certain changes
Kyoto, Shigaraki has long been recognized as in the Shigaraki valley have occurred in re­
a center of stoneware production. “A journey sponse to a new element in the valley’s his­
to Shigaraki begins with a passage through tory: the force of tourism. Signs beckon
mountains, and so the texture of the day— tourists from a considerable distance along
season, weather, mood—becomes part of the the road. In many places the road is wide and
journey. Even after en­ smooth; and it is supplied with gasoline
tering the valley, be­ stations, roadside restaurants and coffee shops
fore reaching the with names like Old Jar and Climbing
present pottery-mak- Kiln... .Within recent years the main streets of
ing center, one passes Shigaraki have grown brighter with neon
the outlying villages lights.” 440 pages, including appendixes on
still surrounded by Morita Kyuemon’s diary, Shigaraki in 1872,
paddy fields. One a Shigaraki woman’s life (as told to a reporter
starts to learn the his­ by a woman who was both the daughter and
tory of the valley by wife of master potters), Shigaraki in Omi (by
coming to know the Kawai Kanjiro), Shigaraki kiln sites and
cycle of its seasons,” observes the author of Shigaraki clays; bibliography; and index. 52
this historical overview (first published in color and 300 black-and-white photographs.
1979 and now back in print). $80. Weatherhill, Inc., 41 Monroe Turnpike,
“The landscapes on Shigaraki jars have Trumbull, Connecticut06611; telephone (203)
seasons also,” Cort continues. “Some jars are 459-5090.
as bright and vivacious as a spring morning,
Marvelous Majolica
with green glaze cascading over a warm or­
ange surface. Others are moody and with­ An Easy Reference and Price Guide
drawn, barely touched with color—streaks of by Jeffrey B. Snyder
lavender and blue—against dry gray clay.” Nicely illustrated, this guide to American
After discussing the early settlement of and European majolica wares made during
Shigarald, Cort addresses the medieval pe­ the 19th century provides pricing informa­
riod and the ceramics of that time, which tion on a variety of
were “made in a limited number of shapes as items, ranging from
the part-time activity of Shigaraki manor platters and tea sets to
farmers and distributed to a small and mainly wall sconces and um­
rural market.” By the 15th century, however, brella stands. Most of
“the circumstances of production and distri­ the book is devoted
bution began to change as Shigaraki jars simply to images of
became identified for use specifically as tea- specific pieces with
storage containers, attaining a new significance their estimated values;
not only in an expanded commercial market however, brief histo­
but also within the repertory of utensils being ries of the major manufacturers are also in­
established for use in formalized tea drink­ cluded. 176 pages, including recommended
ing.” The circumstances behind the change reading and index. 564 color photographs.
in the status of these jars are covered in the $29.95, softcover. Schiffer Publishing, 4880
following chapter. Lower Valley Road, Atglen, Pennsylvania
Next, Cort focuses on the ware used in the 19310; see website at www.schifferbooks.com;
tea ceremony and merchants of tea ware. “By or telephone (610) 593-1777.

32 CERAMICS MONTHLY
April 2001 33
 Jim Koudelka's
LAYERED CONTRAPTIONS
by Daniel Duford

“Primary Function Cup and Saucer,” 6½ inches (approximately 17 centimeters) in height,

press-molded stoneware, with glazes, multifired, sandblasted.

It seems simple enough. A lidded con­ vessel. I tried,” he explained, “to make it filled my wagon up with old aquariums
tainer with a “red cross” symbol. A ves­ all those things at once.” and just stuff that people threw away.
sel stitched and twined together with At his home in Portland, Oregon, I’ve always had an ability to see the
the refuse of a junkyard. It has only one Koudelka commented, “I’m definitely a potential for broken-down and busted
of its original legs. The other two seem ‘more is better’ person. If you look things. You take them back and make a
to be bits of rebar and a shovel handle. around my house, you see there’s this fort in the woods out of them, or strap
The can leans wearily on its attached conglomerate of stuff. It all goes to­ them together, just as a kid tinkering.”
shovel-handled leg. It is entitled “Aid gether because it’s me.” Koudelka’s sculptures are built in lay­
Container.” But look again. If, indeed, This is true. In every part of Koudel- ers—layers of parts, layers of color and
it is an aid container, it seems more in kas arts and crafts bungalow, his col­ texture. These simultaneous and incon­
need of aid itself. It has a skin scabied lecting obsessions are evident. There are gruous layers form the content of the
by rust and corrosion. The cross that old clocks on the wall in the kitchen, work. “This stems from my love of the
should serve as a sign of solace and vessels of all sorts on the shelves and vessel and my interest in industrial and
comfort is the bright red of an inflamed mantels, gizmos and machine parts mechanical artifacts,” he explained.
wound. Its improvised and ill-fitting tucked here and there amongst his own The origin of his approach to assem­
prosthetic limbs look like crutches. Sud­ body of work. blage lies in his earliest ceramics classes.
denly, this amalgam of parts is not just a “You look in this house. You go down “My teacher had the layered approach.
vessel, but a figure, a wounded soldier. to the basement, behind the house and You know, it was ‘here’s the potter’s
“Aid Container” serves as an apt repre­ you see piles of stuff that I accumulate. wheel, but there are also molds of plas­
sentative of Jim Koudelka’s body of That started when I used to deliver pa­ tic chickens.’ He would put molded
work. He didn’t “try to make it just a pers. On Tuesdays, everybody put their chickens on his thrown pots. He would
figurative piece, or a machine or just a garbage out; as I delivered the papers, I do all these interesting things. He had

36 CERAMICS MONTHLY
 “Little Buoy Jewelry Jar,” 15 inches (approximately 38 centimeters) in height,
thrown, press-molded and assembled porcelain, wood fired, with metal additions.

April 2001 37
 the whole gambit of techniques. I
learned that these are all different ways
to work with this medium.”
Sometimes, Koudelka focuses more
on making thrown pots; at other times,
exclusively molded or slab-built forms.
Then he allows it all to flow back to­
gether. Most importantly, he stays open
to all the tools at his disposal. “What I
have to work with is this library or
vocabulary of, lets say, my molded im­
agery. There are about 50 to 75 molds
down there in the studio right now.
That’s my dictionary. Obviously, the
more words in your dictionary, the more
variable sentences and paragraphs you
can make.
“Part of the assemblage idea comes
from trying not to have too much or
too little. You need X amount of A’
words, ‘B’ words and ‘C’ words. I gen­
erate ideas from the collection. Its a
play between what I might sketch, think­
ing about what I have to work with. I
start to do some sketches as process. I
never stay true to those sketches be­
cause so much happens along the way.”
If the parts are the words of his work,
then the various vapor-fired surfaces are
its inflections. From early on in his un­
dergraduate career, Koudelka worked
with one of those rare urban salt Idlns.
For the past ten years or so, he has been
involved in wood firing. But there was a
period, after graduate school at Indiana
University in 1980, where he didn’t have
the benefit of big atmospheric kilns. He
moved to Seattle and had a small studio
with only an electric kiln. It was a chal­
lenge at first, he recalled, but the limita­
tions were good. “You learn how to use
those tools to fit your thinking. You
find ways to use materials with those
tools that you have on hand. It wasn’t
the same, but it might have been better
in the long run; it taught me to learn to
“Aid Container,” 23 inches (approximately 58 centimeters) in height, work with what I’ve got.”
multifired and sandblasted stoneware. The sandblaster is currently one of
his favorite tools. “Like a giant eraser,”
it adds to his process, and process is his
ally. Before the pieces are subjected to
the erasure of the sandblaster, they go
through a myriad of surface techniques.

38 CERAMICS MONTHLY
 “Good Old Boiler,” 29 inches
(approximately 74 centimeters)
in height, glazed stoneware,
multifired and sandblasted.

When they are green, he might rub in

stains, embed rusted metal and/or ap­
ply colored slips. After the different firing
processes, such as salt glazing, he might
sandblast and then cover parts of the
surface with low-fire glazes. There is a
constant interplay—adding and sub­
tracting—in the creation of his work.
Sandblasting helps to reveal the layers
of history.
“A lot of my work doesn’t come to­
gether until the final days of pinning
and epoxying all the parts,” Koudelka
observed. “Because of that, I can make
five parts to fit one place, then choose
one of those five parts.”
He came of age in ceramics when all
attachments had to be scored and slipped
into place, and once the piece was fired,
it was done; however, he is now free “Blue Stripe Bourbon Bar,” 22 inches (approximately 56 centimeters)
from those restrictions. Each individual in height, handbuilt and press-molded stoneware, glazed
and multifired, with metal rod and chain.
part can be treated and fired differently.
And from these, he can then choose the
best, not to mention the odd, artifact
from his scrap pile.
Sometimes clay is not enough. “As a
clay artist, I can make clay look like
anything. I love those great trompe l’oeil
works by Richard Shaw and Richard

April 2001 39
 Notkin, or even Jack Earl, to a certain traying a more rigid material, he merely
extent. They have the ability to make allows it to be itself in the pots. They
clay be whatever they want it to be. But have a slight torque, a plastic fluidity
sometimes I get to a place where maybe that reveals their soft clay origins. His
I just need to use the other material decorations are quick and fresh. Stripes,
more directly. Sometimes its just prac­ dots, bands of color all mingle on the
tical. Clay doesn’t like to be a stick; it droopy skin of the pot.
doesn’t have the tensile strength. His “Fat Boy” jars—large with stripes,
“One of my main considerations is bulbous scalloped bellies and wavy,
practical. Will it hold? Will it be stable? earlike lugs—are the “Good Time
How much of it can I do now in the Charlie” cousins of the more serious
clay process, then how much of it comes sculptures. Koudelka obviously enjoys
later? You have to account for shrinkage making these wheel-thrown and altered
and such. A lot of it is, how far will the jars, and they are integral to the ongo­
materials go?” ing dialogue present in his work.
The making, firing and assembling Many of these pots are made during
of his sculpture are laborious processes. his throwing classes at the Oregon Col­
“When I see myself begin to tighten up lege of Art and Craft in Portland. Here
during a series, I say, ‘Damn, I lost all is an example of how teaching is a con­
the process.’ Then finally I decide to let stant source of energy for Koudelka.
“Big Fat Boy Jar,” 18 inches
go and let process come back in. Usu­ Being in an academic atmosphere, where
(approximately 46 centimeters) ally, I get back on the wheel and make everyone is always trying something new,
in height, wheel-thrown stoneware, really immediate work, with clay solely keeps him fresh. “You try to push your
wood fired, by Jim Koudelka, as a plastic material.” students to explore, to take risks and
Portland, Oregon. Koudelka’s functional pots have an develop their work,” he explains. “So
unprepossessing quality. Rather than it’s a constant reminder to yourself to
wondering how to coax clay into por­ do the same.” A

Recipes
M.J. Bronze Glaze Crack and Crawl Glaze Fake Ash Glaze
(Cone 01-10) (Cone 06-04) (Cone 8-10)
Ball Clay............................................. 15% Barium Carbonate........................... 9% Whiting.............................................. 33 %
Calcined Alumina (or Alumina Gerstley Borate................................ 19 Zinc.................................................... 11
Hydrate)........................................ 18 Magnesium Carbonate.................... 19 Alberta Slip........................................ 56
Cedar Heights Redart...................... 60 Nepheline Syenite............................ 28 100%
Flint................................................... 7 Kaolin................................................ 16
Flint.................................................... 9 For blue green, add 0.5% cobalt oxide and
100%
Add: Cobalt Carbonate................. 15% 100% 5% copper carbonate. For a brown-green
to tan, add 3% iron oxide and 4% rutile.
Copper Carbonate................ 15 % Do not use on food surfaces. Add oxides
Manganese Oxide................. 50 % Jims Crackle and Flash Slip
or commercial stains for color variations.
(Cone 6—10)
A very toxic glaze. Wear gloves and respira­
Jims Sinter Shino Glaze Borax........................................... 5 parts
tor when mixing and applying, and fire in
(Cone 9—12, reduction) Soda Ash...................................... 5
a well-ventilated kiln. Runs when thick at
Soda Ash........................................... 5 % Custer Feldspar.......................... 20
high temperatures.
Nepheline Syenite............................ 20 Ball Clay....................................... 10
Chinese Bronze Glaze Spodumene....................................... 10 Calcined Kaolin.......................... 15
(Cone 9-10) Calcined Alumina (325 mesh)....... 65 Edgar Plastic Kaolin.................. 10
Barium Carbonate............................ 40 % 100% Helmer Kaolin............................ 10
Nepheline Syenite............................ 44 Add: Bentonite................................. 5% Flint.............................................. 10
Ball Clay............................................. 8 Zircopax....................................... 5
Flint.................................................... 8 A dry white to orange glaze, depending on
90 parts
100% underlying clay. For orange brown, add 1—
3% iron oxide. For blues, add 1-3% co­ Apply to bisqueware. Experiment with
Do not use on surfaces that will come into balt carbonate. Add rust particles for iron thickness in order for slip to crack without
contact with food. Good in salt/soda firings. specking. Flashes in salt/soda or wood peel. Flashes in light salt or soda.
For copper green, add 4% copper carbon­ firing. Good over oxide washes.
ate and 2% rutile.

40 CERAMICS MONTHLY
 “Polka Dot Cup,” 7 inches (18 centimeters) “Monkey and Ball Cup,” 7 inches (18 centimeters)
in height, handbuilt earthenware with oxides in height, handbuilt earthenware with low-fire glazes,
and underglazes, by Michaelene Walsh. by Michaelene Walsh, Baton Rouge, Louisiana.

National Cup Invitational

“Our Cups Runneth Over,” an invitational featuring func­ painted with a colored slip, the tissue drawing is transferred
tional and sculptural cups by over 50 ceramists from across onto this background slip color by pressing with a damp
the country, was presented recently at the Society of Arts and sponge. This transferred ink image is then finish-painted
Crafts in Boston. Shown from the exhibition are sculptural with glaze, using either a brush or a trailer.” ▲
interpretations by Michaelene Walsh of Baton Rouge, Loui­
siana, and Jeanee Redmond of Cambridge, Massachusetts.
Walsh begins her cups by handbulding a series of small,
hollow, sculptural elements (balls, mittens, abstract forms—
“whatever comes to mind”). A cup-shaped form (usually a
“head”) is created, then she “composes the small parts around
it, adding wet clay where needed,” she said.
To develop a broad palette of colors and textures, she
applies multiple layers of glazes and slips. (Most of her pieces
are fired at least two to three times.) “I am interested in some
element of surprise occurring in the firing, so I use glazes
that tend to react differently when layered and refired,”
Walsh explained.
Redmonds trio of cups, “Aubrey,” “Maturin” and “Sur­
prise,” were based on Patrick O’Brians seafaring stories.
“The detailed images on the cups are first drawn and Xeroxed “The Patrick O’Brian Series: Aubrey, Surprise, Maturin,”
to the scale of the various cup sections on which they will be to 8½ inches (20 centimeters) in height, wheel thrown
and handbuilt, with colored slips, glazes and transfer
painted,” Redmond explained. “Each image is traced onto images, fired to Cone 6 in oxidation, $1800 each,
tissue paper, using a water-soluble ink pen. Once the cup is by Jeanee Redmond, Cambridge, Massachusetts.

April 2001 41
 Phil Rogers

Yunomi, 3½ inches (9 centimeters) in height, wheel-thrown

stoneware, with nuka glaze over iron slip, $180.

F unctional ceramics by Welsh potter

Phil Rogers were exhibited through
February 7 at Pucker Gallery in Boston.
“Phil works in a series, varying propor­
tions, angles and curves in a quiet man­
ner,” observes Minnesota potter JefF
Oestreich in the accompanying catalog.
All of the forms “are cousins to each
other. This mode of making gives the
feeling that his pots are born and not
made. The balance of working within
the polarities of intellect and intuition
is apparent.
“One must handle each piece to cap­
ture its essence. I have had the pleasure
of eating and drinking from his plates
and teabowls in homes here and abroad.
Round jar, 11 inches This is their true environment—bowls
(28 centimeters)
in height, thrown
of stew on wooden tabletops, vases full
stoneware, with ash of flowers, and bowls stacked in cup­
glaze, salt fired, $900. boards waiting for the next porridge.

42 CERAMICS MONTHLY
 Oval bottle, 8½ inches (22 centimeters) in height, wheel-thrown stoneware, side fired on shells, $450.

April 2001 43
 Jug, 14 inches (36 centimeters)
in height, wheel-thrown stoneware,
with incising, salt glazed, $900.

“One must experience the hand on

the handle, the lip on the lip; this is the
stage where these pots come to life and
communicate to the user,” Oestreich
continues. “On the other hand, they
have the ability to exist in a gallery
setting, on a pedestal, under glass, and
their message is equally penetrating.
“One must experience his lifestyle
and persona to grasp their essence. Phils
pots are a reflection of his personality—
quiet, unassuming and approachable.
His environment is also mirrored in his
work. Living and working in rural Wales
in 16th-century stone buildings among
rolling lush hills cannot help but im­
print on his pots. The serenity of this
environment is reflected in his work.
“How a potter orchestrates the mar­
riage of form to surface, glaze and pat­
tern is telling. The relationships can be
tenuous. However, we observe a quiet
confidence in Phils choice of firing tech­
niques and methods of stacking. Some
patterns are passed down through ages,
endowed with his own signature, and
others are a reflection of his milieu. All
are imbued with a quiet serenity.” A

Arched bottle, 11 inches

(28 centimeters) in
height, stoneware with
white slip and incising,
salt glazed, $800, by Phil
Rogers, Rhayader,
Powys, Wales.

44 CERAMICS MONTHLY
 Vera Tamari
by Carol Malt

“Olga and Alexandra,” 36 centimeters “Oracles from the Sea, Jaffa Beach,”
(14 inches) in height, slab- and handbuilt 160 centimeters (63 inches) in height,
terra cotta, with engobes. handbuilt terra cotta, metal rods, photographs.

i t is not unusual for a woman to be­

come a ceramics artist, and to receive
national and international recognition
in Ramallah, a town near Jerusalem,
where she now lives.
Asked about historical traditions and
making, because she wanted them to
become educated and pursue different
careers. Nowadays, I don’t know of any
for her work, but it is unusual to find the future of pottery making in the women doing this anymore. I hope I
one from the Arab world. Vera Tamari s area, she observed: “Unfortunately, the am mistaken.”
achievements belie the stereotyping of making of handbuilt clay forms by Born in Jerusalem in 1945, Tamari
the repressed Arab woman whose tal­ women has almost stopped. In the received a B.A. in fine arts from Beirut
ents and ambition are thwarted by a 1970s, when I started my work in ce­ College for Women, studied at the
male-dominated society. ramics, I remember visiting a woman Istituto Statale d’Arte per la Ceramica
In her homeland of Palestine, pot­ named Im Musa in the village of Sinjil in Italy for two years, then went on to
tery making was traditionally the do­ near Ramallah. She did the traditional receive a masters degree in Islamic Art
main of women who coiled or slab built large water jars, hand painted with iron and Architecture from the University of
utilitarian containers as part of their oxide geometric designs. I watched her Oxford. These years of study, plus sev­
domestic tasks. In the mid-20th cen­ at work and was fascinated by her skill, eral residencies and workshops, paved
tury, however, male potters began to assuredness and the lovely rhythm of the way for a multifaceted career.
open private workshops, especially in her gestures and movements while build­ In addition to her work in ceramics,
the towns of Gaza, Hebron and Jenin, ing up the jar. As one of the few re­ Tamari wears many other hats: educa­
throwing pots on wheels and firing in maining women potters who still prac­ tor, writer, arts activist, painter and mu-
closed kilns. Tamari was the first ticed this craft, she was not too enthused ralist. She is a lecturer on Islamic art
woman to open a ceramic art studio about teaching her daughters pottery and architecture at Birzeit University,

April 2001 45
 where she recently expanded her duties some just express the joy of the ma­ storing are limited. Her studio, located
to spearhead the establishment of the nipulation of her material. But whether on the ground floor of the stone house
Ethnographic and Archaeological Gal­ the product is a pot, an abstract sculp­ in which she lives, is small. So, too, is
lery and a small contemporary art gal­ ture, genre scene or landscape, there is a her electric kiln, but both are adequate
lery that features art from the permanent universal warmth, a comfortable famil­ for the intimate scale she prefers.
collection. She is also actively involved iarity to her work. “Mainly, I am a miniaturist at heart,
in promotion of the arts in Ramallah It is evident that her environment and the subject matter of my works—
and Jerusalem. has had a positive influence on the especially the family portraits series and
Inspired by her environment and the themes of her work, but has it impacted other relief works—have a very inti­
realization that one should interact in her production in other ways? One mate nature. They are in a sense like
harmony with ones surroundings, her might think a logical extension of her personal icons. I couldn’t envision them
work often expresses life’s journey, com­ love of the land would be a purist insis­ in large-scale formats.”
munication and continuity. In her se­ tence on using indigenous materials. Typically, she uses low-temperature
ries on family, three-dimensional plaques She has, of course, attempted to use the glazes, some commercial and some she
based on 20th-century family photo­ local clay (called al huwwar, which is mixes from her own recipes. Recently,
graphs capture a sense of passing time; ocher colored and fires to a soft buff), she has been relying more on slips,
they are snapshots of domestic interiors but it does not suit her needs and is engobes, oxides and stains to achieve
with faceless people. They represent the difficult to work with. the desired surface effects and texture.
human condition, the extended family. “The local clay is earthenware, and “Since my themes are mainly inspired
They are reminiscent of the flat, shape- can be found in many locations here in by nature and the landscape, I find the
conscious compositions of Gauguin or Palestine,” she explained. “But it has a earthy natural tones of the slips very
Matisse (albeit without the color) and lot of impurities and needs special treat­ well suited to the subject matter and
the works of Pierre Bonnard. And, like ment and the addition of other materi­ have a special gentle, expressive energy
Bonnard’s work, they seem obvious and als to make it suit works that need that doesn’t distract the eye from the
easily understood, but closer study sug­ glazing or artistic decoration. Also, it form and shape; on the contrary, it en­
gests unforeseen complexities, interac­ does not withstand higher temperatures hances and complements it.”
tions and subtle details drawn from a in the firing. I unfortunately resort to This “gentle expressive energy” she
deeply humane perception of her world. imported clays from Spain, Holland and refers to was especially evident in the 30
She uses form, pattern and color to the United States.” worlds exhibited recently at the Sakakini
create this ambiance. The soft muted Another challenge, regardless of the Cultural Center in Ramallah. ▲
greens, pinks, earth tones and color re­ clay she uses, is the constant problem of
lationships of many of Bonnard’s works drying, especially in the hot summer.
bring this comparison even closer. “I Even under layers of plastic, the clay
“Icons,” to approximately 37 centimeters
love the freedom of Matisse and the dries quickly, creating large cracks. There (15 inches) in height, handbuilt
absolute glow of color and light on is no climate control or space for cre­ earthenware with engobes and stains,
Bonnard’s work,” Tamari commented. ation, and the many steps of prepara­ by Vera Tamari, Ramallah, Israel.
While some of her works are repre­ tion, manipulation, drying, firing and
sentational, some are symbolic, and

46 CERAMICS MONTHLY
Rectangular platter, 13 inches (33 centimeters) Rectangular platter, 14 inches (36 centimeters)
in length, slab-built and incised stoneware, in length, slab-built and incised stoneware,
with multiple slips, fired to Cone 6. with multiple slips, fired to Cone 6.

Mary Barringer s Conversations

by Leigh Taylor Mickelson

H er pots are quiet, but not silent.

They begin whispering to you the
moment you come into contact with
them. If you listen, they will start a
at a time when her instructors and the
greater “art world” thought there was
not much that could be done with the
figure that had not already been done
tures, made by people with no written
record, so pots were their record, their
stories. This was very vibrant for me.”
From this point on, Barringer’s work
conversation with you about nourish­ before (sound familiar?). At about the took on a sense of history and back­
ment, space and celebration. Behind same time, she had signed up for a ground, suggesting the passage of time
the words will be echoes of history, land­ required class: ceramics. The combina­ through layering of textures and colors,
scape and culture. At Mary Barringers tion of the responsiveness of the mate­ faint nuances to discover as the work
recent solo show at Baltimore Clay- rial and the nonresponsiveness of her was handled. It was at this point that
works, I felt an instant connection to teachers led her away from the “hierar­ the conversations began.
her pots. It took some much-valued chies” of the art world and into a more In 1988, after 16 years of selling her
time with the work, as well as with the personal journey with clay. pottery and sculpture out of various
maker, to understand why. Although Barringer started out mak­ studio spaces, she moved to a small
The way ceramics artists first come ing wheel-thrown stoneware pots, she town in western Massachusetts. Here,
to clay seems to feed the core of their soon detoured from the wheel toward the landscape—formed by glaciers and
visual language. Barringer was led to handbuilding, which opened up huge water—seems to “echo whats going on
clay in a roundabout way. She was study­ possibilities that she had never consid­ internally” as Barringer works. “The pro­
ing sculpture at Bennington College in ered before. “There were so many pots cess of forming landscape is like hand-
the early 1970s, making figurative work made for different purposes and cul­ building pots—there’s scraping and

April 2001 47
 Vase, 9 inches (23 centimeters) in height, stoneware,
with multiple slips, fired to Cone 6.

48 CERAMICS MONTHLY
 Ovoid dish, 12 inches (30 centimeters) in length,
slab-built and incised stoneware, with multiple slips, fired to Cone 6.

burnishing; rocks bore holes into other function, texture and line, color and rors the weathering of the New En­
rocks. Like pots, rocks are things that image, hard and soft, warm and cool. gland landscape—the rhythmic motions
are formed incrementally over time.” Although fired to Cone 6 in an electric and fortuitous scraping of making and
For a while, Barringer focused pri­ kiln, the surfaces have a richness and erasing marks.
marily on making sculptural forms, but depth that I had thought could only be These marks are an essential part of
then she began to miss making pots for achieved in a reduction atmosphere. the conversation that her pots have with
use. She missed the “more informal, Barringer creates a texture—lines, their viewers. For instance, two rectan­
personal set of experiences that go along scratches, punctures, grooves—with her gular platters were hung next to each
with domestic space.” So the pieces many tools. Then she brushes on some other; though they were the same shape
shown at Baltimore Clayworks in “New slip, scrapes it off, brushes on another and size, they were very different in feel
Work from a New Place” (she recently slip, wipes it off with a green scrub pad, because of Barringer s use of texture and
moved into a new studio) consisted of over and over. And once the pot has color. The first was a warm hazelnut
functional vessels: platters, teapots, vases, been bisque fired, she begins again, lay­ brown with strong parallel lines and
plates, creamers and basins. ering on various thicknesses of slips and lighter, seemingly random, diagonal
Within this work, there is a balance, glazes, then scraping or wiping them scratches that suggested weathering or
or rather a tension, between form and off. Here, especially, her technique mir­ passage of time etched into the surface.

April 2001 49
 Embedded in the lines was a dark brown
slip. Under a strip of green glaze on the
bottom was some writing. At first, I
thought, “Oh, this will tell me what
this plate is about...,” but then I realized
that I could only pick out a word or
two, “cold day...sky above....”
On the second platter, the back­
ground was a soft cool blue, marked
with deep black grooves that were uni­
form yet randomly placed throughout.
On top of the light blue background
was a darker blue form—two structures
rising out of a thick red glossy strip at
the bottom. The image almost looked
like a worn building, one that was fall­
ing in on itself, or perhaps two torsos,
leaning in toward each other to ward
off the surrounding cool air.
Placed throughout the gallery were
seven vases, all torsos in their own right.
Slab built, they had quite apparent hips
Creamer, 4½ inches (11 centimeters) in height, and belly buttons, spots of bright glossy
slab-built stoneware, with multiple slips, fired to Cone 6. red glaze that suggested the core of the
pot, the center of the pot s being.
Barringer incorporates this red dot
into a number of her pieces—plates,
creamers, dishes and basins—drawing
the eye out of the thick layers of slip
and texture to this poignant, potent
splash of color. The red gives us some­
thing to focus on—a spot of color within
the rich earth tones, a familiar place to
see and touch as you hold the piece,
rotating it in your hands. It speaks of
the kind of familiarity that relates com­
fort, like your favorite coffee mug in the
morning or those hand-knit wool socks
that you wear on cold days.
There is no doubt that Barringer is
“fascinated by the conversation that goes
on between people and things—and
between people through things—and I
want to participate in that with my
work. It means engaging in ideas that
are not just personal, and that my per­
sonal exploration goes on against the
backdrop of a larger, cultural set of ideas
about objects and functions. I like that
my pots go out and lead a life separate
from me, and become a part of some­
Teapot, 6½ inches (17 centimeters) in height, handbuilt stoneware, one elses life. That potential is a huge
with slip, fired to Cone 6, by Mary Barringer, Shelburne Falls, Massachusetts. gift for a potter.” ▲

50 CERAMICS MONTHLY
Recipes

White Slip Base Ash Engobe Glassy Slip

(Cone 6) (Cone 6) (Cone 6)
Frit 3124 (Ferro)........................... 10.0 % Talc..................................................... 15% Gerstley Borate................................. 5 %
Nepheline Syenite........................ 15.0 Wood Ash (unwashed)................... 20 Lithium Carbonate.............................. 80
Ball Clay......................................... 25.0 Cornwall Stone................................. 25 Bentonite.............................................. 15
Edgar Plastic Kaolin.................... 25.0 Frit 3124 (Ferro).............................. 15 100%
Flint................................................ 25.0 Ball Clay............................................. 25
100.0% 100% Dense Wliite Engobe
(Cone 6)
Color variations are mixed with the fol­ For a white/tan variation, add 7.5% tin Frit 3110 (Ferro)............................. 10 %
lowing additions: oxide; for pink/brown, add 1.5% nickel Nepheline Syenite............................... 20
Black: oxide and 8% pink stain. Ball Clay................................................ 30
Black Stain .................................... 10.0% Zircopax................................................ 40
Stevenson Vitreous Engobe
Red Iron Oxide............................ 8.0 % (Cone 6) 100%
Blue-Black: Whiting........................................ 3.33% Add: Bentonite.................................. 2 %
Black Stain..................................... 10.0 % Feldspar....................................... 8.88 Macaloid ........................................1%
Cobalt Carbonate......................... 2.0% Frit 3124 (Ferro)........................ 50.00
Ball Clay....................................... 11.11 Yellow Oxide Glaze
Gray-Green: (Cone 6)
Kaolin.......................................... 13.34
Chrome.......................................... 3.0% Lithium Carbonate.................... 4.35 %
Flint.............................................. 13.34
Copper Carbonate........................ 3.0% Zinc Oxide.................................. 18.48
100.00% Frit 3110 (Ferro)........................ 28.26
Light Green:
Add: Tin Oxide.......................... 11.11% Kaolin.......................................... 31.52
Copper Carbonate........................ 5.0 %
Flint.............................................. 17.39
Strong Green: Single-Fire Ash Glaze
(Cone 6) 100.00%
Chrome.......................................... 6.0 %
Wood Ash........................................ 19 % Add: Tin Oxide.......................... 4.35 %
Blue-Green: Potash Feldspar................................... 25 Copper Carbonate.......... 0.44 %
Chrome.......................................... 3.0% Kaolin.................................................... 12 Iron Oxide....................... 4.35 %
Cobalt Carbonate........................... 1.5 % Red Clay................................................ 13 Yellow Ocher.................. 0.54 %
Teal: Flint........................................................ 31
Copper Carbonate........................ 3.0 % Metallic Black Glaze
100% (Cone 6)
Teal Stain ...................................... 6.0 % Add: Cobalt Carbonate................. 1-5 % Gerstley Borate.......................... 10.75 %
Medium Blue: Red Iron Oxide.................... 15 % Whiting........................................ 5.48
Cobalt Carbonate......................... 1.0% Feldspar....................................... 78.86
Rutile.............................................. 3.0% Burlington Base Glaze Kaolin.......................................... 4.91
Cream: (Cone 6) 100.00%
Rutile.............................................. 5.0% Lithium Carbonate.................... 2.03 % Add: Cobalt Oxide..................... 2.07 %
Strontium Carbonate................. 5.39 Copper Carbonate.......... 4.14%
Yellow: Whiting........................................ 12.21
Yellow Stain................................... 10.0 % Manganese Dioxide........ 4.14%
Soda Feldspar............................. 20.35
Pink: Albany Slip.................................. 22.38 Super-Dry Matt Glaze
Pink Stain....................................... 10.0% Ball Clay....................................... 25.43 (Cone 6)
Zircopax...................................... 12.21 Gerstley Borate................................. 5 %
Vitreous Black Slip
(Cone 6) 100.00% Lithium Carbonate................................ 6
Strontium Carbonate.......................... 15
Borax.............................................. 10.0% Color variations are possible with oxide, Nepheline Syenite................................ 60
Nepheline Syenite........................ 23.0 carbonate and/or stain additions. Calcined Clay.......................................... 8
Kaolin............................................. 22.0
Chinese Ash Slip Flint.......................................................... 6
Ball Clay......................................... 23.0
Flint................................................ 22.0 (Cone 6) 100%
100.0% Gerstley Borate.......................... 2.92% Color variations are possible with oxide,
Add: Cobalt Oxide....................... 1.0% Wood Ash................................... 48.54 carbonate and/or stain additions.
Copper Oxide.................... 4.5 % Ball Clay....................................... 48.54
Red Iron Oxide................. 4.5 % 100.00% Sheen-O Glaze
(Cone 6)
Redart Slip RC Slip Soda Ash........................................ 2.9%
(Cone 6) (Cone 6) Gerstley Borate............................. 4.9
Lithium Carbonate.......................... 10% Whiting........................................... 30.0 % Spodumene................................... 22.8
Spodumene........................................... 10 Kona F-4 Feldspar....................... 20.0 Nepheline Syenite........................ 54.5
Cedar Heights Redart......................... 80 Cedar HeightsRedart................... 40.0 Ball Clay......................................... 14.9
100% Flint................................................ 10.0 100.0%
Add: Red Iron Oxide....................... 2 % 100.0% Add: Chrome................................ 0.5 %
 Firing What do professional potters do for fun?
Many of us became potters because we
really enjoy making a variety of pots,
from one participant to another. With
this group, Barbara Campbell and Terry
Inokuma were the leaders, having had
the but then we find ourselves making blue
bowls for the buying public. While we
previous experience with this kiln. Oth­
ers of the crew may or may not have
Hikarigama may actually enjoy making these bowls,
we often yearn for a time when we try
been able to hold their own in a debate
about the relative merits of apple wood
something new in the studio every week. ash versus fir ash at Cone 13, but they
by Janet Buskirk
Enter wood firing, stage left. are still good potters, and they brought
Last summer, a group of professional with them an incredible knowledge of
women potters assembled at the Hikari­ ceramic materials, as well as that unex­
gama Kiln in Elkton, Oregon. All make plainable sixth sense of kilns and clay.
a substantial part, if not all, of their They came from Oregon, Washing­
living from clay. Many fire this kiln ton and Colorado. They stayed ten days,
regularly; many fire in other wood kilns. beginning with one day of glazing, two
But several of the others work mostly in days of loading, then lighting the kiln
low-fire and had never fired with wood. on the evening of the second day. The
All had the urge to use wood firing as goal was to fire it for 85 to 100 hours,
an excuse to experiment, to have fun in then cool for only two days and unload.
the studio. The kiln is an odd combination of
Often when an eclectic mix of pot­ anagama and noborigama. The front
ters initially joins forces to fire a kiln, chamber is the anagama, with a small
there are obvious gaps in knowledge firebox, followed by about 10 feet of
stacking space. Then there is a stoking
area between the anagama and the small
noborigama at the back, which is usu­
ally salted. Among the local wood-fire
potters (there are now 12 anagamas in
the area, and the people who fire them
do gossip), this kiln is known for its
anagama section being a bit touchy, but
getting to temperature fairly depend­
ably; the noborigama section is much
more problematic.
If you ever drive to Elkton, Oregon,
you are likely to first come through the
town of Drain, then pass the Road Kill
Grill before crossing Hardscrabble
Creek. A few more miles along the high­
way, you’ll pass through a tunnel. On
the other side of the tunnel, everything
changes. The landscape is prettier, the
people seem more cheerful and the farms
look like they produce better crops.
Drive through Elkton, and in two more
miles you will see Hiroshi and Keiko
Ogawa’s Hikarigama.
What are the first things you notice
when you approach a new kiln? Of
course, we all notice its basic structure,
its shape, its size. We also notice the
more subtle things, the attitude of the
Wood-fired box, 9 inches (23 centimeters) in height, thrown and altered stoneware, firing crew, the method by which it is
with Peggy’s Oribe Glaze, by Terry Inokuma, Philomath, Oregon. loaded, the organization of the kiln fur-

52 CERAMICS MONTHLY
 “Wood-fire Sipping Set,” 14 inches (36 centimeters) in length, slab-built porcelain,
by Barbara Campbell, Corvallis, Oregon.

niture, the way that the wood is stored they had patiently explained to me that ing a workshop on firing the kiln. He
around the kiln. while I could help with its construc­ also asked Steve Sauer and Tate Shields
When we arrived, the wood was well tion, they were nervous about me being to lead another firing, and John Harris
organized, and the area around the kiln present when it was fired, as kilns are and Chris Knapp to do a third. Each
seemed to be well set up. The all-female female and they become jealous of other pair was asked to coordinate the entire
crew seemed somewhat less regimented, women. Is that true only in Korea, or firing, as well as sleeping arrangements
but the prevailing attitude was an ea­ something we should all be wary of? and food for the crew. Gradually, the
gerness to learn. It was an inviting firing The idea for this all-female firing first firing, with Terry and Barbara, be­
environment. But would the kiln fire came about during a Hikarigama firing came an all-female firing, and the sec­
well? Great firings can come from very when one of the stoking crews was all ond, with Steve and Tate, became
controlled, difficult crews, yet they also women. They really enjoyed the cama­ primarily male.
can come from crews who goof off. raderie established during their shift, Of the 14 women Barbara and Terry
Either kind of crew can also produce and they began to talk about doing an invited to participate, 9 were able to
ghastly results. entire firing with women. About that take part. The resulting crew was hard
What about this idea of an all-fe- same time, Hiroshi felt he needed to working and organized, yet easygoing.
male crew? I have never really approved give some of his most trusted crew mem­ Everyone jumped in to take responsi­
of all-female or all-male activities; how­ bers more experience and credit; he de­ bility for both manual labor and for
ever, it was interesting to see how this cided to do a “miniseries” of firings that decision making. Watching the concern
firing differed from a co-ed venture. would allow the crew leaders to make on their faces when the kiln had been
Here, the pots were generally smaller, their own decisions and to try their stalled for over 24 hours, some would
perhaps a bit thinner and more grace­ own ideas with his kiln. That way ev­ argue that they took too much respon­
ful. There was also a different pace— eryone, including Hiroshi, might learn sibility, as they all felt accountable for
more of a steady pace, rather than flurries new things. the kilns persnickety nature.
of activity. Would the kiln behave dif­ So he put Terry Inokuma and Bar­ The American anagama tradition is
ferently? Many years ago, I had helped bara Campbell, two women who fire still quite young. Some people approach
some Korean potters build a kiln, and regularly with him, in charge of teach­ such kilns with a need to make Bizen-

April 2001 53
 Terry Inokuma and Barbara Campbell stoking the front.

Loading the rear (noborigama) chamber of the kiln.

Damp wood is leaned against the warm kiln to dry.

54 CERAMICS MONTHLY
 style pots (they do lend themselves to
this process). Others work in a south­
ern folk pottery tradition. We were
working with a peculiar modified
anagama design, thus the pots going
into this kiln reflected our eccentrici­
ties, rather than traditional styles.

1:00 A.M., Tuesday

Fifty-six hours into the firing, the
front of the kiln was holding steady
above Cone 13, but the back of the
anagama and the front of the nobo­
rigama, while they had been rising well,
had stalled. The crew began experiment­
ing with different stoking paces and
different stoking quantities. Decisions
on stoking style, damper opening, etc.,
were primarily made by consensus.
Slightly too-wet wood is a common
problem for kilns in Oregon, so the
crew began to lean damp wood against
After the firing, the kiln is sealed with slip-coated paper
the warm sides of the kiln.
to encourage slow, even cooling. At this point in the firing, the crew
was tired. Earlier, they had been awake
and goofier. Later, they would be so
exhausted that they would again be
goofy. At 1:00 A.M., Tuesday, they were
serious and somewhat pensive.
Stoking was fairly regimented, with
one or more people watching the py­
rometer, listening to the kiln and decid­
ing whether to stoke the back chamber
and/or the middle of the front cham­
ber. At the front, one person would
open the firebox door and hand wood
to the stoker, who would stoke very
rapidly, then close the door, careful not
to allow any extra cold air into the kiln.
(This crew used more safety equipment
than I was used to, with the front stoker
protected by a Kevlar apron, leggings,
gloves and a face shield.) The nobo­
rigama was often stoked in rhythm with
the anagama, but sometimes the kiln
responded best to the back being stoked
with an independent rhythm.
We stoked mostly alder, a semihard
wood that generally burns well but pro­
duces a somewhat short flame. The
wood was cut to 15-inch lengths, then
split when necessary. The pile of coals
Once the door has been unbricked and the firebox was never allowed to become high, as
cleared of ash, the anagama section can be unloaded. this kiln seems to choke fairly easily.

April 2001 55
 During the days, neighbors dropped than one person to own a wood kiln, worried about her own pots. During
by, people made noise, the whole firing and we realized that we do not know of loading, we made certain that everyone
crew was often awake, and somehow any wood-kiln partnerships that have had a piece in the hot spots, the flashy
everyone was distracted. Late at night, stood the test of time. spots and any other promising place.
the crew would sometimes be goofy but It must not be easy to hand com­ During the firing, this spirit of coopera­
they would also be very focused on the plete control of a kiln over to someone tion continued.
kiln. The flames were easy to see, and else. Hiroshi often offered suggestions
thus to read, and there were no distrac­ (the crew joked about him heckling Wednesday
tions. This can often be the best time them), but he also stayed away for long On Wednesday, the back of the
for a wood kiln to gain temperature. periods of time during the firing. anagama was still cold. No cones below
This is also the time when people speak Each crew member had an opportu­ Cone 10 had been placed in the side
frankly about themselves, everything and nity to take part in all aspects of the stoke ports, and Cone 10 had not even
everybody with whom they have fired. firing. Terry and Barbara spent some thought about softening. The crew tried
Many close friendships are made. time rotating the people from one stoke everything. The damper was moved
Friendships can also end during long, port to another. Each learned how to back, forward and back again. They
emotional nights of firing. stoke the front and sides of the anagama, tried the “flame throwers” that Jack Troy
Interestingly, more than one woman as well as the ports for the noborigama. had once shown them, whereby you
at this firing has been a past partner in Each also took a turn opening the door jam the ports full of wood and try to
the ownership of wood kilns, but has for the front firebox, hauling wood and draw the flame from the ports into the
left the partnership in order to preserve cooking meals. kiln. During this flame-throwing at­
friendships. We spent some nights dis­ Everyone understood that it was a tempt, the crew could hear the flame
cussing whether it is possible for more group process, and no one seemed too move through the kiln, then stop at the

“XY,” 10 inches (25 centimeters) in height, incised stoneware,

wood fired, by Cynthia Spencer, Corvallis, Oregon.

56 CERAMICS MONTHLY
 Teapot, 10 inches (25 centimeters)
in height, handbuilt porcelain,
by Janet Buskirk, Portland, Oregon.

“wall of pots”—a solid wall of closely

packed shelves in the middle of the
chamber. It appeared that we had been
a bit overeager during loading. We had
intended to block the flames with two
tightly stacked areas, as the flame some­
times rips through to the back of an
anagama without slowing down at all.
Apparently, we had slowed the flame a
bit too much.
The crew then tried every trick in Pitcher, approximately 12 inches (30 centimeters) in height,
the “Kiln Stokers’ Manual” to reach wood fired, by Peg Malloy, Carbondale, Colorado.
temperature in the noborigama. It was
stoked in tandem with the anagama. It
was stoked entirely independently. It
was stoked lightly, heavily and every­ sense of humor and a willingness to in the Encyclopedia Brittanica), does a
thing in-between. Somewhere, some­ experiment. Most have been professional lot of salt firing. Jenny Andersen makes
how, this worked. After 100 hours of potters for 10 to 20 years. Terry, Bar­ outrageous low-temperature sculpture.
firing, the back chamber had gained bara and Peg Malloy are well known for Cynthia Spencer has fired a lot of salt
more temperature than usual. Typically, their wood-fired work. Beverly Saito, and other vapor kilns. Patty Maly,
it is finished with many hours of assis­ who used to sew clothes for Janis Joplin Natalie Warrens and Gina Freuen have
tance from propane, and while this was (she paid less frequently than many bad done a lot of experimental work at low
again necessary, Cone 11 dropped on galleries), fires with wood in addition to temperatures. Maria Spies has done a
top in only a couple of hours. her low-temperature work. Nancy lot a fuel firings.
The crew had done well, and they Utterback, who is almost entirely self- The unloading proceeded slowly, as
had worked well together. Common taught (she built all of her studio equip­ the kiln was still incredibly hot. Barbara
threads among the participants were a ment based on the descriptions she read and Terry worked until they were too

April 2001 57
 hot to remain inside the kiln, then hur­
ried out to drink water and cool down.
to be ground off lips and feet, but this is
routine for wood firing. And all the
Recipes
This gave the entire crew time to look shelves had been cleaned by a respira- Many of the following recipes are modi­
at the pots remaining in the kiln, to tor-clad crew by the time the kiln was fied versions of glazes found in Jack Troys
analyze the stack and to ponder what completely unloaded. book Wood-Fired Stoneware and Porcelain:
went right, what went wrong, what Each of the women participated for
should be changed. a different reason. Some came to try Anderson Ranch Shino Slip
The people who fire in this kiln regu­ new techniques with a kiln they already (Cone 11, reduction)
larly had some great work; they knew knew; some to try a new kiln with an Spodumene................................. 12.33%
Kona F-4 Feldspar.................... 8.72
how to decorate their pieces for the already-familiar type of firing. Others
Nepheline Syenite...................... 36.47
varying temperatures and atmospheres. came to try wood firing for the first Edgar Plastic Kaolin.................. 28.36
A couple of the women who normally time. Each took full advantage of the Bentonite..................................... 2.00
fire at Cone 04 also got some incredible opportunity. Kentucky Ball Clay (OM 4) .... 12.12
results, with some of the Oribe and Some had life- or career-changing 100.00%
Shino glazes achieving a brilliance that experiences; others learned new tech­
would impress even buyers of blue pots. niques. It was impossible to leave with­ Harris Shino Glaze
The best of the pots from this firing out experiencing some personal growth. (Cone 11, reduction)
were exhibited at the Kobo Gallery in Soda Ash...................................... 3.73%
Seattle, Washington. The author Janet Buskirk is a full-time Spodumene................................. 13.77
Some pots were, of course, brown studio potter in Portland, Oregon; cur­ Kona F-4 Feldspar..................... 9.14
and lumpy. And no more pots than rently, she fires mostly to Cone 10 in a gas Nepheline Syenite...................... 41.31
Edgar Plastic Kaolin.................. 9.14
usual tipped over and stuck to one an­ kiln, but does regularly participate in wood
Grolleg Kaolin............................ 9.14
other. There were also the usual goobers firing several local kilns. Kentucky Ball Clay (OM 4).... . 13.77
100.00%
Add: Iron Oxide......................... 0.50%

Jims Shino Glaze

(Cone 11, reduction)
Nepheline Syenite...................... 54.00 %
Spodumene................................. 36.00
Bentonite..................................... 4.50
Zircopax....................................... 5.50
100.00%
Add: Epsom Salt........................ 0.25%

Tate Shino Glaze

(Cone 11, reduction)
Soda Ash........................................... 16%
Kona F-4 Feldspar................................9
Nepheline Syenite................................39
Cedar Heights Redart...........................6
Edgar Plastic Kaolin...........................17
Kentucky Ball Clay (OM 4)........... 13
100%
Peggy’s Oribe Glaze
(Cone 11, reduction)
Bone Ash....................................
1.07%
Talc..............................................
7.77
Whiting.......................................
22.36
Custer Feldspar.........................
30.88
Teapot, 9 inches (23 centimeters) in height, handbuilt Helmer porcelain,
Edgar Plastic Kaolin.................
12.57
wood fired, by Gina Freuen, Spokane, Washington. Flint.............................................
25.35
100.00%
Add: Copper Carbonate........... 6.50%

58
 Summer Workshops 2001
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 ranked
beginning, intermediate, advanced and 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, Anchorage
“Beyond Function: Inlet Art Workshops” with Brad
Schwieger, sculptural approaches to handbuilding
and throwing (July 15-27, Mon.—Fri., 9-5; open
studio other times); fee: $1000, includes materials,
firing, daily lunches and 1 celebration dinner. Inter­
mediate. Contact Inlet Art Workshops, do Garry
Kaulitz, University of Alaska Anchorage, 3211
Providence Dr., Anchorage 99508; e-mail
[email protected]; or telephone (907) 786-1034.

Arizona, Flagstaff
“Salt-Glaze Workshop” with Ellen Tibbetts (July 11-
25, weekdays). “Noborigama Wood-Fire Workshop”
with Jason Hess (July 26-August 8). Skill require­
ments vary. Living accommodations available; tele­
phone (520) 523-3978. Contact Ellen Tibbetts,
Northern Arizona University, Box 6020, Flagstaff
86011; e-mail [email protected]; see website at
www.nau.edu/summer; telephone (520) 523-1027;
or fax (520) 523-3333. For information on the
noborigama workshop, contact Jason Hess at
[email protected]. For fee information, telephone
(800) 426-8315 or (520) 523-4212.

Arkansas, Eureka Springs

“Inspiration Point Visual Arts Camp” for students
entering grades 7—12; clay workshop focuses on
handbuilding, throwing, raku and pit firings Quly
30-August 5); fee: $250, includes lodging and meals.
Instructors: Jim Wallace and Laura Waters. Contact
IPVAC, 320 CR 210, Eureka Springs 72632; or
telephone (501) 253-1292.

California, Cambria
“Raku by the Sea,” glazing, firing and portable
kilnbuilding with Dan Slayton; participants must
bring 4-6 bisqued forms (August 31-September 1);
fee: $350, includes materials, lodging, meals and tour
of nearby Hearst Castle. Beginning and intermediate.
Registration deadline: August 15. For further infor­
mation, e-mail [email protected]. To register,
see website at http://www.campoceanpines.org/; or
telephone (805) 927-0254.

California, Davis
“Tile Making and Mosaic Workshop” with Donna
Billick (July 7-8). Contact the Tile Heritage Founda­
tion: e-mail [email protected]; or fax (707)
431-8455. Marlene Robert and assistant removing the chamber of a raku kiln
California, Idyllwild during a workshop at her studio in Burgundy, France.
“Idyllwild Ceramic Survey: Firing Techniques” with
Jesse Bay, Steve Davis, Greg Kennedy, Kevin A. $445, includes materials, firing and meals. For further Surface” with Phyllis Kloda; or “Serve a Painting for
Myers, plus visiting artists Marsha J udd, David Kiddie, information, contact Diane Dennis, Idyllwild Arts Supper” with Jane Dillon (July 16—21). “Ceramic
Karen Sullivan and Robby Wood (June 23-29); fee: Summer Program, PO Box 38, Idyllwild 92549; Head Constructions” with Stan Welsh; or “Ceramic
$795, includes materials, firing, lodging and meals. e-mail [email protected]; see website Tableaux Sculpture” with Richard White (July 23-
“Acoma Pottery—Traditional Techniques” with atwww.idyllwildarts.org; telephone (909) 659-2171, 28). “Bowls and Bowls—However You Like Them!”
Emma Lewis Mitchell and Dolores Lewis Garcia Quly ext. 365; or fax (909) 659-5463. with Christopher Bates Quly 30-August 4). “Hagi-
2—7); fee: $455, includes materials, firing and meals. Ware Pottery” with Tsutomu Yamato (July 30-
“Zuni Pottery Making” with Josephine and Milford California, Mendocino August 10); fee: $675, includes materials and firing.
Nahohai; or “Mata Ortiz Pottery Making” with Cesar “Clay Heads” with Doug Jeck (June 11-16). “Mo­ “The Embellished Structure” with Cynthia Young
Dominguez (July 9-14). “Ceramics for Adult Stu­ saic: Where It All Comes Together” with Donna (August 6-11). “Making Pots for the Wood Kiln”
dents” with Greg Kennedy (July 9-21); fee: $435, Billick (June 18-23). “Teapot Doctors” with John with Brent Heerspink and Julia Porter; or “Clay
includes materials, firing and meals. “Traditional San Neely and .Ah Leon (June 25-July 6); fee: $675, Monoprinting” with Mitch Lyons (August 13-18).
Ildefonso Pueblo Pottery Making” with Diane includes materials and firing. “Everything You Want “Exploring Your Inner Spirit” with Bruce Bangert; or
Calabaza and Krieg Kalavasa (July 16-21). “Youth to Know About Ceramics” with Philip Cornelius; or “Clay Collage: Molding and Assembling” with Lesley
Ceramics” with Greg Kennedy (July 22-August 4). “Molding Multiples” with Nancy Fraser and Ted Baker (August 20—25). “Clay Faces ana Heads” with
Skill requirements vary. Fee (unless noted above): Okell (July 9-14). “The Seduction of Color and Beverly Mayeri; or “Clay on the Wall” with Kent

April 2001 59
 Valley Ceramic Arts Guild: see website at
www.ovcag.org; or telephone Irene Jenkins, (408)
739-9435.

California, Walnut Creek

“A Search for the Unexpected,” demonstration and
slide presentation with Tomas Collins (June 16);
fee: $45, includes pot-luck lunch. Contact Walnut
Creek Civic Arts Education, PO Box 8039, Walnut
Creek 94596; telephone (925) 943-5846; or fax
(925) 937-2787.

Colorado, Arvada
“Drawing for Potters” with Jim Lorio (June 9-10).
“Outside the Box” with Marie Gibbons (June 13-
July 11, Weds., 6:30-9:30 P.M.). “Silver Clay” with
Clyde Killingbeck (June 23-24). “Handbuilt Func­
tional Pots” with Cheryl Crownover (July 14—15).
“Handbuilding with Soul” with Tom Kerrigan (July
27-29); fee: $140, includes some materials. “Honest
Pots” with Peg Malloy (August 11-12). Skill require­
ments vary. Fee (unless noted above): $100, includes
materials. Contact Bebe Alexander, The Arvada Cen­
ter, 6901 Wadsworth Blvd., Arvada 80003; e-mail
[email protected]; or telephone (303) 431 -3080,
ext. 3109.

Colorado, Carbondale
“Pots That Speak” with Nancy Barbour, handbuilding,
throwing, surface decoration, soda firing (August 13-
18); fee: $325, includes materials, clay (50 lb) and
firing. Instruction in English with some Spanish.
Contact Diane Kenney, Carbondale Clay Center,
135 Main St., Carbondale 81623; e-mail
[email protected]; see website at
www.carbondaleclay.com; telephone (970) 963-2529;
or fax (970) 963-4492.

Colorado, Cortez
“ 17th Annual Sand Canyon Pottery Workshop” with
Leander Gridley and John Olsen, replicating tradi­
tional Native American black-on-white and corru­
gated pottery (June 16-23); fee: $950, includes ma­
terials, firing, lodging, meals and field trip to Mesa
Verde National Park. All skill levels. Contact Kristie
Carriker, Kelly Place, 14663 Rd. G, Cortez 81321;
e-mail [email protected]; telephone (800) 745-4885;
or fax (970) 565-3540.

“Continuing Traditions in Clay: Shaping Pueblo

Pottery” with Paul Ermigiotti, Jody Folwell and Sue
Folwell (June 24-July 1); fee: $1295. “AncientTech­
nologies,” experimental archaeology workshop, work­
ing with ancient tools, such as pottery tools, atlatls,
firestarter kits, dye charts, etc. (August 5-11); fee:
$700. For further information, contact Crow Can­
yon Archaeological Center, 23390 Rd. K, Cortez
81321; see website at www.crowcanyon.org; or tele­
phone (800) 422-8975, ext. 146.

Colorado, Grand Junction

“Southwest Pottery Workshop” with Michael Wisner,
digging for clay and minerals, brush making, burnish­
ing, black-on-black and polychrome slip painting,
Tom Coleman demonstrating handle attachment during a workshop wood and gas firing (July 20-22); fee: $265; mem­
at Metchosin International Summer School of the Arts bers, $239; includes materials and firing. Instruction
in English and Spanish. “Soldner—-A Lifetime in
in Victoria, British Columbia, Canada.
Clay” with Paul Soldner, slab construction, throwing,
altering, glaze and firing discussion (August 11-12);
Rothman (August 27-September 1). Fee (unless noted John Balistreri, Rodney Mott, Paul Soldner and Peter fee: $200; members, $180; includes pot-luck lunch
above): $365, includes materials and firing. Contact Voulkos, plus Camp Clay (June 8-12); fee: $375. For Saturday. All skill levels. Contact Terry Shepherd,
Mendocino Art Center, PO Box 765, Mendocino further information, telephone Rodney Mott, Penryn Western Colorado Center for the Arts, 1803 N.
95460; e-mail [email protected]; telephone (707) Workshop, (916) 663-2815; or see website at Seventh St., Grand Junction 81505; e-mail
937-5818; or fax (707) 937-1764. www. jps. net/penryn wrkshp. [email protected]; see website at www.gjartcenter.org;
telephone (970) 243-7337; or fax (970) 243-2482.
California, Newark California, Pt. Reyes
“Cast Cement and Mosaic” with Dmitry Grudsky “Magic Fire” with Carol Molly Prier, handbuilding, Colorado, Mesa Verde
(August 20-24). Contact the Tile Heritage Founda­ burnishing, terra sigillata, beach pit firings (July 20- “Anasazi Pottery at Mesa Verde,” prehistoric ap­
tion: e-mail [email protected]; or fax (707) 27); fee: $435, includes materials and firing. Limited proach to clay processing, tool making, hand form­
431-8455. to 8 participants. Some scholarships available. For ing, burnishing, painting, decorating and trench kiln
further information, contact Carol Molly Prier, PO firing (June 17-23). “Advanced Anasazi Pottery at
California, Orangevale Box 337, Pt. Reyes Station, CA 94956; or telephone Mesa Verde,” making gray ware, corrugated ware,
“Body as Index: Life Casting and Latex Molds” with (415) 669-7337. advanced white ware forms, plus trench kiln firing
Nan Smith (June 18-22); fee: $385. Contact Morgan (June 25-29). Instructor: Gregory S. Wood. Skill
Britt, FireArt ClayWorks, (916) 988-9330. California, San Jose requirements vary. Fee/session: $395, includes mate­
“Hands-On Mask-Making Workshop” with Susan rials, firing and group campsite (first session also
California, Penryn Worley (June 24); fee: $60; OVCAG members, $50; includes archaeological field trips and T-shirt). Con­
“ Woodstoke 2001: A Clay Oddity” with Rudy Autio, includes materials. All skill levels. Contact Orchard tact Ancient Arts®, PO Box 27, Masonville, CO

60 CERAMICS MONTHLY
 80541; e-mail [email protected]; see website at Farmington Valley Arts Center, 25 Arts Center Ln., [email protected]; telephone (203)
www.AncientArts.org; or telephone (970) 223-9081. Avon 06001; e-mail [email protected]; telephone (860) 562-4927, ext. 14; or fax (203) 562-2329.
678-1867; or fax (860) 409-7214.
Colorado, Pagosa Springs Florida, Sopchoppy
“Anasazi Pottery at Chimney Rock” with Gregory S. Connecticut, Brookfield “A Spirited Approach to Clay” with George Griffin,
Wood, prehistoric approach to hand forming, bur­ “Building a Salt Kiln” with John Jessiman (June 1-3). individualizing functional stoneware, single-fire oxi­
nishing, decorating and trench kiln firing (July 30- “Relief Tiles” with Laura Shprentz (June 9-10). “Tea dation, fast-fire wood, business as an art form (June
August 1); fee: $185, includes materials, firing and Utensils and Altering Forms” with Peter Callas (June 10-16 or 24-30); fee: $400, includes materials, firing
archaeological tour. All skill levels. Contact Tom 16-17). “Altering Soft Clay” with Carole Ann Fer and lodging. Beginning and intermediate. Limited to
Ferrel, Chimney Rock Archaeological Area: e-mail (June 23-24). “Low-Fire Decoration” with Walt 4 participants. Contact George Griffin Pottery, 1
[email protected]; or telephone (970) Hyla (July 14—15). “Raku Firing Techniques” with Suncat’s Ridge, Sopchoppy32358; or telephone (850)
264-2268. Or contact Ancient Arts®, PO Box 27, Kristin Muller (July 21-22). “Clay and Glaze De­ 962-9311.
Masonville, CO 80541; e-mail [email protected]; fects” with Jeff Zamek (July 28). “Mold Making”
see website at www.AncientArts.org; or telephone with Lynn Peters (August 4-5). Contact the Brookfield Florida, Stuart
(970) 223-9081. Craft Center, PO Box 122, 286 Whisconier Rd., “Biddle, Bieber and Tall,” throwing, tile making,
Brookfield 06804; e-mail [email protected]; or tele­ sculpture, glazing, terra sigillata (June 17-29); fee:
Colorado, Penrose phone (203) 775-4526. $495, plus materials. For further information, con­
“Earth, Water, Wind and Fire” with Vern Roberts, tact Phyl Bieber, Shadow Bay Pottery Studio and
focusing on the traditional materials, forming, deco­ Connecticut, Guilford Gallery: e-mail [email protected]; or tele­
rating and firing methods used by the ancient Anasazi “Pots for Pouring and Drinking,” throwing and phone (561) 692-9712.
and pueblo potters (June 17—24); fee: $275, includes altering functional forms with Mark Shapiro (June
most materials and firings. Undergraduate and gradu­ Florida, Winter Park
ate credit available for an additional fee. Beginning A session with Tim Ludwig, using red earthenware to
through advanced. Contact Vern Roberts, Coyote construct vessel-oriented forms (June 2); fee: $80;
Arroyo Studios, 1753 13th St., Penrose 81240; e-mail members, $65. Registration deadline: May 29. Con­
[email protected]; or telephone (719) 372-6846. tact Crealde School of Art, 600 St. Andrews Blvd.,
Winter Park 32792; see website at www.crealde.org;
Colorado, Snowmass Village or telephone (407) 671-1886.
“Handbuilding the Figure in Clay” with Peter
VandenBerge; or “Technique and Idea: Finding Your Hawaii, Honolulu
Voice” with Sam Chung, Jae Won Lee and Doug “Understanding Porcelain” with Janet DeBoos,
Casebeer (June 4-15); fee: $675. “Mata Ortiz: South­ handbuilding and throwing (July 9-14); fee: $205,
western Ceramics” with Juan Quezada and Michael includes materials and firing. Intermediate through
Wisner; fee: $750; or “Beginning Ceramics: Center­ professional. Contact Suzanne Wolfe, University of
ing to Centered” with David Dahlquist and Elmer Hawaii at Manoa, Ceramics Program, 2535 The
Taylor (June 18-29); fee: $675. “Clay Sculpture: Mall, Honolulu 96822; e-mail [email protected];
Extraordinary Abstractions” with Virginia Scotchie; telephone (808) 956-5264; or fax (808) 956-9043.
or “Low-Fire Decoration: Texture, Color, Pattern”
with Karen Koblitz (July 2-13). “Ceramic Sculpture: Idaho, Ketchum
The Figure in Earthenware” with Paula Rice; or “Clay Camp for Children” with Boulder Mountain
“Earthenware Pottery: Decoration and Brushwork” Potters, handbuilding for children ages 7-12 (July 9-
with Walter Ostrom (July 16-27); fee: $625. Au^ust 10, weekly); fee: $100 per week. “Clay Mak­
“Handbuilding Terra-Cotta Pottery” with Gail ers’ with Susan Ward, throwing for children age 13
Kendall; or “Making and Decorating Utilitarian Pot­ through high school (July 16-20 or August 6—10,
tery” with Suze Lindsay (July 30-August 10). “Stone­ afternoons); fee: $135. “All You Ever Wanted to
ware Pottery: The Culinary Connection” with John Know About Making and Glazing Tiles and Maybe
Neely (August 13-24). “Personal Visions in Clay” More” with Paul Lewing, hands-on workshop mak­
with Don Reitz (August 20-31); fee: $650. “A Life­ ing tiles and glazes (July 27-29). “From Soup to Nut
time in Clay” with Paul Soldner and Peter Voulkos Bowls” with Susan Ward, making bowls (July 30-
(August 27-31); fee: $625. Skill requirements vary. August 3, evenings). “Porcelain Vessels: Icy Cold or
Fee (unless noted above): $605. Contact Anderson Fiery Hot” with Susan Filley, exploring throwing and
Ranch Arts Center, PO Box 5598, Snowmass Village glazing techniques (August 10-12). Skill require­
81615; see website at www.andersonranch.org; tele­ ments vary. Fee (unless noted above): $150. Contact
phone (970) 923-3181; or fax (970) 923-3871. Boulder Mountain Clayworks, PO Box 3725,
Ketchum 83340; telephone (208) 726-4484; or fax
Colorado, Steamboat Springs (208) 726-7183.
“Kosai Ware: Vapor Glazing with Gold and Plati­ Linda Arbuckle handbuilding a serving dish
num” with Biz Littell (June 7-14); fee: $2000, in­ Illinois, Antioch
during a workshop demonstration at Santa Fe
cludes some materials, firing, 24-hour studio access, Weekly sessions on handbuilding, throwing, glazing,
lodging and meals. “Salt Firing—Transformations: Clay in Santa Fe, New Mexico.
stoneware reduction and raku with Tracy Burns and
Forming, Decorating and Firing Stoneware and Por­ Jill Grau Tortorella (June 11-August 3, weekdays);
celain” with Jack Troy (June 18-29). “Romancing 21-24); fee: $255; materials are extra. Intermediate fee: $245-$490, includes materials and firing. Begin­
the Reds: The Mystique and Techniques, a Work­ ning through advanced. Contact Jill Grau Tortorella,
through professional. Contact Lisa Wolkow, Guilford
shop in Copper Reds” with Tom Coleman (July 9- Antioch Pottery Works, 25942 Heart-O-Lakes Blvd.,
Handcraft Center, PO Box 589, Guilford 06437;
20). “Advanced Throwing and Surface Techniques, e-mail [email protected]; telephone Antioch 60002; e-mail [email protected]; or tele­
Plus Fast Fire, Fast Cool Kilns” with Randy Brodnax phone (847) 838-1040.
(203) 453-5947; or fax (203) 453-6237.
(July 30-August 10). “Porcelain: Color on White,
Thrown and .Altered Functional Ware” with Susan Connecticut, Middletown Illinois, Evanston
Filley (August 15-22); fee: $895, includes lab fee, “Crystalline Glaze Workshop—Reduction and Oxi­ Building and firing an inexpensive, lightweight, effi­
some materials and firings, 24-hour studio access, dation,” lecture/demonstration (August 1) and hands- cient raku kiln, plus throwing, handbuilding and
lodging and meals. “Raku: Form, Firing and Expres­ on session with John Tilton (August 1—6); workshop colored-slip demonstrations, with Ned Krouse (July
sion” with Jim Romberg (August 30-September 6); fee: $500; demonstration only: $100. “Soda-Firing 21-22); fee: $100; EAC members, $90; includes
fee: $895, includes lab fee, some materials and firings, Workshop” with Robbie Lobell, forming and glazing materials, firing and lunch. Participants must bring
24-hour studio access, lodging and meals. Skill re­ pots, soda/wood firing at artist’s studio (August 10- bisqueware. All skill levels. For further information,
quirements vary. Fee (unless noted above): $1355, 11 and 17-18); fee: $220. Skill requirements vary. contact Chris Plummer, Evanston Art Center, 2603
includes lab fee, some materials and firings, 24-hour For further information, contact Melissa Schilke, Sheridan Rd., Evanston 60201; e-mail
studio access, lodging and meals. For further informa­ Wesleyan Potters, 350 S. Main St., Middletown [email protected]; telephone (847) 475-
tion, contact Judith Carol Day, Laloba Ranch Clay 06457; e-mail [email protected]; telephone 5300, ext. 211; or fax (847) 475-5330.
Center, PO Box 770226, Steamboat Springs 80477; (860) 347-5925; or fax (860) 343-1096.
e-mail [email protected]; telephone (970) 870- Indiana, Indianapolis
6423; or fax (970) 870-6452. Connecticut, New Haven Workshop on handbuilding and glazing with under­
“Large Pottery on the Wheel,” hands-on workshop glazes, overglazes and low-fire glazes with David
Connecticut, Avon with Stephen Rodriguez, two-piece or single thrown, Gamble (June 18-23); fee: $564, includes materials,
“Printing with Clay” with Mitch Lyons, making plus slip decoration and carving demonstrations firing and 3 credit hours. Dormitory accommoda­
monoprints with a slab of clay as the matrix (June 24— (June 30—July 1). Advanced. For further information, tions available. All skill levels. Contact Kathryn Andry,
25); fee: $ 170, includes materials. “Carving Porcelain contact Hilary Sierpinski, Director of Public Rela­ University oflndianapolis—Art Dept., 1400E. Hanna
and Other Clays” with Jean Mann (July 14); fee: $85. tions and Development, Creative Arts Workshop, Ave., Indianapolis 46227; e-mail [email protected];
All skill levels. Contact Melissa Jarvis or Pat Parker, 80 Audubon St., New Haven 06510; e-mail telephone (317) 788-3253; or fax (317) 788-6105.

April 2001 61
 Indiana, New Harmony Louisiana, Monroe 15—27). Throwing and altering with stoneware and
Handbuilding, throwing and glazing with Les Miley “Crystalline-Glazed Porcelain Workshop” with porcelain, exploring surface treatments with Jack
(J une 18-J uly 20, weekdays); fee: approximately $600. Donald R. Holloway (July 16-21); fee: $240, in­ Troy (July 29-August 17); fee: $770. Creating deco­
Limited to 10 participants. Intermediate through cludes materials, firing and Friday-evening cookout. rative vessels and carved tiles with earthenware and
professional. For further information, contact Les Intermediate through professional. Contact Donald terra sigillata, with JoAnn Schnabel (August 19-31).
Miley, University of Evansville, 1800 Lincoln Ave., R. Holloway, Crosscraft Originals, 18 Jana Dr., Fee (unless noted above): $580. Living accommoda­
Evansville 47722; telephone (800) 479-2043; or fax Monroe 71203-2736; e-mail [email protected]; tions available. Contact Stuart Kestenbaum, Hay­
(812) 479-2101. telephone (318) 343-7658; or telephone/fax (318) stack Mountain School of Crafts, PO Box 518, Deer
343-9220. Isle 04627; e-mail [email protected]; tele­
Kentucky, Harrodsburg phone (207) 348-2306; or fax (207) 348-2307.
“From Dirt Pile to Table” with Wyman Rice and Maine, Camden
Marshall Thompson, processing local clays,
Maine, Monroe
“Bas Relief Tile Making and Low-Fire Glaze Tech­
handbuilding, throwing, making and using silicon niques” with Randy Fein Quly 14—15). For further “Side by Side,” workshop for adults and children
molds, once-fire glazing and kiln techniques, raku information, e-mail the Tile Heritage Foundation (June 22-24). “Throwing Intensive” (June 29-July
and pit fire (July 27-29 and August 3-5). “Pottery 1). “Tracking Sources” with poet Barbara Maria (July
[email protected]; or fax (707) 431-8455.
and Drawing” with Chris Dayman, handbuilding, 13-15). “Clay Intensive,” including primitive, raku
throwing, burnishing, decorating, reduction kiln Maine, Deer Isle and high-fire reduction firings (July 15-21). “Masks
firing (July 29-August 3). Fee/session: $250, in­ “Function and the Decorative” with Matthew Metz Speaking” with Squidge Liljeblad Davis and Barbara
cludes firing, lodging and meals. Skill require­ and Linda Sikora (June 3-15). “Found Objects and Maria (August 3-5). “Clay Relaxed,” making pots,
ments vary. For further information, contact Don Sculpting with Clay” with Arthur Gonzalez (June plus primitive, raku and high-fire stoneware firings
Boklage, Open Ground, 981 Rye Ln., Harrodsburg 17-29). Throwing and handbuilding functional and (August 5-11). “Clay in the Wilderness—A Women’s
40330; e-mail [email protected]; or telephone nonfunctional forms with Tetsuya Yamada (July 1— Retreat,” canoeing, primitive firings (August 26-
(859) 375-2411. 13). Throwing and design with Cynthia Bringle (July September 1). Instructor (unless noted above): Squidge
Liljeblad Davis. All skill levels. Fee: week-long ses­
sions, $640, includes lodging, meals; weekends, $325.
Contact Starflower Farm and Studios, 941 Jackson
Rd., Monroe 04941; telephone (207) 525-3593.

Maryland, Baltimore
“Understanding Ceramic Sculpture: An Interactive
Seminar” with Tony Hepburn (June 16-17); fee:
$110; members, $90; includes light breakfast.
“Sgraffito and the Wheel-Thrown Vessel” with Larry
Allen (July 7-8). “Diverse Elements,” handbuilding
with Ching Yuan Chan (August 11-12). Skill re­
quirements vary. Fee (unless noted above): $160;
members, $140; includes materials and light break­
fast. Contact Leigh Taylor Mickelson, Baltimore
Clayworks, 5707 Smith Ave., Baltimore 21209; e-mail
[email protected]; telephone
(410) 578-1919; or fax (410) 578-0058.

Maryland, Frederick
“Intensive Throwing Workshop” (May 21-June 1);
fee: $595. “Salt in a Wood-Fired Kiln,” firing work­
shop (June 1-3) and lecture/demonstration (June 8-
10) with Micki Schloessingk; fee: $280; firing only:
$165; demonstration only: $120. “Plates and Plat­
ters” (June 30-July 1); fee: $125; participants must
bring tools and clay (50 lb). “Ceramic Sculpture”
(July 2-13); fee: $595. “Masters Throwing Work­
shop” (August 2-5); fee: $198; participants must
bring tools and clay (150 lb). Instructor (unless noted
above): Joyce Michaud. For further information,
contact Joyce Michaud, Art Dept., Ceramics Pro­
gram, Hood College, 401 Rosemont Ave., Frederick
21701-8575; telephone (301) 696-3456 or (301)
696-3526; or fax (301) 696-3531.

Massachusetts, Boston
“Approaching Galleries with Your Work” (June 7);
fee: $50. “Clay: Form and Finish” with Marvin Sweet
(June 18-28, Mon.-Thurs., 11 A.M.-4:45 P.M.);
fee: $450, includes 1 ½ credits. For further informa­
tion or to register, telephone the Art Institute of
Boston, (800) 773-0494, ext. 6724.

“China Trade Ceramics Seminar” will include ses­

sions in curriculum development, clay construction,
glazing, kiln firing, plus symposium on Chinese trade
ceramics (July 9-27, Mon.-Fri.); fee: $865, includes
materials, firing, 3 graduate credits and symposium.
Intermediate through professional. Contact Nancy
Selvage, Office for the Arts at Harvard, Ceramics
Program, 219 Western Ave., Boston 02134; e-mail
[email protected]; telephone (617) 495-8680;
or fax (617) 496-9787.
Massachusetts, Harwich Port
“Intensive Throwing” with Keith Kreeger (July 9—13,
16-20,30-August 3 or 13-17). For further informa­
tion, contact Keith Kreeger, 586 Rte. 28, Harwich
Port 02646; e-mail [email protected]; or tele­
phone (508) 432-6398.
Gary Hootman and participants building a wood-burning kiln during a workshop Massachusetts, Housatonic
at KyungHee University in Yongin, Korea; this summer, Hootman will be leading One-month workshops on Japanese throwing and
a similar workshop in Fulton, Missouri. Please turn to page 96

62 CERAMICS MONTHLY
 Water downspout, 11 inches
(28 centimeters) in width,
handbuilt stoneware.

Charmian Johnson
by Jim Weaver

T he path to clay art is different for everyone.

Charmian Johnson of Vancouver, British Colum­
bia, was a teacher of mathematics and English when
dling, lifting, turning, carrying and arranging these
pots, as finally opening her mind to the possibility of
excellence for her own work.
she realized the strong and positive impact that creat­ During this period, she was able to spend consider­
ing art had in young peoples lives. She began to ex­ able time with Bernard Leach. Nearly blind, he would
plore her own artistic creativity and found her first spend his mornings dictating the final chapters of
voice in etching and drawing, working directly from Beyond East and West. Each afternoon before tea,
nature, enjoying plants, pen and paper. Johnson would read his typewritten copy back to him,
Clay first crossed her path by chance when it was as well as garner information she needed for the catalog
the only class that would fit into the studio require­ index cards. Over tea, they often discussed drawing—
ment for university art studies. Her instructor, Glenn Leach emphatic about the importance of form, and
Lewis, was fresh from an apprenticeship at the Leach Johnson amazed at the acuity of his visual memory.
Pottery in St. Ives, Cornwall. He brought with him From St. Ives, Johnson went to Tangier, Morocco,
Bernard Leachs concepts of ease, strength of form and where she spent time each week with the Berber potter
openness of mind to world traditions and con­
cepts—the idea that making a pot is an intel­
lectual event. It was not long before she
adopted clay as her principal mode of artistic
expression. “Soon, all I wanted to do was
make pots,” she recalls.
During 1977 and 1978, through the advo­
cacy of her mentor, Michael Henry, and her grow­
ing friendship with Janet Leach, Johnson had the
opportunity to spend several months at the Leach
Pottery, photographing and cataloging the diverse
collection of pots (ancient to contemporary, eastern
and western). Many of these pieces are well known, Footed square ikebana dish, 4 inches
having been illustrated throughout Bernard Leach’s (approximately 10 centimeters) in height,
stoneware, with slip glaze and celadon glaze.
publications. Johnson attributes the experience of han­

April 2001 63
 Malem Ahmed Cherkaoui and his wife Haddush. Their
clay arrived on the back of a camel, and fuel for the
large, simple, updraft kiln was collected about town.
For one firing, the fuel was worn-out boots and shoes.
Their exceptionally large storage jars were strong, hand­
some and extremely useful. “It was very heavy work,”
Bowls, 9 inches (approximately 23 centimeters) in diameter,
Johnson recalls, “and at barely survival income.”
porcelain, with barium/copper glaze over red slip.
Back in Canada, she began making a series of high-
fired stoneware gargoyles, initially to fill her own need
for a water spout from her eaves to a barrel. Through
this throated gargoyle, she learned about its age-old
relatives, the grotesqueries and grotto creatures who
were the traditional embodiments and guardians of
nature primeval; her gargoyle production grew steadily,
one by one-of-a-kind. Throughout the 1980s and ’90s,
she also focused on the production of useful pots,
including large bowls, ikebana vases and small boxes.
Once described as singularly independent, Johnson
does not fit any career mold. She has followed her own
mind and spirit to do those things that feel right to her,
and to seek first her own personal satisfaction in her
work. Success has come, not because she has played by
the rules, but because she invented her own game.
Glenn Allison, curator of the Canadian Clay &
Glass Gallery in Waterloo, Ontario, describes Johnson
as “supremely unaligned with any of the fashionable
idioms that have marked ceramics production in the
last half of the 20th century. Her career, like her work,
is plain, quiet, straight and clear.” ▲

Bowls, 5½ inches (14 centimeters) in diameter, porcelain, with red slip and speckled iron-black glaze,
by Charmian Johnson, Vancouver, British Columbia, Canada.

64 CERAMICS MONTHLY
 Gary Schlappal
by Marlene England

Maryland, there was no turning back

once his passion for clay was realized.
He describes that defining moment as
ethereal, albeit influenced by the Hong
Kong flu he was enduring at the time.
“It was 1973, and I was majoring in
advertising and painting at Miami Uni­
versity of Ohio,” he recalls. “I was tak­
ing a ceramics class, sitting at the wheel,
and the light came in from the window
and hit my hand just right.”
He worked in advertising for three
years, while taking night classes in clay
at the Cleveland Institute of Art, then
went on to earn an M.F.A. at Kent State
University. After teaching at several in­
stitutions, including the School of the
Art Institute of Chicago, the University
of Wisconsin, and Iowa State Univer­
sity, Schlappal abandoned the safety net
of paychecks and benefits to launch a
full-time ceramics career. Six years later,
the 49-year-old remains passionate
about his fervent need to create “art for
arts sake.”
“The color, form and emotion of
my work help me to make sense of my
life and the things around me,” he ex­
plains. “Being with my work is satisfy­
ing and very rewarding. ”
The majority of his pieces deal with
containment in a functional, historic or
metaphoric sense. In addition to small
and large bowls, bottles, lidded forms
and sculptural vessels, Schlappal has re­
cently added what he refers to as “works
on the wall”—wooden reliefs with ce­
ramic inserts.
Working primarily with white earth­
Bowls with underglaze and glaze decoration surround
Gary Schlappal in his Frederick, Maryland, studio. enware, he utilizes a variety of forming
techniques, including slab building,
throwing, coiling and press molding.

I ts no surprise that The Moon and

Sixpence is one of Gary Schlappal s
favorite novels. In this fictional tale based
able, irrepressible obsession. Although
Schlappal is no Strickland (he takes time
to eat, cherishes friends and is much
Many forms are started upside down or
on their sides, then finished rightside
up. He then layers on “a series of dry
on the life of Paul Gaugin, W. Somerset more civil), there are similarities, such underglazes, which are carved into or
Maugham creates the troubling yet fas­ as the all-consuming need to create art drawn on, then scrubbed with steel
cinating biography of Charles Strick­ for arts sake. wool, and sanded.
land, a stockbroker turned painter for For Schlappal, a native of Cleveland “I want each piece to be special and
whom creating art becomes an undeni­ who now lives and works in Frederick, unique,” he explains. “The process is an

April 2001 65
 PHOTOS: JERRY ANTHONY, BOB BARRETT, HARRIET WISE

“Wall Vase: From the Spanish Antique Series,” 37 inches (94 centimeters) in height, handbuilt
white earthenware, with underglazes and glaze, and wood with layered paint and graphite.

66 CERAMICS MONTHLY
 “Wall Vase: The Vasemaker,” 27 inches “Round Lidded From,” 33 inches (84 centimeters)
(69 centimeters) in height, handbuilt white in height, thrown and incised whiteware,
earthenware with underglazes and glaze, with layered underglaze and glaze,
and wood with graphite and paint. by Gary Schlappal, Frederick, Maryland.

evolution of sorts, and it doesn’t hap­ plains. “I can’t help but be influenced in recently, she immediately bought two
pen quickly.” some way by that.” bowls—one of which she gave to
He admits to working best in an The Frederick community is home Norman Mailer.
environment of absolute chaos. He to many artists, but fairly conservative “It’s quite interesting, really,” Schlap­
sketches on the floors and walls of his by Schlappal’s standards. When he first pal continues. “My work is done in
studio amidst “a lot of stuff everywhere. exhibited at a downtown arts and crafts solitude, without the input of others,
It’s a good feeling to make sense out of fair, the locals laughed at his work. “And and still someone can recognize the im­
chaos,” he rationalizes. I mean really laughed,” he recalls. “I age I’ve created. And that’s such an
Although clutter is acceptable to don’t Imow whether it was the artistic affirmation. It truly makes all the sacri­
Schlappal, noise is not. As he explains element or my prices, but either way it fices and the not-so-pleasant encoun­
it, there are many aspects of his work was okay. I’ve always felt that the more ters worthwhile.”
that can be done “on automatic,” such adverse the experience, the more my For Schlappal, making art is down­
as wedging and rolling out slabs. “Dur­ self-esteem improves in the long run.” right spiritual. “I really believe that the
ing these times, I share the activity with In contrast, later that same year, same part of the human spirit that is
music and books on tape,” he says. “But Schlappal was awarded first place in attracted to religious concepts also em­
at other times, when I’m looking to ceramics at a St. Louis fair, where his braces the humanities and the arts. I
achieve a certain level of creativity within work was so well received that he nearly think there are similarities there, soulful
the work, I seek solitude and silence.” sold out. “It’s taken me quite a while to passions in both areas.”
His daily quest for a cup of coffee get used to someone coming into my He often recommends The Moon and
can also have an impact on his work. booth with a paint chip and carpet Sixpence to students interested in pur­
Schlappal’s studio is located in a fairly sample, asking, ‘Can you make me suing art as a career. “I think Somerset
quiet part of Frederick, in the basement something in chartreuse?’” Schlappal Maugham, at times, finds the words to
level of an antiques warehouse that oc­ laughs. “But every now and then some­ describe the internal obsession to make
cupies almost an entire city block. “The one will come by and they’ll get art,” Schlappal says. “The main focus
environment I encounter every day is it...they’ll understand what I’m trying has to be internal. There has to be the
filled with hundreds of thousands of to say through my work.” creative fire within. This is what makes
objects and images that all types of When renowned author Maya the journey into art something that’s
people lived and worked with,” he ex­ Angelou saw Schlappal’s work at a show worth dedicating your life to.” A

April 2001 67
 Cherchez la forme
by Kerina Schweer

C lay is a material offering unlimited creative

opportunities and spiritual resonance. Ac­
cording to ancient beliefs, the potter breathes life
into the clay, thus freeing it from the influence of
evil spirits, so that it will be a meaningful part of
the human world. The mythologies of the
Mesopotamians, Indians and Egyptians extended
this idea to a god or hero of pottery who shaped
human beings from clay and water. The biblical
poets, too, are familiar with the concept: “You
are in my hands like clay in the potters hand.”
I was born and grew up in Bulgaria, a land
with a long tradition of pottery, but I didn’t come
Asymmetric form plays a major role in Kerina across ceramics until my teenage years—that time
Schweer’s functional ware.
of unforgettable impressions. It was at one of
those exhibitions that fills the imagination with
dreams of the future. I had known that I wanted
to become an artist, but only then did I realize
which kind of artist. Actually, working with clay
began years later when I studied at the Academy
of Fine Arts in Sofia.
After earning an M.A. in 1993, I started my
career as a freelance artist. I own a small studio in
Sofia, which presently I cannot use, so it has been
necessary to turn a room of the flat in Switzer­
land into a “studio,” equipped with a small elec­
tric kiln, a potter’s wheel and an extruder.
Sometimes I think ceramics is a wonderful hobby,
but a terribly difficult profession.
The development of a personal style resembles
the invention of a new language. The object is
communication; however, it is forbidden to com­
municate conventionally. And developing a new
language is only the first step. The second is
making the language understandable to others.
Unlike the exact sciences, which only have to
adhere to their intrinsic rules, the artist has to rely
on the subjective understanding of others. If this
second step is not realized, disappointment can­
not be avoided.
The nonconformist artists have shown that
basically all means of expression are conceivable
in the creative process. What counts is the “mean­
ing” or “idea” in the sense hinted at above, not
the means employed. For this reason, discussions
on a distinction between artistic ceramics and
pottery as craft are outmoded. As long as a piece
is marked by originality, it is art—no matter
“Utilitarian Composition,” 52 centimeters (approximately
20 inches) in height, whiteware, with underglazes, stains
and glaze, fired to1020°C (2228°F).

68 CERAMICS MONTHLY
 “Simple Box with a Complex Lid,” 18 centimeters (approximately 7 inches) in height,
extruded and slab-built stoneware, with commercial glazes, fired to 1260°C (2300°F).

whether it is a painting, a sculpture, pottery or

anything else.
In my current work, I am focusing on archi­
tectural structure, while emphasizing the plastic­
ity of the surface. I love making items for daily
use that are conceived as asymmetric forms, which
look different from different points of view. I like
the idea of a form hiding a surprise in it, some­
thing that does not present itself at first glance.
These forms often consist of several elements
that can be fitted together in alternate ways. For
example, turning an asymmetric lid changes the
composition. A technical precondition is the
avoidance of deformation during the firing. Of
course, the color plays a major role as well, and
may require multiple firings.
I find a special challenge in searching for Three boxes, to 16 centimeters (approximately 6 inches) in height,
handbuilt stoneware, with commercial glazes, fired to 1260°C
form. I love simplicity as well as complexity, (2300°F), by Kerina Schweer, Chur, Switzerland.
usefulness as well as uselessness. Simple, clear
and pure form is like an invitation to relaxed
contemplation, while complex form is often in­
explicable and thought provoking. ▲

April 2001 69
 Call for Entries Juried from 3 slides of recent work and a short
curriculum vitae. No entry fee. Awards. Contact
Inner City Clayworkers Gallery, corner St. John’s
Application Deadlines for Exhibitions, Rd./Darghan St., Glebe, Sydney 2037; see website
Fairs, Festivals and Sales at www.clayworkers.com.au; or telephone (61)2
9692 9717.
July 15 entry deadline
Omaha, Nebraska “Abstraction IV” (August
7—28), open to 2- and small 3-dimensional works
International Exhibitions in all media. Juried from slides. Fee: $30 for up to
April 15 entry deadline 3 slides; $5 for each additional slide. Cash awards.
Omaha Nebraska
, “2-3-4-dimensional II” (May For prospectus, send SASE to Period Gallery,
8—29), open to 2- and small 3-dimensional works 5174 Leavenworth, Omaha 68106; e-mail
in all media. Juried from slides. Fee: $30 for up to [email protected]; see website at
3 slides; $5 for each additional slide. Cash awards. www.periodgallery.com; or telephone (402)
For prospectus, send SASE to Period Gallery, 556-3218.
5174 Leavenworth, Omaha 68106; e-mail July 27 entry deadline
[email protected]; see website at San Francisco, California*Ashes to Art” (No­
www.periodgallery.com; or telephone (402) vember 30-December 2), open to urns and
556-3218. vessels for keeping or dispersing funerary ashes.
April 27 entry deadline Juried from slides. Fee: $25 for up to 3 entries;
Sydney, Australia* Sculpture by the Sea, Bondi $5 each additional slide; maximum of 6 slides.
2001” (November 1-12). Juried from artists’pro­ Commission: 35%. Awards. Location:
posals in any form they decide (slides, photo­ Firehouse, Ft. Mason Center. For prospectus,
graphs, models, etc.). Jurors: Tom Arthur, head of send SASE to Ashes to Art, Box 221, Graton, CA
sculpture, Sydney College of the Arts; and Jim 95444; e-mail [email protected]; see website at
Croke, head of sculpture, National Art School. www.funeria.com; or telephone (707) 829-1966.
Entry fee: Aus$35 (approximately US$18); stu­
dents, Aus$20 (approximately US$10). Awards.
E-mail [email protected]; see website
United States Exhibitions
atwww.sculpturebythesea.com; or fax (61) 2 9357 April 6 entry deadline
2335. Waterbury Center, Vermont “I Scream, You
May 15 entry deadline Scream...” (June 1—30), exhibition of ice-cream
Omaha, Nebraska “Mixed Media III” (June dishes. Juried from up to 3 slides. Jurors: Ben
5—26), open to 2- and small 3-dimensional works Cohen, of Ben &C Jerry’s, and Charlotte Potok.
in all media. Juried from slides. Fee: $30 for up to Entry fee: $ 10. For prospectus, send SASE to Maura
3 slides; $5 for each additional slide. Cash awards. Hempstead, Vermont Clay Studio, Waterbury
For prospectus, send SASE to Period Gallery, Center 05677; telephone (802) 244-1126, ext. 42;
5174 Leavenworth, Omaha 68106; e-mail or see website at www.vermontclaystudio.com.
[email protected]; see website at April 9 entry deadline
www.periodgallery.com; or telephone (402) Middlebury, Vermont* Light Show” (June 8—
556-3218. July 29), open to unique and inspiring electric
June 1 entry deadline lamps. Juried from 3 slides. Entry fee: $20. For
Carouge, Switzerland “Le Chandelier Ceram- prospectus, send SASE to Frog Hollow Vermont
ique: Prix de la Ville de Carouge 2001” (Septem­ State Craft Center, National Show, 1 Mill St.,
ber 22—November 25), open to ceramic candle- Middlebury 05753; telephone Barbara
holders no taller than 40 centimeters (approxi­ Cunningham (802) 388-3177; or e-mail
mately 16 inches). Juried from 2 slides (at differ­ [email protected].
ent angles) of work entered and a short curriculum April 11 entry deadline
vitae. Awards: Sfr 10,000 (approximately Southport, North Carolina Juried exhibition
US$5750), Sfr 2000 (approximately US$1150) of 2- and 3-dimensional art (June 18—July 31).
and Sfr 1000 (approximately US$575). Contact Juried from slides. Juror: Mary Alice Braukman.
Musee de Carouge, Mairie de Carouge, Case Awards: $ 1000 best of show. For prospectus, send
postale, Ch-1227 Carouge. SASE to Associated Artists of Southport, PO Box
June 15 entry deadline 10035, Southport 28461; or see website at
Omaha, Nebraska “Realism III” (July 3-24), www.arts-capefear.com/fsgallery.
open to 2- and small 3-dimensional works in all April 13 entry deadline
media. Juried from slides. Fee: $30 for up to 3 Chester Springs, Pennsylvania “18th Annual
slides; $5 for each additional slide. Cash awards. Studio Days Juried Show” (October 26-28). Juried
For prospectus, send SASE to Period Gallery, from slides. Jurors: Michael Connelly, potter, and
5174 Leavenworth, Omaha 68106; e-mail Robert Pfannebecker, collector. For prospectus,
[email protected]; see website at contact Chester Springs Studio, 1671 Art School
www.periodgallery.com; or telephone (402) Rd., Chester Springs 19425, Attn: Studio Days;
556-3218. e-mail [email protected]; telephone
July 2 entry deadline (610) 827-7277; or fax (610) 827-7157.
Sydney, Australia “The Sydney Teapot Show April 14 entry deadline
2001 ” (August 3—September 2), open to ceramics. Manitou Springs, Colorado “Dysfunctional”
(June 8—July 14), open to clayworks made in
For a free listing, please submit informa­ the past 3 years that fit the theme. Juried from
tion on juried exhibitions, fairs, festivals slides. Entry fee: $20 for up to 3 slides. Awards:
and sales at least four months before the best of show, $500; merchandise awards. For
event’s entry deadline (add one month for prospectus/further information, send SASE to
listings in July and two months for those in Dysfunctional, Business of Art Center, 513
August). Regional exhibitions must be Manitou Ave., Manitou Springs 80829; or see
open to more than one state. Mail to Call website at www.businessofartcenter.org.
for Entries, Ceramics Monthly, PO Box April 15 entry deadline
6102, Westerville, OH 43086-6102; e-mail St. Louis, Missouri “Robot Builders” (May—
to [email protected]; or fax September 1), robot-building competition, open
to (614) 891-8960. to works in all media. Juried from slides or photos;

70 CERAMICS MONTHLY
April 2001 71
 Call for Entries Holter Museum of Art, 12 E. Lawrence, Helena
59601; e-mail [email protected]; or see website at
www.holtermuseum.org.
August 3 entry deadline
jurors: Clayton Bailey, Bill Christman and Bill Waterbury Center, Vermont “Emerging Art­
Smith. Awards. For further information, contact ists of the U.S.” (October 2-November 15).
Bill Christman, City Museum, 701 N. 15th St., Juried from slides. Entry fee: $10. For prospec­
St. Louis 63103; or telephone (314) 231-2489, tus, send SASE to Maura Hempstead, Vermont
ext. 123. Clay Studio, Waterbury Center 05677; see website
May 1 entry deadline at www.vermontclaystudio.com; or telephone
Water Mill, New York “We’re Covered” (June (802) 244-1126, ext. 42.
7-18), open to pottery or sculpture with a lid or
covering. Juried from slides. For further informa­
tion, send SASE to the Clay Art Guild of the
Fairs, Festivals and Sales
Hamptons, 51 Round Pond Ln., Sag Harbor, NY April 5 entry deadline
11963; or telephone (631) 725-4605. Chautauqua, New York “Crafts Festivals 2001 ”
Water Mill, New York “Tea as Art” (July 5- (July 6-8 and/or August 10-12). Juried from 3
16), open to tea ware. Juried from slides. For slides of work plus 1 of booth. Entry fee: $15 per
further information, send SASE to the Clay Art show. Booth fee: $210. For prospectus, send busi-
Guild of the Hamptons, 51 Round Pond Ln., Sag ness-size SASE to Devon Taylor, Festivals Direc­
Harbor, NY 11963; or telephone (631) 725-4605. tor, Chautauqua Crafts Alliance, PO Box 89,
Water Mill New York
' “Out of the Fire” (Au­ Mayville, NY 14757-0089.
gust 2-13), open to pit- or raku-fired ceramics. April 15 entry deadline
Juried from slides. For further information, send Holland, Michigan “Tulip Time Festival
SASE to the Clay Art Guild of the Hamptons, 51 KunstMarkt” (May 11-13). Juried from 3 pho­
Round Pond Ln., Sag Harbor, NY 11963; or tos of work plus 1 of display. Booth fee: $90; or
telephone (631) 725-4605. $150 for double. For application, contact the
Water Mill, New York “The Bowl—Infinite Tulip Time Festival, 171 Lincoln Ave., Hol­
Form” (September 15-30). Juried from slides. land 49423; or telephone (800) 822-2770 or
Send SASE to the Clay Art Guild of the Hamptons, (616) 396-4221.
51 Round Pond Ln., Sag Harbor, NY 11963; Marion, Ohio “6th Annual Celebrate Sum­
telephone (631) 725-4605. mer: Marion’s Art and Music Festival” (June
May 4 entry deadline 24). Juried from 5 slides or photographs. Entry
Philadelphia (Manayunk), Pennsylvania “Flow­ fee: $5. Booth fee: $30. For further informa­
ing Vessels” (August 3-31), open to works in all tion, contact Celebrate Summer, c/o Bronwen
media. Juried from slides, 2 views per entry ac­ Babich, The Ohio State University at Marion,
cepted. Jurors: Michael Steck IV and Helen Weisz. 1465 Mt. Vernon Ave., Marion 43302-5695;
Fee: $25 for 3 entries. For prospectus, send SASE to e-mail [email protected]; telephone (740) 389-
Gardo’s Gallery, 4369 Cresson St., Philadelphia 6786, ext. 6341; or fax (614) 292-5817.
19127; or telephone (215) 483-1311. Morgantown West Virginia
, “Arts and River
May 8 entry deadline Festival” (July 27-29). Juried from 5 slides of
Tampa, Florida “Eighth Annual National Open work, with 1 of display. Jurors: Mark Moore,
Juried Exhibition” (June 15-July27). Juried from painter; Kristina Olsen, art historian/curator,
slides. Juror: Bernice Steinbaum, Bernice Mesaros Galleries, College of Creative Arts, West
Steinbaum Gallery, Miami. Fee: $25; members, Virginia University; and Brian VanNostrand,
$18. For prospectus, contact Artists Unlimited, potter/educator. Entry fee: $10. Booth fee: $100.
Inc.: e-mail [email protected]; telephone Contact Janie Ives, Arts Committee Chairperson,
(813) 229-5958; or fax (813) 228-0291. Arts and River Festival, City Manager’s Office,
May 15 entry deadline 389 Spruce St., Morgantown 26505; e-mail
Mableton, Georgia “14th Annual National [email protected]; or telephone
Juried Exhibition” (July 15—August 19). Juried (304) 284-7405 or (304) 265-0479.
from 3 slides. Entry fee: $25. Awards: over $4000. Sheboygan, Wisconsin “31st Annual Out­
For further information, contact South Cobb Arts door Arts Festival” (July 21-22). Juried from 5
Alliance, 5239 Floyd Rd., Mableton 30126; tele­ slides of at least 3 works, plus 1 of display. Entry
phone (770) 739-0189; or see website at fee: $25. Booth fee: $135 for a lOxlO-foot
www.artshow.com/mablehouse. space. For entry form, contact John Michael
Springfield, Missouri “Outdoor Sculpture Com­ Kohler Art Center, PO Box 489, Sheboygan
petition” (August 1-August 1,2002), open to any 53082-0489; see website at www.jmkac.org; or
durable medium, exploring architectural elements, telephone (920) 458-6144.
such as columns, arches, entryways; “functional” May 10 entry deadline
sculpture (lighting, benches, gates) is especially St.Charles, Af/ssouri“Seventh Annual Mosaics
encouraged. Juried from slides; photos may be Missouri Festival for the Arts” (September 14-
sent in addition to slides. Entry fee: $20. Awards: 16). Juried from 4 slides. Entry fee: $15. Booth
$2000 in cash awards. For prospectus, send SASE fee: $165 fora 10x10-foot space. Awards: $10,000.
to Sculpture, c/o C. Schilling, 1027 S. New, Contact Mosaics, 230 S. Main, St. Charles 63301;
Springfield 65807. e-mail [email protected]; see website
May 30 entry deadline atwww.stcharlesmosaics.org; telephone (636) 940-
Philadelphia, Pennsylvania “Invitational Artist 5178; or fax (636) 940-5109.
Series” (3 solo shows, 2001-2002). Juried from July 10 entry deadline
slides. No entry fee. For application form, send Tampa, Florida “5th Annual CraftArt Out­
SASE to the Clay Studio, i39 N. Second St., door Festival” (October 27—28). Juried from 3
Philadelphia 19106; application can also be down­ slides of work plus 1 of display. Entry fee: $18.
loaded from www.theclaystudio.org. Booth fee: $195; FC members, $175; fora 12x12-
June 14 entry deadline foot space. Juror: Andrew Glasgow, executive
Helena, Montana “ANA 30, National Juried director, Furniture Society. For application, send
Exhibition” (August 24-October 28), open to large SASE to Florida Craftsmen, 501 Central
works in all media. Juried from slides. Juror: Peter Ave., St. Petersburg, FL 33701; see website at
Schjeldahl, art critic for the New Yorker. Entry fee: www.floridacraftsmen.net; or telephone (727)
$25. Cash awards. For prospectus, send SASE to 821-7391.

72 CERAMICS MONTHLY
 wedging to do, but the first half is easier choice, because it has a wide, comfortable seat
without having to slop clay out of a big deep that can be easily padded, and each of the four
Suggestions bucket.—Richard Ash burn, Arnold, Md. legs has its own height adjustment. No more
From Readers taping a 2x4 under the back legs of my
Tongs stool.—Diane Heptig, St. George, Kans.
Need glazing tongs? Try welding three or
Clay Recycling four L-shaped metal fingers onto the jaws of Scores of Tiles
Like most studio potters without a pugmill, a pair of channel-lock pliers.—Emily Free, Need a cheap alternative to store-bought
I dread recycling clay (the big ugly bucket— Madison, Wis. mosaic tiles? Simply roll out a thin slab of clay
full, waiting to be dried and wedged). My clay and then divide it into a grid, using a sharp
comes in heavy plastic bags that hold 25 Adjustable Stool pencil to score at least halfway through the
pounds. I found that if I put my dried scraps I recently found the perfect potter’s stool. clay. Use a clay body that will still be relatively
in those bags, I can add water and wait a few It is a shower stool that I purchased at a soft when fired to bisque temperature. Glaze
days. Then, I squeeze it out on to the plaster­ medical supply store. Used ones can be found the entire sheet, wipe the glaze out of the
board, neat, clean and easy! There is still the at yard sales and thrift stores. It is the ideal grooves and fire the slab. After firing, cut the
individual tiles from the larger sheets using
tile nippers or wire cutters. For irregular
mosaic pieces, don’t score the slab before
firing; break as you would for stained glass.—
Gary Crim, Bridgeton, Mo.

Glaze and Slip Scoop

For a free scoop, start with a plastic bottle,
used for oil, soap, bleach, etc. Make sure it has
a cap, or you will have to plug or tape it closed.
Cut the bottle in a diagonal S-curve, as
indicated in the illustration. Cut a narrow

section out of the bottom corner of the

unused part of the bottle and shove it into the
handle inside the scoop opening. This will
serve as a hanging hook. It should fit fairly
snug, but it’s a good idea to secure it in place
with a small screw. A small notch cut into the
pouring end of the scoop will allow a narrow
stream of glaze to pour into bottles and other
vessels with small openings.—-Jack Olive,
Granthams Landing, B. C., Canada

Share your ideas with others. Previously

unpublished suggestions are welcome indi­
vidually or in quantity. Ceramics Monthly will
pay $10 for each one published. Include a
drawing or photograph to illustrate your
idea and we will add $10 to the payment.
Mail to Ceramics Monthly, PO Box 6102,
Westerville, Ohio 43086-6102, e-mail to
editorial @ ceramicsmonthly.org or fax to (614)
891-8960.

74 CERAMICS MONTHLY
April 2001 75
 May 19-20
Calendar Virginia, Blacksburg
Ceramics Symposium 2001” will include presen­
“New River

tations and workshop with Silvie Granatelli and

Events to Attend—Conferences, Michael Simon, plus exhibition of their works.
Exhibitions, Workshops, Fairs Location: Southwest Virginia University at Vir­
ginia Tech University. For further information,
contact David Crane: e-mail [email protected]; or
telephone (540) 231-6335.
Conferences Virginia, Front Royal October 4-7 “Fourth Mid-
California, Davis May “Twelfth Annual Cali­ Atlantic Clay Conference” will include presenters
fornia Conference for the Advancement of Ce­ Paul Dresang and Lana Wilson, plus demonstra­
ramic Art” will include lectures, demonstrations, tions, slide presentations, raku workshop and
panel discussions, slide presentations with Jim Hawaiian luau. For further information, contact
Adamson, Clayton Bailey, Ed Blackburn, Vicky Mike Swauger: e-mail [email protected]; or tele­
Chock, Margaret Keelan, Jo Lauria, Marilyn Levine phone (540) 636-6010.
and Emma Luna. Also includes exhibitions and Australia, Gulgong April 29-May 6 “ClayFest:
tours. For further information, contact John Imaginative and Innovative Tableware” will in­
Natsoulas Gallery, 521 First St., Davis 95616; clude workshops, demonstrations, lectures, firing
telephone (530) 756-3938; or register online at and exhibitions. Workshop leaders include Hans
www.natsoulas.com. Fischer, Maria Geszler, John Glick, Suzuki Goro,
Maryland, Baltimore May 4-6 “The Craft Busi­ Elisa Helland-Hansen, Jun Kaneko, David Miller,
ness Institute” will include marketing-related top­ John Neely, Brigitte Penicaud, Giampietro
ics, round-table discussions, networking opportu­ Rampini, Bill Samuels, Jane Sawyer and Rimas
nities. For further information, contact the Craft VisGirda. Participants should bring 6 pieces of
Business Institute: e-mail [email protected]; tele­ tableware for exhibition, 2-3 bisqued pots for
phone (800) 462-4314. decorating and firing, and pots for the market.
Massachusetts, Boston July 9-12 “China Trade Fee: Aus$350 (approximately US$200) plus
Ceramics Symposium,” ceramics history confer­ Aus$35 (approximately US$20) GST. Students:
ence, will include lectures, demonstrations, work­ Aus$250 (approximately US$145) plus Aus$25
shops with Guanghui Chen, Qing Kang, Sin-Ying (approximately US$ 15) GST. Day rates: Aus$77
Ho and William Sargent. Fee: $385. Contact (approximately US$45). Contact Ceramic Art,
Nancy Selvage, Office for the Arts at Harvard 35 William St., Paddington NSW2021, Austra­
Ceramics Program, 219 Western Ave., Boston lia; e-mail [email protected]; see
02134; e-mail [email protected]; telephone website at www.ceramicart.com.au; telephone
(617) 495-8680; or fax (617) 496-9787. (61) 2 9361 5286; fax (61) 2 9361 5402.
Minnesota, Minneapolis April 19-22 “ 1 Oth An­ Canada, Ontario, Hamilton May 25-27 “Inter­
niversary Symposium and American Pottery Fes­ national Links Forged in Hamilton,” Fusion’s
tival” will include workshops and slide presenta­ annual conference, will include sessions with
tions by various potters, plus keynote speech by Morgen Hall, Janet Mansfield and Friederike
Janet Koplos, senior editor, Art in America; plus Rahn. Location: McMaster University. Contact
round-table discussion with Mary Barringer, art­ Fusion: The Ontario Clay and Glass Association,
ist; John Driscoll, collector/owner, Babcock Gal­ Gardener’s Cottage, Cedar Ridge Creative Cen­
lery; Donald P. Geesaman, professor emeritus, tre, 225 Confederation Dr., Scarborough, Ontario
University of Minnesota; Christopher Monkhouse, MIG 1B2; e-mail [email protected]; see
curator, the Minneapolis Institute of Arts; and website at www.clayandglass.on.ca; telephone
Rob Silberman, critic/professor, University of Min­ (416) 438-8946; or fax (416) 438-0192.
nesota. Festival will also include sale of pottery by China, Jiangsu Province, Yixing May 30-June 2
20 artists. Symposium location: Minneapolis In­ “International Ceramic Art-Teapot Symposium,
stitute of Arts. Pottery Festival location: Northern Yixing, China 2001” will include lectures and
Clay Center. Contact the Northern Clay Center, workshops with Yixing artists as well as Western
2424 Franklin Ave., E, Minneapolis 55406; or ceramists, tours, and exhibitions. Also includes
telephone (612) 339-8007. presymposium/postsymposium side trips to
Montana, Helena June 21-23 “2001: Clay Od­ Jingdezhen, Xian, Chenlu and Beijing. Fee for
yssey,” conference commemorating 50 years of entire trip (May 24-June 13): US$3750, includes
the Archie Bray Foundation, will include dem­ round-trip airfare, domestic transportation, meals,
onstrations, panel discussions, exhibitions, ben­ lodging, interpreter. Contact the Chinese Ceramic
efit auction and tours. Fee: $235; members, $200; Art Council, PO Box 64392, Sunnyvale, CA 94088-
students/past residents, $200; member students/ 4392; e-mail Richard Notkin [email protected] or
past residents, $165. Participants may also attend Guangzhen “Po” Zhou [email protected];
an evening with Rudy Autio and Peter Voulkos see website atwww.chineseclayart.com; telephone
(June 20); and/or an auction preview party (June (408) 245-6271; or fax (408) 245-8756.
22) with Akio Takamori and Kurt Weiser. Fee per Scotland, Glasgow April 9-12 “Digital Creativ­
event: $100. For further information, please con­ ity: Crossing the Border,” conference on comput­
tact the Archie Bray Foundation, 2915 ers in art and design education. For details, con­
Country Club Ave., Helena 59601; e-mail tact CADE 2001, Meeting Makers, Jordanhill
[email protected]; see website at Campus, 76 Southbrae Dr., Glasgow G13 1PP;
www.archiebray.org; telephone (406) 443-3502; e-mail cade2001 @meetingmakers. co.uk; telephone
or fax (406) 443-0934. (44) 141 434 1500; or fax (44) 141 434 1519.
Wales, Aberystwyth June 29-July 1 “8th Interna­
For a free listing, submit announcements of tional Ceramics Festival 2001” will include dem­
conferences, exhibitions, workshops and ju­ onstrations, debates, lectures, films, kiln firings,
ried fairs at least two months before the hands-on events, exhibitions, sales booths, etc.
month of opening. Add one month for list­ Participating artists include Atilla Albert, David
ings in July; two months for those in August. Binns, Jerry Caplan, Walter Keeler, Christy
Mail to Calendar, Ceramics Monthly, PO Box Keeney, Jolante Kvastye, Elizabeth Le Retif, David
6102, Westerville, OH 43086-6102; e-mail to Miller, Jabu Nala, Thokanzi Nxumalo, Fred Olsen,
[email protected]; or fax to Byron Temple and John Theis. Contact the
(614) 891-8960. Aberystwyth Arts Centre: e-mail [email protected];
or telephone (44) 1970 622 882. Continued
76 CERAMICS MONTHLY
 Calendar

Solo Exhibitions
California, La Jolla through April 15 Sayoko
Becker, illustrated ceramics; at Gallery Alexander,
7925 Girard Ave.
California, San Francisco through April 21
Robert Brady. May 1-June 2 Peter Voulkos; at
Braunstein/Quay Gallery, 430 Clementina.
California, San Jose April 7-25 Paul Rideout,
raku wall sculpture; at the 706 Gallery,
Illinois, Chicago through April 28 Ken Price,
sculpture; at Klein Art Works, 400 N. Morgan.
Illinois, Decatur through April I3NickTomasic,
installation of terra cotta and Maine brick clay; at
Perkinson Gallery, Kirkland Fine Arts Center,
Milliken University, 1184 W. Main St.
Kentucky, Berea April 20-May 30Gwtn Heffner,
porcelain, “A Celebration of Tea”; at Appalachian
Fireside Gallery, 127 Main St.
Massachusetts, Northampton through April 5
Barbara Walch; at Pinch, 179 Main St.
Minnesota, Minneapolis through April 7^“2001
Regis Masters Exhibition: Tatsuzo Shimaoka”; at
the Northern Clay Center, 2424 Franklin Ave., E.
Missouri, Sedalia through April 20 Jim Robison;
at Goddard Gallery, Stauffacher Center for the
Fine Arts, State Fair Community College, 3201
W. 16th.
New York, Alfred through April 5 “Singular Ab­
stractions (Absolutely Recent Ceramics by Leopold
Foulem)”; at the Schein-Joseph International
Museum of Ceramic Art, Alfred University.
New York, Brooklyn through April 8 Laura J.
Hammond, “Animality”; at 65 Hope Street Ce­
ramic Art Gallery, 65 Hope St.
New York, Geneseo through April 20 Gary Bax­
ter, “Vessels from the Land”; at the Lederer Gal­
lery, SUNY College at Geneseo, 1 College Circle.
New York, New York through April 1 Judith
Solomon, “Boat Forms and Water Tiles”; at Stu­
dio Gallery 88, 205 W. 88th St., ID.
through April 7Anne Kraus. Jean-Pierre Larocque;
at Garth Clark Gallery, 24 W. 57th St.
April 8-May 21 Tetsuya Yamada, ceramic and
wood sculpture; at John Elder Gallery, 529 W.
20th St.
New York, Port Chester April 1-29 Denis Licul,
“Bottomless Bowl.” May 5-27Tim Rowan, “Inau­
gural Firing”; at the Clay Art Center, 40 Beech St.
New York, Syracuse May 19—August 26Virginia
Scotchie, “Domestic Abstractions.” “Picasso Ce­
ramics from the Bernie Bercuson Collection”; at
the Everson Museum of Art, 401 Harrison St.
North Carolina, Chapel Hill through April 7
Patrick Shia Crabb, “From Shards Come Pots of
Color and Form!”; at Green Tara Gallery, 241 S.
Elliott Rd.
North Carolina, Charlotte through April 7 Alice
Ballard Munn, sculpture; at Jerald Melberg Gal­
lery, 3900 Colony Rd.
through April 13 Lisa Stinson; at the South Tryon
Center lobby, 201 S. Tryon St.
Ohio, Springfield April 21-May 27 George
Hageman; at the Springfield Museum of Art, 107
Cliff Park Rd.
Pennsylvania, Philadelphia April 6—29 Doug
Herren; at the Clay Studio, 139 N. Second St.
May 1—31 Philip Weaver, ceramic sculptures with
photographic images; at Borders Books, 1727
Walnut St., Center City.
Pennsylvania, Pittsburgh through May 5 Marie
Kelly retrospective; at the Society for Contemporary
Craft, 2100 Smallman St.
Texas, Arlington through April 6 Matt
Dannelley, “Geology 1301”; at Art Corridor

78 CERAMICS MONTHLY
 One, Tarrant County College-Southeast, 2100
I Southeast Pkwy.
I Wisconsin, Racine through April 22 Toshiko
Takaezu; at the Wustum Museum of Fine Arts,
2519 Northwestern Ave.

Group Ceramics Exhibitions

through April 2“
Arizona, Sedona 2001—A Clay
I Odyssey,” works by David Bradley, Mary Hale-
Visser, Mary Heyborne, Biz Littell, Jeffrey Perkins,
Mary Phoenix, Don Reitz, Helen Schafer and
Maggi Shipley; at the Sedona Arts Center, corner
of Hwy. 89A and Art Barn Rd.
Arkansas, Little Rock through June 17 “Arkansas
Art Pottery: Art, Tradition and Industry”; at the
Old State House Museum, 300 W. Markham St.
California, Claremont through April 1 “Ceramic
Annual 2001: 57th Scripps Ceramic Annual,”
works by Kate Blacklock, Kathy Butterly, Marek
Cecula, John de Fazio, Joel Otterson, Annabeth
Rosen and Arnie Zimmerman; at Ruth Chandler
Williamson Gallery, Scripps College, Eleventh
and Columbia sts.
California, DavisApril 3—29 Figurative sculpture
by Bill Abright, Johannette Rowley and Esther
Shimazu.May 4-June 3 “16th Annual 30 Ceramic
Sculptors Show”; at John Natsoulas Gallery, 521
First St.
May 4-June2“ 12th Annual California Clay Com-
petition”; at the Artery, 207 G St.
California, La Canada-Flintridge April 13-May
10 “Points of View,” works by Lorraine Haubold,
Barbara Rog, Carol Sils, Elsa Simon and Erika
Van Anker; at L.A. County Descanso Gardens,
1418 Descanso Dr.
California, Lincoln May 5—27 “Feats of Clay
XIV”; at Gladding McBean terra-cotta factory.
Reservations are required; telephone (916) 645-
9713.
California, Los Angeles through June 17“ From
Earth, Fire and Spirit: Historic Pueblo Pottery
from the Southwest Museum”; at the Southwest
Museum, 234 Museum Dr.
California, Los Angeles (West Hills) through May
20 “Celebrating Passover with Contemporary
Ceramic J udaica, ” works by 3 5 artists; at Finegood
Art Gallery, Valley Alliance—Jewish Federation
Council, 22622 Vanowen St.
California, Oakland through April 29 “Fired by
Ideals: Arequipa Pottery and the Arts and Crafts
Movement”; at the Oakland Museum of Califor-
nia, Tenth and Oak sts.
California, Sacramento through August 5 “Amer­
ican Ceramics”; at the Crocker Art Museum, 216
OSt.
California, Santa Ana April 4—29 Ceramics by
Petronella Bannier, Sandy Deeks, Jerry Rothman
and Barbara Thompson; at the Orange County
Center for Contemporary Art, 117 N. Sycamore.
Colorado, Denver through May 6 “Deep Roots:
Six Contemporary American Indian Artists.”
through November 18 “Sunken Treasures: Ming
Dynasty Ceramics from a Chinese Shipwreck.”
March 24-March 17, 2002 “China Meets the
American Southwest: Pottery Designs and Tradi­
tions”; at the Denver Art Museum, 100 W. 14th
Ave. Pkwy.
Colorado, Lakewood May 21-June 23 “The Art
of Tea”; at the Lakewood Cultural Center, 470 S.
Allison Pkwy., Civic Center N.
Connecticut, Guilford through May .9 “Ceramics
2001,” juried national; at Guilford Handcraft
Center, 411 Church St.
D.C., Washington through April 22“ Asian T radi-
tions in Clay: The Hauge Gifts”; at the Arthur M.
Sackler Gallery, Smithsonian American Art Mu­
seum, 1050 Independence Ave., SW.
throughJuly I5“USA Clay”; on view at the Renwick

April2001 79
Calendar Illinois, Chicago through April 29 “Plate and Clayworks, 5707 Smith Ave.
Platter Invitational,” including functional works Massachusetts, Duxbury May 20-September 16
by Linda Christianson, Maren Kloppmann, Alan “The Yixing Effect”; at the Art Complex Mu­
Lerner and Michael Simon; at Lill Street, 1021 seum, 189 Alden St.
Gallery, Smithsonian American Art Museum, W. Lill. Massachusetts, Northampton May 12-July 16
Pennsylvania Ave. at 17th St., NW. through May 1 “Of the Earth: Ancient and His­ Exhibition of teapots; at Pinch, 179 Main St.
through October 21 “Dinner for Five: Japanese toric African Ceramics”; at Douglas Dawson Gal­ Michigan, Detroit through April 14 “Ewers”; at
Serving Dishes for Elegant Meals.” through March lery, 222 W. Huron St. Pewabic Pottery, 10125 E. Jefferson.
10, 2002 “Storage Jars of Asia,” vessels from the Kentucky, Berea April 1-May 30 “Regional Minnesota, Minneapolis May 4-June 16 “My
second millennium B.C. to the 16th century; at Voices,” ceramics by Judith Pointer and Laura Kingdom for a Horse,” contemporary works re­
the Freer Gallery of Art, Smithsonian American Ross; at Contemporary Artifacts Gallery, 327 ferring to the horse, by Rudy Autio, Gina
Art Museum, Jefferson Dr. at 12th St., SW. Chestnut St. #3. Bobrowski, Deborah Butterfield, Jeri Hollister,
Florida, Gainesville May 27-August 12 “Ceramic Maryland, Annapolis through April 20 Jean-Pierre Larocque and Mike Norman, plus
National 2000”; at Samuel P. Harn Museum of “Worldviews: Maya Ceramics from the Palmer Tang-dynasty sculptures; at the Northern Clay
Art, University of Florida. Collection”; at St. John’s College Mitchell Gal­ Center, 2424 Franklin Ave., E.
Illinois, Carbondale through April 15 “The Clay lery, 60 College Ave. Missouri, Springfield through April <3 “Clay Invi­
Cup VIII”; at the University Museum, Southern Maryland, Baltimore April 7-May 5 “Dangerous tational,” works by Paul Allen, Dan Anderson,
Illinois University Carbondale. Curves,” works by member artists; at Baltimore Ching-Yuan Chang, Bede Clarke, Ester Ikeda,
Yoshiro Ikeda, Joyce Jablonski, Jeff Johnston,
Brandon Reese, Barbara Strassberg, Roy Strassberg
and James Tanner; at Southwest Missouri State
University, Art and Design Gallery, 333 Walnut St.
through April 28 “Prairie Fire,” works by Bede
Clarke, Keith Ekstam, Elaine Henry, Kevin
Hughes, Jeff Johnston, Howard Koerth, Malcolm
E. Kucharski, Lisa Lockman and Marcia Polenberg;
at Walnut Street Gallery, 327 South Ave.
Montana, Missoula May 3-30 “Soda National
2001”; at the Clay Studio of Missoula, 910 Dick­
ens St.
New Mexico, Las Cruces April 6-May 6 “From
the Ground Up XX”; at the Branigan Cultural
Center, Museum of Fine Art, 500 N. Water St.
New Mexico, Santa Fe through April 21 “Birds,
Beasts and Little Fishes.” April 27-June 9“Sum-
mer 2001: Guest Artists’ Preview”; at Santa Fe
Clay, 1615 Paseo de Peralta.
New York, Alfred April 12-September 27“Glid-
den Pottery,” ware produced in Alfred from 1940
to 1957; at the Schein-Joseph International Mu­
seum of Ceramic Art, New York State College of
Ceramics at Alfred University.
New York, New York through April 14 Approxi­
mately 60 works by Japanese and American ce­
ramists; at Dai Ichi Arts, 24 W. 57th St.
April 5-May 5 “Artists on Their Own.” May 17—
June 1 £f“ Annual Greenwich House Pottery Mem­
bers Exhibition”; at Jane Hartsook Gallery, Green­
wich House Pottery, 16 Jones St.
New York, Syracuse May 5-20 “Feats of Clay”;
at Everson Museum of Art, 401 Harrison St.
North Carolina, Ashevillethrough April 21 “Na­
tional Clay Invitational”; at Blue Spiral 1, 38
Biltmore Ave.
through May 12 “Resident Artists of the Odyssey
Center for the Ceramic Arts”; at Southern High­
land Craft Guild, Folk Art Center, Blue Ridge
Hwy., Milepost 382.
through May 25 “North Carolina Wood Fire Pot­
ters: Three Views,” works by Mark Hewitt,
Douglass Rankin and Will Ruggles; at the Odys­
sey Gallery, 242 Clingman Ave.
North Carolina, Chapel Hill through April 14
“Works in Clay of Art and Design”; at Green T ara
Gallery, 241 S. Elliott Rd. at Village Plaza.
North Carolina, Charlotte through April 7 “Is It
Clay?” trompe l’oeil sculpture by David Furman,
Marilyn Levine, Richard Shaw and Victor Spinski;
at Jerald Melberg Gallery, 3900 Colony Rd.
through April 8 “Digital Ceramics”; at the Light
Factory, 809 W. Hill St.
through April 13 “Potters of the Roan”; at the
South Tryon Center lobby, 201 S. Tryon St.
through April 15 “2001 African American Ceram­
ics.” “The Stretch Invitational Exhibition,” works
that stretch the limits of clay; at the Afro-Ameri-
can Cultural Center, 401 N. Meyers St.
through April 28 “Southeast Regional Work,”
vessels and sculpture by 14 artists; at Hodges

80 CERAMICS MONTHLY
April 2001 81
 Calendar South Carolina, Rock Hill through April 3 “A
Cupboard Full of Pots: A Personal Collection”; at
the Winthrop University Galleries, Rutledge Hall.
through April 30 “Winthrop University Alumni/
Taylor Gallery, 401 N. Tryon St. Current Student Ceramic Exhibition”; at
through April 28 “Celebrating Ceramics”; at Noel Winthrop University, McLaurin Hall, Lewan-
Gallery, 401 N. Tryon St. dowski Student Gallery.
through April 28“Forms of Thought,” work by Jun through May 14 “The Difference in Families:
Kaneko, Russell Biles, J. Paul Sires; at Center of the Winton and Rosa Eugene: Self-Taught Potters
Earth Gallery, 3204 N. Davidson St. from Cowpens, South Carolina.” through August
through April 29“ Southern Narratives,” works by 5 “The Difference in Dirt: Traditional Pottery from
Judith Condon, Deborah Groover, Matt Nolen, South Carolina”; at the York County Culture and
Ted Saupe, Keith Smith, Tim Taunton; at Tryon Heritage Commission, 4621 Mt. Gallant Rd.
Center Galleries at Spirit Square, 345 N. College St. Texas, El Paso through April 5 “Containment,”
through April 29“ At Present: A Moment in Time, works by Kate Blacklock, Brad Schwieger and
a Position in Space”; at the Queens Gallery and Dharma Strasser; at the University of Texas at El
Art Center, 1212 The Plaza. Paso, Main Gallery, Dept, of Art, Third FI., Fox
through April 30 “Japan/Korea/USA Exchange”; Fine Arts Bldg.
at Joie Lassiter Gallery, 318 E. 9th St. Texas, Houston through April 7 Ceramics by
through April 30“^ eapots 2001 ”; at Carolina Clay Laura Smith and Lotus Witt; at Foelber Gallery,
Connection, 2132 Hawkins St. 706 Richmond Ave.
through April 30 “East Carolina University Ce­ Texas, Ingram May 6-June 2“ Hill Country Arts
ramic Exhibition”; at Joie Lassiter Gallery, 525 Foundation Ceramic Instructors Show,” works by
N. Tryon St. 15 artists; at the Hill Country Arts Foundation,
through May 27“Out of the Ordinary: Selections Duncan-McAshan Visual Arts Center.
from the Allan Chasanoff Ceramic Collection”; at Virginia, Alexandria through April 29 “Spring
the Mint Museum of Craft + Design, 220 N. Fling,” juried exhibition of works by Ceramics
Tryon St. Guild members; at Scope Gallery, Torpedo Fac­
through May 31 “Installation Show,” works by tory, 105 N. Union St.
Beverly Crist, David J. P. Hooker, Jihye Kim, Washington, Seattle through July 8 “Hirado Por­
Mike Knox II, Ralph Paquin and Paula Smith; at celain of Japan”; at the Seattle Art Museum, 100
the Carillon Building lobby, 227 W. Trade St. University St., downtown.
through September 2 “Salt Glaze from the Rhine­
land to Randolph County”; at the Mint Museum Ceramics in Multimedia
of Art, 2730 Randolph Rd.
May 11—June 16 “The Human Figure in Clay,”
Exhibitions
works by Christie Brown, Doug Jeck and Kurt Arizona, Tucson through April 15 Four-person
Perschke; at Gallery W.D.O., Ste. 610 at Atherton exhibition including figurative ceramics by Wesley
Mill, 2000 South Blvd. Anderegg. April 21-June 1 Four-person exhibi­
North Carolina, Cornelius through April 14 Ce­ tion including figurative sculpture by Mary Bohan;
ramics by Lin Barnhardt, Mike Callaghan, Clara at Obsidian Gallery, St. Philips Plaza, Ste. 90,
Couch, Bruno LaVerdiere and Joan Tweedy; at 4340 N. Campbell Ave.
Christa Faut Gallery, 19818 N. Cove Rd., Ste. E- Arkansas, Springdale May 8-June 21 “18th
3, Jetton Village. Women’s National Juried Art Exhibition”; at the
North Carolina, Seagrove through April 30 Arts Center of the Ozarks.
“Chrome Red”; at the North Carolina Pottery California, La Jolla April 21-June 24 “Celebra­
Center, Jet. US 220 and NC 75. tions”; at Gallery Alexander, 7925-A Girard Ave.
Ohio, Columbus through April 8 “Clay/Wood/ California, Mendocino through April 8 “Evolu­
Fire/Salt,” national invitational of functional forms tion of Images,” including ceramics by Brian
and sculpture by 76 artists; at the Ohio Craft Alexander, Deborah A. Baker, Diane Clifton,
Museum, 1665 W. Fifth Ave. Daphne Gillen, Mac Magruder, Gail Rushmore,
Ohio, Kent v4pnl25-/une2“National Juried Cup Ree Slocum and Ron Woolsey; at the Mendocino
Show”; at Gallery 138, 138 E. Main St. Art Center, 45200 Little Lake St.
Oregon, Portland through April 22 “People, Crea­ California, Walnut Creek through April 1 “Adrift,”
tures and Sins,” collaborative ceramics by Joe Batt including ceramic boats by Richard Shaw; at the
and Kelly Connole. through July 31 “Breaking the Bedford Gallery, Dean Lesher Regional Center
Mold,” ceramics from the 1960s and ’70s. May 3- for the Arts, 1601 Civic Dr.
June 24 “Below 2002,” juried exhibition of low- Georgia, Gainesville through May 6 “Photogra­
fire ceramics; at Contemporary Crafts Gallery, phy in Art,” including ceramics by Phil Weaver.
3934 S.W. Corbett Ave. May 11—July 16 “Life: Its Many Dimensions,”
Pennsylvania, Erie April 28-]une 6 “Earth and including ceramic sculpture by Melissa Cadell,
Fire,” sculpture, decorative and functional ceram­ Barb Doll, Debra Fritts and LuAnn Simpson; at
ics by Sharon Bannon and Susan Moore; at Glass the Quinlan Visual Arts Center, Historical Dis­
Growers Gallery, 10 E. Fifth St. trict, Green St. and North Ave.
Pennsylvania, Philadelphia ylpn’16—2.9“Reunion: Hawaii, Maui, Makawao April27—June 10“ Hui
Wayne Higby and Graduates of the Alfred Ce­ No’eau Juried Members Show 2001”; at Hui
ramics Program”; at the Clay Studio, 139 N. No’eau Visual Arts Center, 2841 Baldwin Ave.
Second St. Illinois, Chicago April 4-May 16“ Teapots for the
Pennsylvania, Pittsburgh through June 24 “Art 21st Century and Beyond,” 12th annual teapot
Nouveau Tiles: Fantastic Flowers and Other exhibition; at Chiaroscuro Gallery, 700 N. Mich­
Forms”; at the Carnegie Museum of Art, 4400 igan Ave.
Forbes Ave. Illinois, Galesburg through April 14“ GALEX35”\
Rhode Island, Kingston April5-28 “Earthworks at the Galesburg Civic Art Center, 114 E. Main St.
2001 ”; at the South County Art Association, 2587 Illinois, Westmont May 13—June 16 “Crossed
Kingstown Rd. Connections”; at T.L.D. Design Center and Gal­
Rhode Island, Providence through April 2#“Four- lery, 26 E. Quincy St.
Way Street,” works by Lawrence Bush, Julia Gal­ Indiana, Bloomington April 6—29 Two-person
loway, Jeff Oestreich and Lisa Orr; at Peck Gal­ exhibition with functional ceramics by Charity
lery, 424 Wickenden St. Davis-Woodard; at the Gallery, 109 E. Sixth St.

82 CERAMICS MONTHLY
April 2001 83
 Calendar

Kansas, Topeka through April 22 “Topeka Com­

petition 23,” juried regional; at the Mulvane Art
Museum, Washburn University, 17th and Jewell.
Kansas, Wichita through April 4“Art Show at the
Dog Show”; at Foyer Gallery, Century II Conven­
tion Center.
April 6-8 “Art Show at the Dog Show”; at the
Sunflower Cluster Dog Shows, Kansas Coliseum.
Massachusetts, Worcester April 6-May 5 “New
Traditions 2001: Visiting Artists Exhibition,”
including ceramics by Chris Staley. May 11—June
2 “Visions 2001: School for Professional Crafts
Student Exhibition”; at the Krikorian Gallery,
Worcester Center for Crafts, 25 Sagamore Rd.
Missouri, St. Louis through May 27 “Out-on-a-
Limb,” birdhouses; at the City Museum, N. 15th St.
Missouri, Springfield through August 1 “Fourth
Annual Juried Outdoor Sculpture Competition”;
at the Open Air Sculpture Gallery, Federal His­
toric District.
New Jersey, Demarest through April 4 “12th
Annual New Jersey Small Works Show”; at the
Old Church Cultural Center School of Art, 561
Piermont Rd.
North Carolina, Chapel Hill through April 20
Two-person exhibition with ceramics by Jennie
Bireline; at Somerhill Gallery, 3 Eastgate, E.
Franklin St.
North Carolina, Charlotte through April 28“ Qon-
trasts: Exploration of Opposites,” featuring clay-
works by Mark Boyd, Katherine Washa Boyd and
Charlotte Foust; at Foust Studio, 5200 Park Rd.,
Ste. 115.
April 6-May 5 “Six Japanese Craftspeople Work­
ing in America,” including ceramics by Ikuzu
Teraki, and clay/wood sculpture by Tetsuya
Yamada; at Gallery WDO, Ste. 610 at Atherton
Mill, 2000 South Blvd.
North Carolina, Winston-Salem May 11—June
20 Two-person exhibition including ceramics by
Mary-Ann Prack; at erl originals, 3069 T renwest Dr.
Ohio, Athens through May 6“Art on View 2001 ”;
at the Dairy Barn Cultural Arts Center, 8000
Dairy Ln.
Ohio, Columbus May 6-June 24 “The Best of
2001,” works by Ohio Designer Craftsmen mem­
bers; at the Ohio Craft Museum, 1665 W. Fifth Ave.
Ohio, Toledo through May 27 “Eternal Egypt:
Masterworks of Ancient Art from the British
Museum”; at the Toledo Museum of Art, 2445
Monroe St.
Oregon, Portland through April 8 “Empire of the
Sultans: Ottoman Art from the Khalili Collection”;
at the Portland Art Museum, 1219 S.W. Park.
Texas, Houston through May 5 Two-person exhi­
bition featuring ceramics by V. Chin; at Archway
Gallery, 2013 W. Gray.
May 27—August 13 “Contemporary Craft in the
Museum of Fine Arts, Houston”; at the Museum
of Fine Arts, Houston, 1001 Bissonnet.
Vermont, Stowe through April 7“F rom the Dream
to the Studio,” including ceramic sculpture by
Cheryl Tall; at Helen Day Art Center, School St.

Fairs, Festivals and Sales

California, Beverly Hills May 19-20 “Affaire in
the Gardens”; along Santa Monica Blvd. at
Rodeo Dr.
California, Oakland April 7“Antique and Con­
temporary Tile Festival and Sale,” will include
hands-on workshops, demonstrations and lec­
tures by artists, dealers and collectors; at the
Oakland Museum of California, 1000 Oak St.
D.C., Washington April 26-29 “19th Annual

84 CERAMICS MONTHLY
Smithsonian Craft Show”; at the National Build­
ing Museum, 401 F St., NW.
Florida, Jacksonville May 11-13 “8th Annual
ArtWorks”; at Prime Osborn Convention Center.
Illinois, Chicago April 27—29 “ACC Craft Show
Chicago”; at Navy Pier.
Illinois, St. Charles/unei?“Raku 2001”; at the Fine
Line Creative Arts Center, 6N158 Crane Rd.
Indiana, Indianapolis May 12—13 “31st Annual
Broad Ripple Art Fair”; at the Indianapolis Art
Center, 820 E. 67th St.
Iowa, Orange City May I.9“ArtBurst 2001 ”; on the
lawn of the Sioux County Courthouse.
Massachusetts, Leverett May 12 “Second Annual
Juried Outdoor Mudpie Pottery and Crafts Festi­
val”; at Leverett Crafts and Arts, 13 Montague Rd.
Massachusetts, Worcester May 18-20 “31st An­
nual Crafts Fair of the Worcester Center for
Crafts”; at the Worcester Centrum Centre Con­
vention Complex, 50 Foster St.
Michigan, East Lansing A/ay 3-5 “Greater Lansing
Potter’s Guild Annual Spring Sale”; at All Saints
Episcopal Church, 800 Abbott Rd.
Minnesota, Minneapolis April 20-22 “American
Pottery Festival,” sale of works by 20 potters, plus
workshops and slide presentations; at the Northern
Clay Center, 2424 Franklin Ave., E.
Minnesota, St. Paul April 6-8 “ACC Craft Show St.
Paul”; at the Touchstone Energy Place at River-
Centre, downtown.
NewJersey, New Brunswick v4pnl2<5 “27 th Annual
New Jersey Folk Festival”; on the Douglass campus
of Rutgers—The State University.
New York, New York May 20-23 “Fine Arts of
Native Cultures”; at the 7th Regiment Armory,
Park Ave. and 67th St.
May 31-June 4 “SOFA New York 2001”; at the
Seventh Regiment Armory, Park Ave. and 67th St.
Oregon, Portland May 4-6 “18th Annual Ce­
ramic Showcase”; at the Oregon Convention Cen­
ter, 777 N. E. Martin Luther King Jr. Blvd.
Pennsylvania, Philadelphia May 12-14 “Philadel­
phia Furniture and Furnishings Show”; at the Penn­
sylvania Convention Center, 12th and Arch sts.
Pennsylvania, Richboro May 7.9-20“Spring Craft
Celebration”; at Tyler State Park.

Workshops
California, Mendocino April 7-8 “Ceramics and
Print” with Lesley Baker. April 21-22 “Free Play/
Clay Recess” with Rodney Mott. April 28-29
“Ceramic Wall Mural” with John Toki. May 5-6
“Whimsical Teapots” with Walter Reiss. May 19—20
“The Collaboration Process” with Scott Parady.
May 25-27 “Atmospheric Firing” with Kent
Rothman. Contact the Mendocino Art Center, PO
Box 765, Mendocino 95460; see website at
www.mendocinoartcenter.org; or telephone (800)
653-3328 or (707) 937-5818.
California, Penryn April 21—22 Technical and
figurative sculpture demonstrations with Marilyn
Levine and Susannah Israel; fee: $150. Contact
Rodney Mott, 1394 Orange Hill Ln., Penryn 95663;
or telephone (916) 663-2815.
California, San Marcos May 19-20 “Orr-wellian
Pottery,” slide lecture and workshop with Steve
Horn. Workshop fee: $65; slide lecture is free to
public. Contact Nottingham Center for the Arts: see
website at www.nottinghamarts.org; or telephone
(760) 752-1020.
California, Santa Ana April 7—8 A session with
Robin Hopper. For further information, contact
Patti Hallowes, 1833 N. California St., Burbank,
CA 91505; e-mail [email protected].
Colorado, Boulder April 20-21 A session with
Julia Galloway. Sponsored by the Boulder Potters’
Guild. E-mail [email protected]; or tele­
phone Sue Walsh (303) 499-0831. Continued
April 2001 85
 Calendar tact Portland Pottery, 118 Washington Ave., Port­
land 04101; telephone (207) 772-4334.
Maryland, Frederick April 5-8 “Masters Throw­
ing Workshop” with Joyce Michaud. Fee: $198.
Connecticut, Avon April 21 Lecture and demon­ April 23-25Lecture and demonstration with Frank
stration on glaze and clay-body defects with Jeff Boyden. Fee: $145. Contact Joyce Michaud, Art
Zamek; fee: $85. May 5—6 “Raku Firing Week­ Dept., Ceramics Program, Hood College, 401
end” with Penny Fleming; participants should Rosemont Ave., Frederick 21701-8575; telephone
bring up to 10 bisqued forms. Fee: $190, includes (301) 696-3456 or (301) 696-3562; or fax (301)
glazes and firing. All skill levels. Contact Melissa 696-3531.
Jarvis or Pat Parker, Farmington Valley Arts Cen­ Massachusetts, Leverett May 19 “How to Handle
ter, 25 Arts Center Ln., Avon 06001; e-mail Ceramic Raw Materials Safely; Plus Clay/Glaze
[email protected]; or telephone (860) 678-1867; Defects” with Jeff Zamek; participants can bring
or fax (860) 409-7214. samples of problems to discuss. Fee: $75. May 20
Connecticut, Brookfield April 28-29 “Non- “Make Your Own Brushes for Glazing” with Don
ceramic Finishes” with Barbara Allen. May 19-20 Curtis and Steve Saxenian. Fee: $60. Contact
“Handbuilding: About the Ocean” with Anna Mudpie Potters, 102 Dudleyville Rd., Leverett
Siok. May 26 “Working with Slabs” with Eliza­ 01054; e-mail [email protected]; or tele­
beth MacDonald. Contact the Brookfield Craft phone (413) 548-3939.
Center, PO Box 122, Rte. 25, Brookfield 06804; Massachusetts, Stockbridge April 28 “Cone 6
e-mail [email protected]; see website at Clay and Glazes in the Electric Kiln” with Jeff
www.Brookfieldcraftcenter.org; telephone (203) Zamek; fee: $75. May 5-6“ Treasures from Shards:
775-4526; or fax (203) 740-7815. Making Mosaics” with Marlene Hurley Marshall;
Florida, Davie May 25—26 “Figurative Sculp­ fee: $120, includes materials. Contact Interlaken
ture,” hands-on workshop and slide lecture with School of Art, PO Box 1400, Stockbridge 01262;
Cheryl Tall. Contact Broward Community Col­ e-mail [email protected]; telephone (413) 298-
lege, Potter’s Guild, Ceramics Dept., 3501 S.W. 5252; or fax (413) 298-0274.
Davie Rd., Davie 33314; telephone Susan Maguire Massachusetts, Worcester April 21—22 A session
(954) 946-3214 or John Foster (954) 475-6517. with Chris Staley. Contact Worcester Center for
Florida, Largo May 11-13 “Architectural Ceramics Crafts, 25 Sagamore Rd., Worcester 01605; e-mail
Workshop” with Peter King and Xinia Marin. In­ [email protected]; see website at
struction in English and Spanish. All skill levels. Fee: www.worcestercraftcenter.org; telephone (508)
$240, includes materials and meals. For further 753-8183; or fax (508) 797-5626.
information, contact Kim Lomas, Gulf Coast Mu­ Michigan, Kalamazoo May 4-5 A session with
seum of Art, 12211 Walsingham Rd., Largo 33778; Steven Hill. Fee: $90; students, $40. Limited
e-mail [email protected]; telephone (727) space. Contact Francis Granzotto, Kalamazoo
518-6833; or fax (727) 518-1852. Valley Community College, (616) 372-5373.
Florida, Melbourne April20-23 Hands-on wood- Montana, Helena April 28-29 “Forming and
firing workshop, glazing, loading and firing, with Decorating” with Matthew Metz; fee: $75. April
McKenzie Smith. Fee: $175. Contact Horse Creek 30-May 11 “Burn and Learn: Wood-fire Work­
Pottery: e-mail [email protected]; or telephone shop” with Matt Kelleher and Simon Levin; fee:
(321) 242-2162. $400, includes glazes and firing. September 14—16
Florida, Miami April 21—22 A session with Leah “Assembled Vessels: From the Slab and the Wheel”
Leitson, throwing, altering and assembling pot­ with Norm Schulman; fee: $150, includes glaze
tery. Contact the Ceramic League of Miami, material and clay (25 lb). Contact Josh DeWeese,
(305) 233-2404. Resident Director, Archie Bray Foundation for
Florida, West Palm Beach April 21 “Exotic the Ceramic Arts, 2915 Country Club Ave., Hel­
Glazes.” Fee: $130, includes materials. Contact ena 59602; e-mail [email protected]; see
the Craft Gallery, 5911 S. Dixie Hwy., West Palm website at www.archiebray.org; telephone (406)
Beach 33405; or telephone (561) 585-7744. 443-3502; fax (406) 443-0934.
Indiana, Bloomington April 26—27 “From the Nevada, Las Vegas May 19—20 “Thrown and
Wheel to the Table,” demonstration and slide Altered Forms, Cone 6” with Patrick Horsley.
lecture with Suze Lindsay. Fee: $75; students, E-mail Elaine Coleman, Coleman Clay Studio,
$35; includes lunch and snacks. Limited space. [email protected]; or telephone (702)
E-mail [email protected]; or telephone Cheri, (812) 564-4001.
336-3463. New Jersey, Layton May 18-21 “Raku, Pit and
Indiana, Indianapolis April 22 A session with Sawdust Firing” with Mike Carroll; fee: $357,
Richard Bresnahan, throwing demonstrations, plus includes firing and lab fee. May 25—27 “Writing
discussions about indigenous materials for clay on Art and Craft” with Susan Peterson; fee: $264,
and glazes, ecology of the studio and wood firing. includes lab fee. May28-30“Mud Glorious Mud”
Held in conjunction with the American Ceramic with Bruce Dehnert; fee: $279, includes lab fee.
Society’s “Annual Meeting and Exposition” (April Skill requirements vary. Contact Peters Valley
22-23). Fee: $99, includes the exposition open­ Craft Education Center, 19 Kuhn Rd., Layton
ing and access to the Society’s Art Division pro­ 07851; e-mail [email protected]; see website at
gramming. E-mail Michael O’Toole, The Ameri­ www.pvcrafts.org; or telephone (973) 948-5200.
can Ceramic Society: [email protected]. New Mexico, Albuquerque to Santa Fe April
Iowa, Riverside May 7-11 “Persian and Turkish 21—28 “Clay into Spirit” with Anita Griffith.
Tile and Design” with Jafar Mogadam. For fur­ Contact Horizons, PO Box 2206, Amherst, MA
ther information, contact the Tile Heritage Foun­ 01004; e-mail [email protected]; see
dation: e-mail [email protected]; fax website at www.horizons-art.org; telephone (413)
(707) 431-8455. 549-2900; or fax (413) 549-5995.
Kentucky, Berea April21 Slide presentations and New Mexico, Espanola April28-29 Glaze work­
demonstrations with Judith Pointer and Laura shop with Ian Currie. Fee: $145, includes lunch.
Ross. Free. Location: Industrial Arts Bldg., Berea Contact Jeff Lawrence at [email protected]; or
College. Contact Gwen Heffner, (859) 986-1096. see Ian Currie’s website at http://ian.currie.to.
Maine, Portland April 13 “Raku Workshop.” New Mexico, Santa Fe April 14-15 “Throwing
Fee: $35. April 14“ CXimtst Brush Painting Work­ and Altering Large-Scale Vessels” with Louis
shop” with Donald Blue. Fee: $35.-4pn'/I5“Mask D’Amico. April 27—28 “Traditional Micaceous
Making for Kids.” For further information, con­ Pottery” with Camilla Trujillo. Fee per session:

86 CERAMICS MONTHLY
April 2001 87
 Calendar ics Workshop” with demonstrations
Malloy, Ron Meyers and Mark Nafziger; plus
by Peg

presentations by Dick Lehman and Tim Frederich.

Fee: $165; full-time students, $90. For further
$145, includes lab fee. Contact Santa Fe Clay, information, contact Phyllis Blair Clark, 2555
1615 Paseo de Peralta, Santa Fe 87505; or tele­ Graustark Path, Wooster 44691.
phone (505) 984-1122. Oklahoma, Norman May 4-6 Slide lecture and
May 7-10 “Raku Kilnbuilding, Test Firing” with hands-on workshop with Lana Wilson. Contact
Mario Quilles. Fee: $375, includes materials and the Firehouse Art Center, 444 S. Flood, Norman
firing (burner and shipping are extra costs). For 73069; e-mail [email protected]; or tele­
further information,contact Mario Quilles, phone (405) 329-4523.
A.I.R. Studioworks, 3825 Hwy. 14, Santa Fe Pennsylvania, Cheltenham April 20-22 “Porce­
87505; e-mail airstudioworks@santafe- lain Handbuilt Ceramic Forms,” slide lecture,
newmexico.com; or telephone (505) 438-7224. demonstration and hands-on workshop with Paula
New Mexico, Taos April 28 or May 26 “Raku Winokur. Fee: $170; members, $150; includes
Saturday” with Pamala Dean and Karen Fielding; clay (25 lb). Slide lecture only: $5. Contact
fee: $32.50, includes glaze materials, breakfast. Cheltenham Center for the Arts, 439 Ashbourne
Contact Dragonfly Journeys, PO Box 2539, Taos Rd., Cheltenham 19012; telephone (214) 379-
87571; see website at www.taosartretreat.com; 4660; or fax (215) 663-1946.
telephone (505) 751-3220; fax (505) 751-0131. Pennsylvania, State College April28-29“\n Spite
New York, East Islip May 5-£f “Alternative Low- of Ourselves” with Tony and Sheila Clennell; fee:
Fire Surfaces” with Ellen Huie. For further informa­ May 5-6
$125. A session with Seth Cardew. May
tion, call Woody Hughes, Islip Art Museum, (631) 19-20 A. session with Ellen Shankin; fee: $150.
224-5402. Contact R&:T’s Creative Oasis, 133 E. Beaver
New York, East Setauket May 5 “Art Clay Silver Ave., State College 16801; telephone (814) 237-
Jewelry-Making Workshop.” Fee: $95, includes 1982; e-mail [email protected]; see website at
materials. May 8, 15 and 22 “Raku Workshop: www.thecreativeoasis.com.
Handbuilding/Wheel Throwing, Glazing and Rhode Island, Kingston April 1 Demonstration
Firing.” Fee: $95. May 19 “Explore Paper Clay,” with Mark Bell; fee: $50. Contact the South
hands-on workshop with Jerry Bennett. Fee: $85. County Art Association, 2587 Kingstown Rd.,
For further information, contact Hands On Clay, Kingston 02881; or telephone (401) 783-2195.
128 Old Town Rd., East Setauket 11733; or Texas, San Antonio April 4 “Wood, Fire and
telephone (631) 751-0011. Earth: The Noborigama Kiln” with Shinman
New York, New York April 21-22 or April 9, 16, Yamada; free. Contact the Southwest School of
23 and30, evenings “Introduction to Silver Clay” Art and Craft, 300 Augusta, San Antonio 78205-
with Vera Lightstone; fee: $220, includes materi­ 1296; see website at www.swschool.org; or tele­
als and firing. For further information, contact phone (210) 224-1848.
Vera Lightstone, 347 W. 39th St., New York Utah, Logan April 2-3 Lecture/workshop with
10018; e-mail [email protected]; or tele­ Ah Leon. Free. For further information, tele­
phone (212) 947-6879. phone the Utah State University Dept, of Art,
May 4—<T‘Mosaic Workshop” with Philip Danzig. (435) 797-3460.
Contact the Tile Heritage Foundation: e-mail Vermont, Waterbury Center April 27—28 “Two
[email protected]; or fax (707) 431-8455. Views of the Cup” with Linda Cordell and Hide
New York, Port Chester April21-22 “Innovative Sadohara. Contact Vermont Clay Studio, 2802
Handbuilding Techniques” with Lana Wilson; fee: Waterbury-Stowe Rd., Waterbury Center 05677;
$150. May 6 “Raku Opportunities” with Robert e-mail [email protected]; see website
Mueller; fee: $60. May 19-20 “Exploring Form and at www.vermontclaystudio.com; or telephone
Surface” with Andrea Gill; fee: $135. Contact the (802) 244-1126.
Clay Art Center, 40 Beech St., Port Chester 10573; Virginia, Alexandria April 6-8 “Oh Yes You Can”
telephone/fax (914) 937-2047. workshop with Russel Fouts. April20-22 “Raku
New York, White Plains May 4 “Throwing and Workshop” with Steven Branfman. April 27—29
Altering Workshop” with Neil Patterson. Fee: A session with Jeff Oestreich. Contact Lee Arts
$40; currently enrolled students, $25. For further Center: e-mail [email protected]; or telephone
information, contact the Westchester Art Work­ (703) 228-5256.
shop, Westchester County Center, 196 Central
Ave., White Plains 10606; or telephone (914)
684-0094.
International Events
North Carolina, Brasstown April 1-7 “Clay Ba­ Belgium, Zulte April 8-May 20 Bodil and Cecilie
sics: Useful Pots” with Lucy Hamilton. April 15— Manz, “Installations in Porcelain and Red.”
22 “Wood Fire” with Kevin Crowe; fee: $436. Katarina Andersson, “Light Sculptures on the
April 22—28 “Throwing Humongous Pots” with Wall.” “Cabinetroom,” ceramics by various art­
Leon Nichols. May 20-26 “Utilitarian Porcelain ists; at Centrum Goed Werk, Moerbeekstraat 86.
Pots” with Leah Leitson. Fee (unless noted above): Canada, British Columbia, Victoria April21—22
$294. Contact Mary Ward, John C. Campbell “The Aesthetic of Stoneware Forms and Single
FolkSchool, 1 FolkSchoolRd., Brasstown 28902; Firing” with Steven Hill; fee: Can$l 10 (approxi­
e-mail [email protected]; see website at mately US$70), includes lunches. Contact
www.folkschool.org; telephone (800) 365-5724 Metchosin International Summer School of the
or (828) 837-2775; or fax (828) 837-8637. Arts, 650 Pearson College Dr., Victoria V9C 4H7;
Ohio, Kent May 14-25 Workshop on hand­ e-mail [email protected]; telephone
building, throwing, slip painting and wood firing, (250) 391-2420; or fax (250) 391-2412.
with lectures and presentations ranging from func­ May 26—27 “Fired-Up! Contemporary Works in
tional pots to sculptural installations. Instructors: Clay,” sale of works by 14 potters, focusing on
Kirk Mangus and visiting artists Annabeth Rosen ritual vessels; at the Metchosin Community Hall,
and Jamie Walker. Fee: $798, includes firing. For 4401 William Head Rd.
further information, contact Becky Summers, Kent Canada, Ontario, Burlington through June 3
State University, School of Art, Art Bldg., Kent “Cups” by Laima Bruveris, Susan Card, Frances
44242; telephone (330) 672-2192; or fax (330) Chiddy, Judith Graham, Louise MacNab, Jutta
672-4729. Spengemann and Danuta Weisenbluth. through
Ohio, Wooster April 18-21 “Functional Ceram­ December 16 “Recent Acquisitions.” April 12—
88 CERAMICS MONTHLY
April 2001 89
 Calendar PO 18 OQZ; e-mail [email protected]; see
website at www.westdean.org.uk/; telephone (44)
1243 811 301; or fax (44) 1243 811 343.
England, near Wheatley July 19-22 “Art in Ac­
May 6 “Sculptors’ Group Juried Exhibition”; at tion,” demonstrations, hands-on opportunities,
the Burlington Art Centre, 1333 Lakeshore Rd. sale of crafts; at Waterperry Gardens.
Canada, Ontario, Haliburton May 7—12 “Pot­ France, Allegre Spring 1-, 2- or 3-week sessions
tery—Beginners” with Barbara Joy Peel. Fee: on throwing, glazing, firing and raku with Simonot
Can$271.52 (approximately US$180), includes Michel. Beginning and intermediate skill levels.
materials, firing and lab fee. For further informa­ Fee: 3000 Fr (approximately US$425) or 6000 Fr
tion, contact Shelley Schell, Haliburton School of (approximately US$855); includes materials, fir­
the Arts, Box 839, Haliburton KOM ISO; e-mail ing, lodging and meals. Contact Simonot Michel,
[email protected]; telephone (705) 457-1680; Mas Cassac, F-30500 Allegre-Les Fumades;
or fax (705) 457-2255. e-mail [email protected]; see website at
Canada, Ontario, Toronto May 3— ^“Nineteenth www.ceramique.com/Mas-Cassac; telephone (33)
Annual Spring Show and Sale”; at Woodlawn 4 66 24 85 65; or fax (33) 4 66 24 80 55.
Pottery Studio, 80 Woodlawn Ave., E. France, Nan$ay through July 8 Exhibition of ce­
Canada, Quebec, Quebec through June 17 ramics by Andoche Praudel; at Galerie Capazza,
“Trajectoires: La Ceramique au Quebec des An- Grenier de Villatre.
nees 1930 a nos Jours”; at Musee de la Gaspesie, France, St. Quentin la Poterie through May 17
80, boul. Gaspe, CP 680. Ceramics by Michel Soussi and Dominique Soussi.
Denmark, Skaelskor April 23-May 27 “Network through July 5 “Raku” by Gisele Buthod-Gar^on,
2001” for recent graduates, includes workshops Nani Champy, Marie-Laure Levitan and Chris­
and lectures with Neil Brownsword and Margaret tian Pinault. May 20-July 5“Orient,” two-person
O’Rorke. Instruction in Danish and English. exhibition including ceramics by Vincent Potier;
Advanced and professional skill levels. Fee: at Terra Viva Galerie, 5, rue de la Fontaine.
US$585, includes studio and accommodations. Germany, Hohr-Grenzhausen through April 28
Contact Birgitte Drud Nielsen, International Jean-Fran^ois Fouilhoux. Masamichi Yoshikawa;
Ceramic Center, Heilmansvej 31 A, 4230 at Keramikmuseum Westerwald, Lindenstrasse.
Skadskor; e-mail [email protected]; or fax (45) Germany, Wiesbaden May 25—27 “Berber Pot­
5819 0037. tery” with Silvia and Manuela Casselmann,
England, Ipswich May 4-7 or May 25—28 Inten­ handbuilding pottery of the Berber. Instruction
sive throwing workshop with Deborah Baynes, in German and English. Fee: DM 295 (approxi­
including wheel-related techniques such as mak­ mately US$150), includes materials, electric fir­
ing lids, handles, spouts, etc. Fee: £225 (approxi­ ing and 2 meals. All skill levels. Limited to 10
mately US$325), includes materials, firing, lodg­ participants. Contact Manuela Casselmann,
ing and meals. Contact Deborah Baynes Pottery Biebricher Allee 138, 65187 Wiesbaden; e-mail
Studio, Nether Hall, Shotley, Ipswich, Suffolk [email protected]; or telephone (49) 611
1P9 1PW; e-mail [email protected]; see 84 36 50.
website at www.potterycourses.net; telephone Italy, T\xscz.ny April 28-May 5 “Mosaics: Ancient
(44) 1473 788 300; or fax (44) 1473 787 055. Art Form/Contemporary Applications” with Eliza­
May Weekly sessions on all aspects of pottery beth MacDonald. For further information, con­
production with Alan and Patt Baxter, including tact Horizons, PO Box 2206, Amherst, MA 01004;
handbuilding, throwing, glazing, kiln design, raku e-mail [email protected]; see website at
and sawdust firing. Fee: £340 (approximately www.horizons-art.org; telephone (413) 549-2900;
US$495), includes materials, firing, lodging, meals, or fax (413) 549-5995.
and transportation to and from Ipswich rail sta­ Jamaica, Good Hope April 20-28 “Wood-fired
tion. All skill levels. For further information, Pots,” workshop with Randy Johnston and Jan
contact Alan Baxter Pottery Workshop, The White McKeachie, with Doug Casebeer and David Pinto.
House, Somersham, Ipswich, Suffolk 1P8 4QA; Contact Anderson Ranch Arts Center, PO Box
e-mail [email protected]; see website at 5598, Snowmass Village, CO 81615; see website
www.potterycourses.com; telephone/fax (44) 1473 www.andersonranch.org; telephone (970) 923-
831 256. 3181; or fax (970) 923-3871.
England, London through May 12 Recent ceram­ Japan, Osaka, Sakai City April 1-30 David W.
ics by Martin Smith; at Barrett Marsden Gallery, Thomas, “Ceramic Mask Sculptures”; at Gallery
17-18 Great Sutton St. Irohani, 1-2-29 Kainocho.
England, Tenbury Wells weekend of May 25 Netherlands, Amsterdam through April 28 Ce­
Workshop on all aspects of pottery making with ramic objects by Johan van Loon; at Galerie Carla
Martin Homer, with emphasis on throwing, pull­ Koch, Prinsengracht 510 sous.
ing handles and spouts, trimming and modeling. Netherlands, Delft through May 11 Vincent de
Fee: £269 (approximately US$390), includes ma­ Rijk, “Tableware.” April 21-June 2 Marijke
terials, firing, lodging and meals. All skill levels. Gemessy, ceramic sculpture; at Terra Keramiek,
For further information, contact Tina Homer, Nieuwstraat 7.
Martin Homer Pottery, Lower Aston House, Aston Netherlands, Deventer April 1—28 Ceramics by
Bank, Tenbury Wells, Worcestershire WR15 8LW; Michael Cleff and Jean Francis Fouilhoux. May
e-mail [email protected]; or telephone 6-June 2 Ceramics by Esperanza Romero; at Loes
(44) 1584 781 404. and Reinier, Korte Assenstraat 15.
England, West Dean April 1-6 “Sculptural Pots Netherlands, Leeuwarden through April29“ The
for Plants” with Gordon Cooke. April 15—20 Golden Boys Party,” ceramics by Bart Drost; at
“Handbuilding and Throwing” with Alison Princessehof Leeuwarden, Grote Kerkstraat 11.
Sandeman. May 4—7 “Throwing and Turning Netherlands, Oosterwolde May 14—18 Work­
Porcelain” with Alison Sandeman. May 13—17 shop on earthenware and raku with Kees Hoogen-
“Pottery for Beginners” with Alison Sandeman, dam, including clay preparation, handbuilding,
includes a raku firing. May 18—20 “Sculptural throwing, kilnbuilding, and firing with gas, oil
Ceramics Inspired by the Human Figure and and wood. Fee: fl 600 (approximately US$335);
Animals: Part 2” with Tessa Fuchs. May 20—25 includes materials, lodging and meals. Contact
“Sculptural Pots for Flowers” with Gordon Cooke. Kees Hoogendam, de Knolle 3A, 8431 RJ
For further information, contact West Dean Col­ Oosterwolde (Fochteloo), Netherlands; or tele­
lege, West Dean, Chichester, West Sussex phone/fax (31) 51 658 82 38.

90 CERAMICS MONTHLY
April 2001 91
Questions referred to? Also, could you tell me what current
books describe these?—L.K.
tical Pottery, the formula for the Seger pyromet­
ric Cone 6 contained alumina in the amount of
Answered by the CM Technical Staff Seger formulas, sometimes erroneously re­ 0.6 molecular equivalent and the amount of
ferred to as limit formulas, were developed by silica was 6 molecular equivalents—hence, the
Hermann Seger in the 19th century. Simply 1:10 alumina:silica ratio commonly used to
Q So much has changed since I was a student 50 described, a Seger formula, or a skeleton for­ indicate a glossy surface texture.
years ago, hut I want to be able to give students mula, is a method by which glazes are repre­ Limit formulas, however, are parameters
correct and current information. I would be grate­ sented in their molar (or molecular) equivalents. (maximums and minimums) expressed as mo­
ful if someone on the technical staff could tell me if The oxides are classified as basic (RO), ampho­ lecular equivalents for each oxide, according to
we are talking about the same thing. When men­ teric (RjOj) and acidic (R02). temperature and surface appearance of the glaze.
tion is made of “published Seger formulas" in the Seger also invented the pyrometric cone, Understand that limit formulas are simply guide­
Questions column, it suggests to me the 1:8–10 where the formulas are based on the ratio of lines. When a glaze is written as a formula, and
alumina:silica ratio for glossy, 1:5–8 for satin alumina to silica. For instance, according to not as a batch (recipe), each oxide in the glaze
and 1:1–5 for matt surfaces. Is this what is being Robert Fournier’s Illustrated Dictionary of Prac­ will have a corresponding molecular equiva­
lent. By comparing your glaze formula to these
limits, you can see if the oxides in your glaze fall
within these limits. This will help ascertain
whether or not your glaze is a balanced glass.
Many glazes, however, can exist very nicely
outside these limits and function quite well. To
determine if a glaze is truly safe, one would need
to submit it for testing at a qualified lab, such as
Alfred Analytical Laboratory, 4964 Kenyon
Rd., Alfred Station, New York 14803. You can
do simple testing at home, such as freezing a
glaze sample overnight, then suddenly subject­
ing it to boiling water to test for crazing. A test
with vinegar may indicate if there is leaching as
the vinegar will change color. Lead testing kits
are available to test for lead leaching.
There are many books that can help with
glaze theory and calculation. I usually refer to
the following: Clay and Glazes for the Potter
(Daniel Rhodes), Ceramic Glazes (Cullen W.
Parmelee), Glazes and Glass Coatings (Richard
A. Eppler, Douglas R. Eppler), Ceramics for the
A rtist Potter (F rederick N orton), Potter s Dictio­
nary of Materials and Techniques (Frank and
Janet Hamer), Illustrated Dictionary of Practical
Pottery (Robert Fournier) and The Magic of Fire
(Tony Hansen).
While I certainly don’t think that each of us
needs to be a wizard at glaze calculation or
chemistry, I do think that learning some basics
is very helpful. This would include basic chem­
istry nomenclature for elements, oxides and
ceramic materials. The calculations to go from
glaze batch to glaze formula are simple to learn
(Ceramics Monthly, December 2000, page 100),
and with basic knowledge, it is simple to calcu­
late your glaze and obtain relevant and impor­
tant information regarding the oxides present
and their function.
Jonathan Kaplan
Ceramic Design Group
Steamboat Springs, Colo.

Q We did an experiment mixing equalparts dry

Cedar Heights Redart clay with plaster. We then
mixed it with water and dipped sweaters, socks,
baby dresses, etc., into this mix. They looked
wonderful as they set up overforms, but whenfired
they were a soft, crumbly, gray, mushy mess. The

92 CERAMICS MONTHLY
April 2001 93
Questions Cone 10. The gray color is due to carbon from
the burned fiber trapped in the porous clay/
disregard venting the room. Some potentially
toxic gases may escape into that atmosphere.
plaster mix. The smell is most likely a result of When you first worked with this process,
burning man-made fibers and a great deal of you may have added small amounts of plaster to
atmosphere in the electric kiln was highly reduced sulfur from the Redart and plaster. It is not only the slip to aid in the setting of the form. If you
with all the acrylic and cotton that burned during unpleasant, but can also be very hazardous. did, the percentages were probably small (un­
the firing. Could someone tell us what we made? I If you must use an electric kiln for this der 5%) and you used each batch before it had
can still taste whatever it is when I walk into the process, the kiln and the room should be ad­ a chance to set in the bucket. The plaster would
room. We did something like this 25years ago, but equately vented. This means a complete ex­ have the desired rigidifying effect and would
it must have been with just clay and water. I'm change of air every four to ten minutes. You will supply additional calcium to the fired piece. I
really curious as to what we formed and if we can be much happier and healthier if you do future suggest you continue your experimentation
do it any other way.—G.N. firings that contain burnable cores in a fuel- with plaster in greatly reduced percentages.
The mixture you concocted would most burning kiln. Please understand that just be­ Another way to approach this particular
likely make a very matt dark brown glaze at cause the kiln is vented does not mean you can technique is to use slips that contain no plaster.
Start with a dry clay body you commonly use
and mix it with enough water to make it liquid.
This will normally be 40—50% by weight, but
you can do it visually. Once the slip is liquid,
add ½ to ½ cup sodium silicate to a 100-pound
batch. This calculates to between 0.3% and
0.5% of the batch weight. If you are using a
commercial deflocculant, such as Darvan #7,
you will use about 0.15% of the batch weight.
You can consult standard casting slip recipes for
the proper percentages. I suggest for this appli­
cation that you reduce the deflocculant by
about one-fourth from the amount used in
casting slips. The function of the deflocculant is
to give the slip some fluidity and reduce the
amount of water needed to make the slip liquid.
You can add fiber to this slip to help hold it
on the fabric and to thicken the coating. I would
add 1-3% paper fiber to the batch. This fiber
must be thoroughly mixed with the water be­
fore you add it to your slip. You can calculate the
water used to wet the fiber as part of the water
of your slip. You may then apply by spraying
(see “Sprayed Paper Reinforced Clay” in the
November 1998 Ceramics Monthly) or dip the
article in the slip and hang it to dry. Once it is
dry, it may be bisque fired or single fired.
Bisqued work may be glazed and refired.
Colored slip can be brushed or sprayed on to
achieve interesting surfaces; however, I have
found that thin sections of fiber-reinforced clay
are not strong enough to withstand the shrink­
age of very glassy glazes. You will need to test
your specific glazes and clay bodies to deter­
mine what works best for you.
Let me again stress the need to ventilate all
firings well, especially when you are firing work
with combustible cores.
W. Lowell Baker
The University of Alabama
Tuscaloosa, Alabama

Have a problem? Subscribers’ questions

are welcome, and those of interest to the
ceramics community in general will be an­
swered in this column. Due to volume,
letters may not be answered personally.
Mail to Ceramics Monthly, PO Box 6102,
Westerville, Ohio 43086-6102, e-mail to
[email protected] or fax to
(614) 891-8960.

94 CERAMICS MONTHLY
April 2001 95
 Summer Workshops run 9 A.M.-1 P.M. Contact Mary Stackhouse, Castle
Hill/Truro Center for the Arts, PO Box 756, Truro
cludes glazes, clay (25 lb) and firing. Intermediate and
advanced. For further information, contact Red Star
Continued from page 62 02666; e-mail [email protected]; telephone (508) Studios, 821 W. 17 St., Kansas City 64108; e-mail
349-7511; or fax (508) 349-7513. [email protected]; telephone (816) 474-7316.

trimming techniques, with emphasis on production; Massachusetts, Williamsburg Missouri, Pt. Lookout
each session includes firing a wood-burning kiln “Portraits and Self-Portraits in Clay: Life Sculpture” “Combining Traditions: From the Traditional T-Pot
(June-August). All skill levels. Contact the Great with Harriet Diamond (June 8-10). High-school to Finding a Personal Dialogue” with Ching-Yaun
Barrington Pottery, Rte. 41, Housatonic 01236; tele­ summer arts program; ceramics is 1 of 7 courses Chang (June 25-30); fee: $250, includes materials.
phone (413) 274-6259; or fax (413) 274-6260. offered (June 24-July 13 and/or July 15-August 3). Contact Jeff Johnston, College of the Ozarks, Pt.
For further information, contact Snow Farm, 5 Clary Lookout 65726; telephone (417) 334-6411, ext. 4467.
Massachusetts, Leverett
Rd., Williamsburg 01096; telephone (413) 268-3101;
“Carved and Pierced Porcelain” with Gary Grosenbeck or fax (413) 268-3163. Montana, Helena
(June 9-10). “Spontaneous Clay” with Natalie Blake “Majolica: Form and Surface” with Linda Arbuckle,
(June 23). “Raku Firing and BBQ” with Jana Silver Massachusetts, Worcester throwing, altering, assembling, terra sigillata, glazing,
(July 1). “Building with Thrown Forms” with Sam “Firing the Wood Kiln” with Sam Taylor, partici­ surface design (July 13-15). “Making Natural Vessel
Taylor (August 4—5). “Southwest Pottery Techniques” pants must bring bisqueware (July 14-15 and 21); Shapes” with Hun Chung Lee, throwing, adding
with Michael Wisner (August 21-22). Contact fee: $205; members, $185; includes materials and materials to clay, trimming, brushing with white slip;
Mudpie Potters, 102DudleyvilleRd., Leverett 01054; firing. Intermediate and advanced. For further infor­ instruction in English and Korean (August 10-12).
e-mail [email protected]; or telephone mation, contact David S. East, Worcester Center for Skill requirements vary. Fee/session: $150, includes
(413) 548-3939. Crafts, 25 Sagamore Rd., Worcester 01605; e-mail materials and firing (bisque only in Lee workshop).
[email protected]; telephone (508) 753- For further information, contact Josh DeWeese, Resi­
8183, ext. 5107; or fax (508) 797-5626. dent Director, Archie Bray Foundation for the Ce­
ramic Arts, 2915 Country Club Ave., Helena 59602;
Michigan, Kalamazoo e-mail [email protected]; see website at
Handbuilding, throwing, stoneware, single firing, www.archiebray.org; telephone (406) 443-3502; or
using wood-ash glazes, with Richard Aerni (June 9— fax (406) 443-0934.
10); fee: $120, includes materials. All skill levels.
Contact Paul Flickinger, Kalamazoo Institute of Arts, Montana, Red Lodge
314 S. Park St., Kalamazoo 49007; e-mail “Raku in the Rockies” with Marcia Selsor, handbuild­
[email protected]; telephone (616) 349-7775, ext. ing, glazing and raku firing (July 7—8 and 14—15, two
3182; or fax (616) 349-9313. consecutive weekends); fee: $150, includes materials
and firing. Beginning through advanced. Instruction
Michigan, Saugatuck in English, Italian and Spanish. Contact Jean
“Vessel Construction” with James Wallace (June 24- Wagonner, Carbon County Arts Guild, 11 W. 8th
July 7). “Wheel Throwing” with Robert McClurg St., Red Lodge 59068; or telephone (406) 446-1370.
(July 8-21). “The Figure in Ceramics” with Joseph
Seigenthaler (July 22-August 4). “Site-Specific Ce­ Montana, near Whitehall
ramic Sculpture” with Nazare Feliciano (August 5- “Indigenous Ceramics” with Michael Peed, finding
18). Skill requirements vary. Fee/session: $800. Con­ and processing clay, making and firing work using
tact Megan Powell, Ox-Bow, 37 S. Wabash, Chicago, resources at hand, including bonfires and digging
IL 60603; e-mail [email protected]; see website at chambers in banks to use as kilns (July 16-21); fee:
www.ox-bow.org; telephone (800) 318-3019 or Montana resident, $387; nonresidents, approximately
(312) 899-7455; or fax (312) 899-1453. $1135; includes meals and firing. All skill levels.
Contact Michael Peed, Montana State University—
Minnesota, Duluth School of Art, 213 Haynes Hall, Bozeman, MT
“Handbuilding with Soul” with Thomas Kerrigan 59717; e-mail [email protected]; telephone
(July 8-August 11, weekly from Sun. eve. to Sat. (406) 994-4283; or fax (406) 994-3680.
noon); fee: $505, includes materials and firing. Begin­
ning through advanced. Contact Registrar, Split Rock Nevada, Incline Village
Arts Program—University of Minnesota, 360 Coffey “Ceramic Sounding Sculptural Forms” with Brian
Hall, 1420 Eckles Ave., St. Paul, MN 55108; e-mail Ransom, making musical instruments (June 11-15).
[email protected]; see website atwww.cce.umn.edu/ “Pinch Pots and Pit Firing/Ancient Methods for
Pete Pinnell demonstrates throwing splitrockarts/; telephone (612) 625-8100; or fax (612) Modern Times” with Jimmy Clark (June 15-17); fee:
a teapot lid during a workshop 624-6210. $215, includes materials, firing and lab fee. “Porce­
at Baltimore Clayworks in Maryland. lain: With Only a Touch of Refinement” with Susan
Minnesota, New London Filley (June 18-22). “Making Sculpture Using the
Wood firing in a 22-foot anagama (May 19—20, 23— Potter’s Wheel” with John Balistreri (June 25-29).
Massachusetts, Stockbridge 27 and June 2); fee: $180; MCC members, $135. “Chocolate, Tattooed Ladies and Free Prizes” with
“Cone 6 Reduction Firing” with Jeff Zamek (June 2- Participants can bring bisqueware. Contact Minne­ Marilyn Lysohir, handbuilding figurative sculpture
3); fee: $180, includes materials. “Raku! Painting sota Crafts Council, 528 Hennepin Ave., Ste. 216, (July 9-13). “Portraits, Fun and Funky” with Tony
with Fire” with Bob Green (June 16-17); fee: $180, Minneapolis, MN 55403; e-mail [email protected]; Natsoulas (July 13-15); fee: $215, includes materials,
includes materials. “Majolica Decoration” with Ellen see website at www.newlondonartcenter.org; or tele­ firing and lab fee. “Fast-Fire Pottery, Throwing and
Grenadier (July 7); fee: $85, includes materials. “Al­ phone (612) 333-7789. Firing Techniques” with Randy Brodnax (July 16—
tering, Faceting and Texturing” with Mark Shapiro 20). “Up the Stage Lights! Pots in Sets” with Jane
(July 14); fee: $75. “Extending the Boundaries of Mississippi, Jackson Dillon (July 23-27). “Toward a Mastery of Clay,
Personal Expression in Clay” with Mikhail Zakin “Tougaloo Art Colony” with David R. MacDonald, Beginning Wheel Throwing” with Andrew Watson
(August 4-5); fee: $170, includes materials. “South­ making and decorating ceramic tiles, with an empha­ (July 30-August 3). “Mold Making, Slip Casting and
west Pottery” with Michael Wisner (August 16-19); sis on pattern and decorating techniques (July 27- Decoration” with Andrew Martin (August 10-12);
fee: $295. Contact Interlaken School of Art, PO Box August 3). Contact Tougaloo College: e-mail fee: $215, includes materials, firing and lab fee. Skill
1400, Stockbridge 01262; e-mail [email protected]; art@T ougaloo.edu; see website at www.Tougaloo.edu/ requirements vary. Fee (unless noted above): $430,
telephone (413) 298-5252; fax (413) 298-0274. home/art; or telephone (601) 977-7839. includes materials, firing and lab fee. Living accom­
modations available. For further information, contact
Massachusetts, Truro Missouri, Fulton Sheri Leigh, Sierra Nevada College, Summer Work­
“Throwing” with Cary Atsalis (July 2-6). “Handbuild­ “Anagama Kilnbuilding Workshop” with Gary shops, 999 Tahoe Blvd., Incline Village 89451;
ing with Porcelain” with Paula Winokur (July 9-13); Hootman (August 6-11); fee: $200, includes materi­ e-mail [email protected]; see website at
fee: $230. “Saggar Firing” with Crystal Ribich (July als. “Anagama Firing” with Gary Hootman, follow- www.sierranevada.edu/workshops; telephone (775)
16-20). “Teapots, Etc. ” with Mark Shapiro (July 23- up to previous session (August 11-19); free to previ­ 831-1314, ext. 5039; or fax (775) 832-1727.
27). “Altered Pots” with Gay Smith (July 30-August ous workshop participants; others may share expense
3). “Addition and Subtraction” with Leslie Ferst of wood for fuel. All skill levels. Tent camping avail­ New Hampshire, Wilton
(August 6-10). “Gesture and Form” with Woody able; limited lodging available for an additional fee. “Earth, Water and Fire Wood-Firing Workshop,”
Hughes (August 13-17). “Handbuilding for Func­ Contact Nora Campbell, 5175 State Rd. JJ, Fulton making and firing pots in a 4-chamber noborigama
tion and Sculpture” with Mikhail Zakin (August 20- 65251; e-mail [email protected] or with John Baymore (August 17-26); fee: $395, in­
24). “Raku—Wet to Fire” with Keith Kreeger (Au­ [email protected]; telephone (573) 642-2777. cludes materials and firing. Intermediate through
gust 27, 29 and 31, 9 A.M.-3 P.M.); fee: $230. professional. Contact John Baymore, River Bend
‘Glazing for High Fire” with Keith Kreeger (August Missouri, Kansas City Pottery, 22 Riverbend Way, Wilton 03086; e-mail
28, 30); fee: $150, includes firing. Skill requirements “Functional Stoneware/Single Firing” with Steven [email protected]; telephone (800) 900-
vary. Fee (unless noted above): $220. Weekly sessions Hill (June 3-9, July 29-August 4); fee: $420, in­ 1110 or (603) 654-2752.

96 CERAMICS MONTHLY
Janis Mars Wunderlich smoothing the surface of a sculpture
during a workshop at Santa Fe Clay in New Mexico.

New Jersey, Belvidere yond the Basics; Altering Techniques for Functional
Demonstrations and slide lectures with Ryoji Koie, Potters” with Susan Beecher (July 16—20,9:30 A.M.-
Paul Soldner and Peter Voulkos (July 7-8). Demon­ 1:30 P.M.); fee: $205. “Low-Fire Clay” with Janice
strations and slide lectures with Don Reitz, Peter Strawder (July 23-27 or 30-August 3). “Throwing
Voulkos and Kurt Weiser (July 14—15). All skill levels. with Porcelain” with Katherine Narrow (August 6—
Fee/session: $300; or $175 for 1 day. Contact Peter 10). “Advanced Throwing and Texture Applications”
Callas Studio, 1 Orchard St., Belvidere 07823; e-mail with Don Thieberger (August 13-17 or 20-24, 9:30
[email protected]; telephone (908) 475-8907; or A.M.-3 P.M.); fee: $205. “On the Surface: Decorat­
fax (908) 475-8956. ing and Glazing Techniques” with Skeffington Tho­
mas (August 27-31). Unless noted above, workshops
New Jersey, Layton run 9:30 A.M.-12:30 P.M. Skill requirements vary.
“Untraditional Salt-Fired Surfaces” with Marie Woo Fee (unless noted above): $120. Contact Colleen
(June 1—5). “Evolution ofSuccess in Art” with Michael Chadwick, Long Beach Island Foundation of the Arts
Jenson (June 8-12). “Wood-Fire Workshop” with and Sciences, 120 Long Beach Blvd., Loveladies
Susan Beecher (June 15-20); fee: $480, includes 08008; e-mail [email protected]; telephone
firing and lab fee. “Moving Clay/Making Sculpture” (609) 494-1241; or fax (609) 494-0662.
with Brad E. Taylor (June 22-26); fee: $420, includes
lab fee. “Clay/Fire/Self: Finding Sculptural Expres­ New Mexico, Las Vegas
sion” with Malina Monks (June29-July3); fee: $420, Throwing, handbuilding, glazing and firing with
includes firing and lab fee. “Printing with Colored Todd Turek (June 25-July 27); fee: $294, includes
Clay” with Mitch Lyons (July 6-8); fee: $284, in­ materials and firing; or $311.25 for 3 graduate credits.
cludes materials and lab fee. “Mold Making, Slip Lodging available. Location: New Mexico Highlands
Casting and Decoration” with Andrew Martin (July University. Telephone NMHU Summer Session,
6-10); fee: $435, includes lab fee. “Handbuilding (505) 454-3238 or (907) 463-6523.
Anarchy” with Felicity Aylieff (July 13-17); fee:
$420, includes lab fee. “The Psychology of the Super
New Mexico, Santa Fe
Pot” with Neil Grant (July 20-25); fee: $470, in­ “Raku Kilnbuilding and Test Firing” with Mario
cludes firing and lab fee. “Pottery: A Guide Through Quilles; participants must bring bisqueware (June
Simplicity” with Lynn R. Munns (July 27-31); fee: 11-14, July 23-26 or August 13-16); fee: $375,
$435, includes firing and lab fee. “Pots from Pre­ includes materials and firing (burner and shipping
forms” with William Daley (August 3-7). “Open not included). Instruction in English and Spanish.
Studio: Wood Firing” with Bruce Dehnert (August All skill levels. Contact Mario Quilles, A.I.R. Studio-
10-14); fee: $440, includes firing and lab fee. “An works, 3825 Hwy. 14, Santa Fe 87505; e-mail
Approach Through Geometry” with Chris Gustin [email protected]; or tele­
(August 17-21). “Low-Fire Layering” with Lisa Orr phone (505) 438-7224.
(August 24-28). “Cut and Paste: Exploring Form and
Function with Earthenware” with Joan Bruneau (Au­ “Pouring Pots! Teapots, Pitchers, Creamers and More”
gust 31-September 4); fee: $435, includes firing and with Julia Galloway (June 11—15). “The Power of
lab fee. Skill requirements vary. Fee (unless noted Objects” with Gina Bobrowski (June 18—22). “Art
above): $430, includes firing and lab fee. Contact and Language” with Tony Hepburn (June 25-29).
Peters Valley Craft Education Center, 19 Kuhn Rd., “Pottery: Generating Ideas About Function” with
Layton 07851; e-mail [email protected]; see website at Peter Beasecker (July 2-6). “People and Pots: About
www.pvcrafis.org; telephone (973) 948-5200; or fax Making Connections” with Chris Staley (July 9-13).
(973) 948-0011. “Clay Heads” with Doug Jeck (July 16-20). “Per­
sonal Vocabulary in Form and Function” with Randy
New Jersey, Loveladies Johnston andjan McKeachieJohnston (July 23-27).
“Working on the Potter’s Wheel” with Matthew “Handbuilding/Fabrication” with John Gill (July
Burton (June 18-22). “Handbuilding for Everyone” 30-August 3). “Transcendent Moment” with Michael
with Matthew Burton (June 25-29). “Making Your Sherrill (August 6-10). Skill requirements vary. Fee/
Mark” with Paul Donnelly (July 2-6). “Working session: $420, includes materials and firing. For fur­
with Porcelain: Shino Teabowls” with Malcolm Davis ther information, contact Avra Leodas or Triesch
(July 9-13, 9:30 A.M.-4:30 P.M.); fee: $205. “Be­ Voelker, Santa Fe Clay, 1615 Paseo de Peralta, Santa

April 2001 97
 Summer Workshops ing, throwing, surface decoration and kiln loading
(beginning J uly); participants must be willing to share
in other chores of the farming/craft community.
Beginning and intermediate. Contact Annie Schliffer,
RFAG Pottery, 1445 Upper Hill Rd., Middlesex
Fe 87501; e-mail sfc@san tafeclay.com; see website at 14507; telephone (716) 554-5463 or 554-3539.
www.santafeclay.com; telephone (505) 984-1122; or
fax (505) 984-1706. New York, New York
“Basketry Techniques for Potters” with Nancy Moore
“Handbuilding Inlaid and Colored Clay Teapots and Bess (June 2 and 23). “Low-Fire Glaze” with Paul A.
Covered Containers” with Virginia Cartwright (June Wandless (June 9-10). “Surface Decoration” with
22-24). “ExtrudingFunctional and Sculptural Forms” Jerry Marshall (July 10-August 14, Mondays); fee:
with Daryl Baird (July 20-22). “Porcelain and Be­ $200, includes materials. “Soda Firing” with Rich
yond” with Catharine Hiersoux (August 3-5). All Conti and Katie Love (July 11 and August 3-5,
skill levels. Fee/session: $150. For further informa­ firing); fee: $315, includes materials and lodging.
tion, contact Art and Clay Studio, 1804 Espinacitas, “Teapot Whimsy” with Manioucha Krishnamurti,
Santa Fe 87505; e-mail info@art+clay.com; see website instruction in English, French and Italian (July 12).
atwww.artandclay.com; telephone (505) 989-4278. “Korean Wheel Throwing” with San Joon Park (July
12-August 16, Weds., 6-9 P.M.); fee: $200, includes
New Mexico, Taos materials. “Stretching Creativity” with Vera Lightstone
“Tile Painting Majolica” (June 2-3, August 4-5 or Quly 13-August 17, Thurs., 10 A.M.-l P.M.); fee:
18-19); fee: $55, includes materials and continental $200, includes materials. “Ceramic Decals” with
breakfast. “Mask Making” (June 10-16 or July 1-7, Rimas VisGirda (August 6-7). “Color and Line:
Sun.-Tues., Fri., Sat.); fee: $265, includes clay and Underglaze/Wax Inlay” with Rimas VisGirda (Au­
glaze materials, and breakfast. “Raku Saturday” (June gust 8-10); fee: $300, includes materials. Skill re­
23, July 28 or August 25); fee: $32.50, includes glaze quirements vary. Fee (unless noted above): $205,
materials and breakfast. “Breaking Down the Barri­ includes materials. Contact Ellen Day, Craft Students
ers, Building on the Strengths: An Artful Journey of League, 610 Lexington Ave., New York 10022; e-mail
Healing” (June 24—30 or July 15-21); fee: $285, [email protected]; telephone (212) 735-9804; or
includes materials and breakfast. Instructors: Pamala fax (212) 223-6438.
Dean and Karen Fielding. Contact Dragonfly Jour­
neys, PO Box 2539, Taos 87571; see website at Throwing with David Wright; or handbuilding with
www.taosartretreat.com; telephone (505) 751-3220; Susan Eisen Quly 11-15). Throwing with Nicholas
or fax (505) 751-0131. Joerling; or handbuilding with Mark Pharis (July 18-
22). Throwing with Neil Patterson; or handbuilding
“A Tiwa Woman and Her Clay” with Jerry Track with Sandi Pierantozzi (July 25—29). Skill require­
(June 25-30). “Micaceous Pueblo Pottery” with Soje ments vary. Fee/session: $420, includes materials and
Track Quly 9-14). “Mimbres Pottery” with Clint firing. Contact Lynne Lerner, Greenwich House Pot­
Swink (July 16—21). “Lucy Lewis Acoma Pottery” tery, 16 Jones St., New York 10014; e-mail
with Dolores and Emma Lewis (July 23-28). “Maria [email protected]; telephone (212) 242-
Martinez Pottery” with Kathy and Evelyn Martinez 4106; or fax (212) 645-5486.
(July 30-August 4). “Pueblo Storytellers” with Juanita
DuBrey (August 6—11). For further information, Workshops with Jim Lawton, Lisa Naples and Liz
contact Taos Art School, PO Box 2588, Taos 87571; Quackenbush (Summer). Contact 92nd Street Y Art
see website at www.taosartschool.org; e-mail Center: see website at www.92ndsty.org; for informa­
[email protected]; or telephone (505) 758-0350. tion, telephone (212) 415-5562; or for registration,
telephone (212) 415-5500.
“Clay Storyteller Dolls” with Juanita DuBrey (June
29-July 1). E-mail the Tile Heritage Foundation New York, Port Chester
[email protected]; or fax (707) 431-8455. “Keeping a Lid on It...” with Collette Smith (June
11); fee: $90. “Mold Making for Multiples” with
New York, Clayton Susan Barbehann (June 14); fee: $95, includes mate­
“Tile Making” with Ginger Dunlap Dietz (July 9- rials. “Anagama/Wood Fire” with Jeff Shapiro (June
13). “Raku” with Arthur Sennett Quly 16—20); fee: 16); fee: $125, includes firing of 1 piece. “High-Fire
$225, includes firing. “Adult Mosaic Projects” with Glazing and Reduction Kiln-Firing Workshop” with
Ginger Dunlap Dietz (August 24—26). Skill require­ Steve Rodriguez (June 18); fee: $125. “Form and
ments vary. Fee (unless noted above): $150, includes Function in Porcelain” with Matt Long (June 23—
firing. For further information, contact Bobbi McBath, 24); fee: $125. “Raku Opportunities” with Robert
American Handweaving Museum and Thousand Mueller (June 30); fee: $60. “Pouring Vessels” with
Island Craft School, 314 John St., Clayton 13624; Ellen Shankin (August 13—17); fee: $300. Skill re­
e-mail [email protected]; telephone (315) 686-4123; quirements vary. Contact Parviz Batliwala, Clay Art
or fax (315) 686-3459. Center, 40 Beech St., Port Chester 10573; e-mail
[email protected]; telephone (914) 937-2047;
New York, East Islip or fax (914) 935-1205.
“Wheel Forming Processes and Beyond” with Bruce
Cochrane Quly 30-August 3). Contact Woody New York, Rosendale
Hughes, Islip Art Museum, (631) 224-5402. “Introduction to Glaze” with Amy Moses Quly 13-
15). Fee: $370; members, $350. “Vessels That Pour,”
New York, East Nassau throwing with Susan Beecher (August 25-26). Skill
“Staffordshire and Beyond: British Earthenware Pro­ requirements vary. Fee: $270; members, $250; in­
duction 1700-1860,” lectures, discussions and dem­ cludes materials, firing and lab fee. Contact Ellen
onstrations on types of wares, archaeological findings, Kucera, Women’s Studio Workshop, PO Box 489,
and production and decoration methods (June 15— Rosendale 12472; e-mail [email protected]; telephone
17); fee: $435. Instructors: Brian Adams, David (845) 658-9133; or fax (845) 658-9031.
Barker, Don Carpentier, Peter Francis, Karen
Goldstein, Miranda Goodby, Jonathan Gray, Nicho­ New York, Saratoga Springs
las Mosse and Jonathan Rickard. Contact Eastfield “Summer Six Art Program” with Regis Brodie and
Village, 104 Mud Pond Rd., East Nassau 12062; or guest artists Ted Camp, Chris Gustin and Toshiko
telephone (518) 766-2422. Takaezu, instruction in stoneware and porcelain, plus
raku, pit firing and other alternative nontraditional
New York, East Setauket firing techniques (May 29-June 29 or July 2-August
“Teapots, Function and Design,” hands-on work­ 2). Contact Summer Six Art Program, Skidmore
shop with Harriet Ross (June 2-3); fee: $150. Con­ College, 815 N. Broadway, Saratoga Springs 12866-
tact Hands On Clay, 128 Old Town Rd., East 1632; e-mail [email protected]; telephone
Setauket 11733; telephone (631) 751-0011. (518) 580-5052; or fax (518) 580-5029.
New York, Middlesex New York, West Winfield
Production pottery, clay and glaze making, handbuild­ “Majolica Decoration” with Carmen and Jerry Davis,

98 CERAMICS MONTHLY
exploring glazes, glazing, firing techniques, designs, Schiller Myers School of Art, 150 E. Exchange St.,
application of color and decorating strategies (June Akron 44325; e-mail [email protected]; or tele­
27-29); fee: $175. All skill levels. For brochure, phone (216) 281-1803 or (330) 972-5967.
contact Davis Pottery, 6927 Co. Hwy. 18, West
Winfield 13491; or e-mail [email protected].
Ohio, Columbus
“Y Art School” for children ages 7-12, will include
New York, Woodstock digging for clay, handbuilding, throwing, primitive
“Raku Firing,” participants should bring 6-8 bisqued and raku firings (June 18—August 13, weekly ses­
pots (June 16 or August 18). “Mold Making Work­ sions); fee: $195, includes materials and meals. In­
shop for Ceramics” with Jack Mullen (June 23 or July structors: Todd Camp and Pam Dropco. Beginning.
21). Lecture, demonstration and hands-on workshop Contact Todd Camp, YMCA, 3500 First Ave.,
with Jolyon Hofsted (July 14); fee: $90, includes Urbancrest, OH 43123; telephone (614) 539-1770;
materials and lunch. All skill levels. Fee (unless noted or fax (614) 539-3380.
above): $135, includes materials, lunch. Contact
Janet Hofsted, Co-Director, Maverick Art Center, “Colored Clay,” handbuilding and throwing with
163 Maverick Rd., Woodstock 12498; e-mail Ban Kajitani (July 16-27, weekday afternoons); fee:
[email protected]; telephone (845) 679-9601. $350, includes materials, firing and 3 college credits.

North Carolina, Asheville

“Decorative Handmade Tile” with Gloria Kosco and
Mimi Strang (June 4—8); fee: $315, includes materi­
als, firing and lab fee. “Majolica” with Linda Arbuckle
(June 11-15). “Figurative Busts” with Barb Doll
(June 18-22). “Handbuilt Dinnerware” with Mary
Kay Botkins (June 25-29). “Pouring Vessels” with
Linda McFarling (July 16-20). “Throwing—Glaze—
Raku” with Steve Loucks (July 23-27). “Photo Clay”
with Mark Burleson (July 30-August 3); fee: $400,
includes materials, firing and lab fee. Skill require­
ments vary. Fee (unless noted above): $300. Contact
Mark Burleson, Odyssey Center for the Ceramic Arts,
238 Clingman Ave., Asheville 28814; e-mail
[email protected]; telephone (828) 285-
0210; or fax (828) 253-3853.

North Carolina, Brasstown

“Wild and Expressive Figurative Clay Sculpture”
with Barb Doll (May 27-June 2). “Folk Pottery
Techniques” with Mary Dashiell (June 3-9). “Fire
and Smoke—The Art of Raku” with Steven Forbes-
DeSoule (June 10-16). “From the Wheel to the
Table” with Ron Philbeck (July 1-7). “Colorful
Containers—Sculptural and Utilitarian” with Susie
Duncan (July 15-21). “Wood Fire” with Peter Rose
(July 22—29); fee: $436. “Handbuilding and Slab
Construction” with Judy Robkin (July 29-August 4).
“Thrown and Altered” with Mike Vatalaro (August
5-11). “Throwing and Decorating High-Fired Por­
celain” with Doug Dacey (August 26-September 1).
Fee (unless noted above): $294. Living accommoda­
tions available. Contact Mary Ward, John C. Judith Salomon pouring clay slabs for use
Campbell Folk School, 1 Folk School Rd., in vessel sculptures made during a
Brasstown 28902; e-mail [email protected]; workshop at Santa Fe Clay.
see website at www.folkschool.org; telephone (800)
365-5724 or (828) 837-2775; or fax (828) 837-8637.
North Carolina, Penland Instruction primarily in English, with some Japanese.
All skill levels. Contact Curtis Benzie, Columbus
“Pots: Exploring Possibilities” with Peter Beasecker;
or “Forms, Functions and Surfaces” with Liz College of Art and Design, 107N. Ninth St., Colum­
bus 43215-1700; e-mail [email protected]; telephone
Quackenbush (May 27-June 8). “Raku, Saggar and
Throwing Large” with James C. Watkins; or “What’s (614) 224-9101; or fax (614) 222-4040.
Behind tne Mask?” with Sammie Nicely (June 10— Ohio, Oxford
22). “Pots: Beyond Process” with Bobby Silverman; “BeginningThrowing” with Louise Harter (June 11—
or “Assemblage” with Eddie Dominguez (June 24— 15). “Beginning Handbuilding” with Vincent Burke
July 6). “The Language of Tea” with Ah Leon; or (June 18—22). “Interpretations of Function” with
“Container/Containment” with Steven Heinemann Suze Lindsay (June 25—29). “Figure Sculpting in
(July 8-20). “Pots for the Home” with Douglass Clay” with Ken Rowe (July 2-6). Skill requirements
Rankin and Will Ruggles; or “Handbuilt Colored vary. Fee/session: $381, Ohio undergraduate; addi­
Salt-Glazed Clay” with Jane Peiser (July 22-August tional fees for graduate credit or out-of-state. Contact
7). “Form, Content, Firing” with Brad Schwieger; or Joyce Ponder, Miami University, CraftSummer,
“Animals, Animals, Animals!” with Joe Bova (August Oxford 45056; e-mail [email protected];
12-24). “Pate de Verre” with Deborah Horrell, with see website at www.muohio.edu/craftsummer/; tele­
Tom Spleth; or “Molds from Natural Forms” with phone (513) 529-7395 or fax (513) 529-1509.
Jeff Shapiro, with Tom Spleth (August 26-Septem-
ber 1). Living accommodations available. Contact Ohio, Pleasant Township
Penland School of Crafts, PO Box 37, Penland “Thinking Small Without Oxygen” with Andi
28765-0037; see website at www.penland.org; tele­ Fasimpaur and Kim Hohlmayer, handbuilding small-
phone (828) 765-2359; or fax (828) 765-7389. scale pottery, glazing, reduction firing in an open pit
(July 16-20); fee: $235, includes materials and firing.
Ohio, Akron Beginning and intermediate (all levels welcome).
Cross-cultural ceramics workshop with Megan Limited to 5 participants. Contact Kim Hohlmayer,
Sweeney and visiting Lithuanian artists Rytas 5500 Runyan Rd., Mechanicsburg, OH 43044; or
Jakimavicius and Dalia Lauckaite-Jakimaviciene (June telephone (937) 828-1114.
11—July 12, Mon.—Thurs.; open studio every day);
fee: $637 for Ohio residents, includes materials, firing Oregon, Corbett
and 3 college credits. Instruction in English and Handbuilding, terra sigillata, stencils, laminating,
Lithuanian. Intermediate through professional. Con­ textures, raku, saggar and electric firings with Janet
tact Megan Sweeney, University of Akron, Mary Buskirk (August 5—11). Painterly terra-cotta tiles,

April 2001 99
 Summer Workshops Fired Workshop” with Kevin Crowe (August 6-11).
“Wheel-Thrown Pottery” with Valda Cox (August
13-18 or 20-25). “Wood Firing for Functional Pots”
with David Wright (August 27-September 1). Con­
tact Touchstone Center for Crafts, 1049 Wharton
small pots and sculpture, underglazes, slip casting, Furnace Rd., Farmington 15437; see website at
and stains with Jan Edwards (August 12-18). Fee/ www.touchstonecrafts.com; telephone (800) 721-
week: $595, includes materials, firing, lodging and 0177 or (724) 329-1370.
meals. Three-hour graduate credit available for extra
fee. Wheels available. All skill levels. Contact John Pennsylvania, Richboro
Kinyon, Creative Arts Community, PO Box 4958, “Fun and Easy Tile Making” with Margaret Gardner
Portland, OR97208; e-mail [email protected]; (July 14). “Handbuilt Clay Wall Vases and Planters”
or telephone (503) 760-5837. with Margaret Gardner Quly 21). Fee/session: indi­
vidual, $35; or $50 for child and parent. For further
Oregon, Newport information, contact the Pennsylvania Guild of Crafts­
“Raku Festival Workshops,” handbuilding, throw­ men, 10 Stable Mill Trail, Richboro 18954; e-mail
ing, etc. (July 21-22), and firing on the beach Quly [email protected]; or telephone
28-29). Instructors: Don Adamaitis, Skye Etessami, (215) 579-5997.
Teresa Kowalski, Katy McFadden, Nan Niiranen,
Susan Roden and Don Sheridan. For further infor­ Pennsylvania, St. Charles
mation, see website at http://gallery. passion4art. com/ “Big Stuff Workshop” with Daryn Lowman, sup­
members/skyeraku/ index, html. porting the freedom of large-scale work to be
produced inside industrial beehive kilns (August
Pennsylvania, Chester Springs 5-10). All skill levels. For further information,
“Eastern-Coil Workshop” with Joyce Michaud Quly contact Daryn Lowman, PO Box 65, Smicksburg,
28-29). Contact Chester Springs Studio, 1671 Art PA 16256; telephone (724) 397-2286 or (724)
School Rd., PO Box 329, Chester Springs 19425; 357-2394.
e-mail [email protected]; see website
atwww.chesterspringsstudio.org; or telephone (610) Pennsylvania, State College
827-7277. A session with Joyce Michaud (June 14-17). Contact
R&T’s Creative Oasis, 133 E. Beaver Ave., State
Pennsylvania, Farmington College 16801; telephone (814) 237-1982.
“The Wheel and Beyond” with David MacDonald
and Richard Miecznikowski (June 4-9). “Functional Pennsylvania, Wayne
Pottery” with Peg Malloy (June 11—16). “Throwing “18th Annual Children’s Summer Art Camp” (June
Pots for Wood Firing” with Kevin Crowe (June 18- 11-15, 18-22, 25-July 13, 16-August 3, 6-10 or
23). “FindingYour Way with Porcelain” with Malcolm 13-17), ceramics is 1 of many classes offered. Prereg­
Davis (June 25-30). “From Handmade Tiles to Clay istration: April 25—26 is recommended. Contact
Buildings” with Denise Kupiszewski (July 9-14). Wayne Art Center, 413 Maplewood Ave., Wayne
“Wheel-Thrown and Altered Porcelain and Stone­ 19087; e-mail [email protected]; telephone
ware” with Brad Johnson (July 30—August 4). “Wood- (610) 688-3553; or fax (610) 995-0478.

Blackware surrounds the mud kiln it was fired in during a West African pottery workshop
at Silvia and Manuela Casselmann’s studio in Wiesbaden, Germany.

100 CERAMICS MONTHLY

Rhode Island, Providence Contact Jerry Goldman, 365 Edgewood Ave.,
Six-week session on handbuilding and throwing with Teaneck, NJ 07666; e-mail [email protected]; or tele­
Sharon Pollock-De Luzio (Summer); fee: $1475. phone (201) 833-1007.
Contact RISD/CE, 2 College St., Providence 02903-
Vermont, Middlebury
2787; see website at www.risd.edu; telephone (800)
364-7473; or fax (401) 454-6218. “Integrating Surface Design and Form” slide lecture
and hands-on workshop with Henry Tanaka, throw­
Tennessee, Gatlinburg ing, altering, surface design, glazing and custom brush
“Innovative Handbuilding Techniques with Soft making (June 15-17). Intermediate through profes­
Slabs” with Lana Wilson (June 4-8). “Cups and Tea sional. Contact Eric Neil, Education Director, Frog
Bowls” with Linda Christianson and Pete Pinnell Hollow Vermont State Craft Center, 1 Mill St.,
(June 11-15). “Sculptural Vessels: Form from Func­ Middlebury 05753; e-mail [email protected];
tion” with Anne Hirondelle (June 18-22). “Anagama telephone (802) 388-3177; or fax (802) 388-5020.
Workshop” with Chuck Hindes; or “Developing
Vermont, Waterbury Center
Personal Content with Small Scale Sculpture” with
Ron Kovatch (June 25-July 6). “Surfacing Stories” “The Exuberant Pot” with Lucy Breslin (June 9-10);
with George Bowes (July 9-13). “Expanding the Use fee: $180; members, $165; includes materials and
of the Potter’s Wheel” with Woody Flughes (July 16- firing. “Making Pottery: Idea Discussion and Devel­
27). “Functional Pots/Salt Fired—Cone 10” with opment,” slide lecture and demonstration with Julia
Leah Leitson (July 30-August 3). “Ceramics: Form, Galloway (July 13-14); fee: $120; members, $110.
Surface and Color” with David L. Gamble and Steve Skill requirements vary. For further information,
Howell (August 6—10). Fee per week: $280, plus one­ contact Monica Brillon, Vermont Clay Studio, 2802
time $75 application fee. Contact Arrowmont School Waterbury-Stowe Rd., Waterbury Center 05677;
of Arts ana Crafts, PO Box 567, Gatlinburg 37738- e-mail [email protected]; see website at
0567; e-mail [email protected]; see website at www.vermontclaystudio.com; telephone (802) 244-
www.arrowmont.org; telephone (865) 436-5860; or 1126; or fax (802) 244-8760.
fax (865) 430-4101. Virginia, Alexandria
Tennessee, Smithville “Salt-Fired Altered Functional Pots” with Suze Lind­
“High-Temperature Sawdust Injection Firing” with say (June 1-3); fee: $150. All skill levels. Contact the
Lowell Baker, participants must bring bisqueware Art League School, 104 N. Union St., Alexandria
(June 4-8); fee: $290, includes firing. “Ancient Clay: 22314; or telephone (703) 683-2323.
Handbuilding, Terra Sigillata and Bonfiring” with Virginia, Gainesville
Vince Pitelka (June 4-8). “Porcelain” with Jason
Hands-on workshop with Winnie Owens-Hart, build­
Briggs (June 11-15); fee: $250, includes stains and
ing large vessels using traditional Nigerian techniques
firing. “Building a Better Box” with Anna Calluori
(June 25-29); fee: $450, includes materials, lodging
Holcombe (June 11-15). “Sit and Spin,” throwing and meals; or $250 without living accommodations.
functional ware with Stephen Robison and Kathleen
“Let’s Figure It Out” with Reggie “Yazid” Pointer,
Guss (June 18-22). “Slow Moves: Handbuilt Forms
creating and altering figures on and off the wheel (J uly
and Surfaces” with Mary Barringer (June 25-29).
7); fee: $55, includes materials. Skill requirements
“Designing Wares for the Tabletop” with Jonathan
vary. Contact Winnie Owens-Hart, ILE AMO Re­
Kaplan; or “Lana & David’s Excellent Low-Fire Clay
search Center, PO Box 361, Gainesville 20156; e-mail
Adventure” with Lana Wilson and David Gamble
[email protected]; telephone (703) 754-1307.
(July 9-13). “Raku and Saggar Firing” with James
Watkins (July 16-20). “Thrown and Altered Tea­ Washington, Ferndale
pots” with Paul Dresang (July 23-27). “Poured Por­ “Handbuilding Extravaganza” (July23-27); or “Deco­
celain: Thin Slab Construction” with Charlie Olson rating with Slips” (July 30-August 3) with Vince
(July 30-August 3). Skill requirements vary. Fee Pitelka. Fee/session: $300 (slip workshop fee includes
(unless noted above): $245, includes firing. Lodging some materials and firing). Skill requirements vary.
and meals: $265 for 5 nights. For further information, For further information, contact Michael McDowell,
contact Jane Morgan Dudney, Appalachian Center McDowell Studio/Farm, PO Box 4125, Bellingham,
for Crafts, 1560 Craft Center Dr., Smithville 37166; WA 98227; e-mail [email protected]; see website
e-mail [email protected]; telephone (615) 597- at http://www2.memes.com/mmpots; or telephone
6801 or (931) 372-3051; or fax (615) 597-6803. (360) 384-2543.

Texas, Junction Wisconsin, Appleton

Ceramics workshop with emphasis on handbuilding “China Mending and Restoration” with Gerlinde
and sculpture with David DeMelo (June 3-22). Kornmesser, removing stains and old repairs, bond­
Contact the School of Art, Texas Tech University: ing single and multiple breaks, filling chips, plain and
e-mail [email protected]; telephone (806) 742- fancy, modeling and casting replacement parts, and
3825; or fax (806) 742-1971. painting to obscure the damage (June 24—July 1, 8—
15,22-29); fee: $ 1200, includes registration, materi­
Vermont, Bristol als, lodging and meals. Location: Lawrence Univer­
“Wood Firing and Salt Glazing in a Noborigama,” sity. For registration form/further information, send
participants must bring bisqueware (June 8-11); fee: SASE to Gerlinde Kornmesser, China Mending and
$560, includes materials, firing and meals. “Throw­ Restoration, 1705 Glenview Rd., Glenview, IL 60025;
ing Giant Pots,” using methods that do not require see website at www.gkrestoration.com; telephone
great strength are emphasized (June 29-July 1 or 13- (847) 724-3059; or fax (847) 724-3060.
15). “Raku and Pit Firing,” participants must bring
Wisconsin, Drummond
bisqueware (July 28-29); fee: $300, includes materi­
als, firing and meals. “Thrown and Altered Pots” One-week workshops emphasizing handbuilding and
(August 10-12). “Throwing Pots for Wood and Salt improving throwing techniques, plus high-fire salt
Atmospheres,” emphasizing thickness, wadding place­ glazing, raku and primitive firings, with Randy J.
ment and energizing thrown forms (August 17-19). Johnston (June 17—22) or Randy J. Johnston and Jan
Instructor: Robert Compton. Intermediate. Fee (un­ McKeachie Johnston (June 24—29). Intermediate
less noted above): $420, includes materials and meals. through professional. Lodging and meals: $192. For
For further information, contact Robert Compton further information, contact University of Wisconsin
Pottery, 2662 N. 116 Rd., Bristol, VT 05443; e-mail River Falls, Art Dept./Pigeon Lake, 410 S. Third St.,
[email protected]; see website at River Falls, WI54022; e-mail [email protected];
www.RobertComptonPottery.com; or telephone see website at www.uwrf.edu/pigeonlake; telephone
(802) 453-3778. (715) 425-3266; or fax (715) 425-0657.

Vermont, Jamaica International Workshops

Six-day sessions with Jerry Goldman, using colored
slips to create clay paintings and mosaics (Summer); Canada, Alberta, Calgary
fee: $835/session, includes materials, firing, lodging “The Glaze: Journey of Discovery” with Greg Daly
and meals; or $535 without living accommodations. (July 9-13); fee: Can$290 (approximately US$190).

April 2001 101

 Summer Workshops Beardsley, Tozan Cultural Society, 11021 Chemainus
Rd., Ladysmith, British Columbia VOR 1Z2; e-mail
[email protected]; see website at www.tozan.bc.ca;
telephone (250) 245-4867; or fax (250) 245-3464.
For further information, contact the Alberta College Canada, British Columbia, Victoria
of Art and Design, (403) 284-6228. “Discourse on Ceramic Form” with Les Manning; or
“Soda Kilnbuilding” with Gordon Hutchens (May
Canada, Alberta, Red Deer
28-June 1); fee: Can$115 (approximately US$75).
Five-day workshops on throwing, mold making, sur­ “Interaction with Glaze and Color” with Greg Daly;
face treatments and glazing (July and August); fee: or “Glaze Development for Raku” with Steven Forbes
Can$295 (approximately US$192) per session. In­ deSoule (July 2—6); fee: Can$325 (approximately
structors: Jim Etzkorn, John Gibson, Evelyn Grant, US$210). “Throwing and Soda Firing” with Ruthanne
Bob Kinzie, Meira Mathison, Grace Nickel and Paul Tudball; or “Handmade Tableware” with Kathy
Scott. Intermediate and advanced. Contact Anne Triplett (July 2-13); fee: Can$600 (approximately
Brodie, Red Deer College, PO Box 5005, Red Deer US$390). “Ceramic Lighting” with Deb Taylor; or
T4N 5H5; e-mail [email protected]; telephone “Handbuilding and Primitive Firing” with Laura
(403) 342-3130; or fax (403) 347-4041. WeeLayLaq (July 7-8); fee: Can$115. “Ceramic
Canada, British Columbia, Kaleden History and Techniques” with Robin Hopper; or
“Tile Making” with Katrina Chaytor; or “Firing
“Handmade Tiles” with Charlotte Glattstein, design­
Techniques” with Randy Brodnax (July 9-13); fee:
ing and making tiles (July 13-15); fee: US$260 (plus
Can$325. Lodging and meals: Can$60 (approxi­
taxes), includes materials, firing, lodging, breakfast,
mately US$40)/day, double occupancy; Can$45
(approximately US$30)/day, quad occupancy. Con­
tact Meira Mathison, Metchosin International Sum­
mer School of the Arts, L. B. Pearson College, 650
Pearson College Dr., Victoria V9C 4H7; e-mail
[email protected]; see website at
www.missa.ca; telephone (800) 667-3122 or (250)
391-2420; or fax (250) 391-2412.

Canada, New Brunswick, St. Andrews

“Raku” with Peter Thomas Quly 23-29 or 30-
August 3). Contact Sunbury Shores Arts and Nature
Centre, 139 Water St., St. Andrews E5B 1A7; e-mail
[email protected]; see website at
www.sunburyshores.org; telephone (506) 529-3386;
or fax (506) 529-4779.

Canada, Nova Scotia, Halifax

“Ceramic Sculpture” with Rory MacDonald (May 7—
June 22). “Making Pots, Soda-Fired Porcelain” with
Julia Galloway (July 3-August 17). Intermediate.
Fee/session: Can$715 for Canadian residents; US$780
for artists outside Canada; includes materials and
firing. Contact Debra Campbell, Nova Scotia Col­
lege of Art and Design, 5163 Duke St., Halifax
B3J 3J6; e-mail [email protected]; see website at
www.nscad.ns.ca; telephone (902) 494-8124; or fax
(902) 425-2987.

Canada, Ontario, Brockville

“Raku” with Michael Sheba (July 9-13). “Pottery:
Wheel Throwing, Level 1 and 2” with Ann Dodge
(July 16-20). “Smoke Firing” with Lyse Fleury (July
30-August 3). For further information, see Thou­
Nan Smith checking placement of the arm sand Islands Summer School of the Arts at St. Lawrence
on a life-size figure at FireArt ClayWorks in College website www.sl.on.ca, part-time studies sec­
Orangevale, California. tion; or telephone (613) 345-0660, ext. 3503. To
register, telephone (888) 838-0698 (press 6); or fax
(613) 345-0124.
lunch and snacks. Intermediate through professional.
Limited to 8 participants. For further information, Canada, Ontario, Elliot Lake
contact Charlotte or Doreen, 9106 Clay Studio, Box “Throwing for Beginners (Adults)” (July 16-20).
1174, Osoyoos, British Columbia V0H 1V0; e-mail “Throwing for Beginners (12-16 years)” (July 23-
[email protected]; telephone (250) 495-5104 27). Instructor: Alison Madsen. Fee/session:
or (250) 497-6889; or fax (250) 495-6404. Can$190 (approximately US$125). Contact Sue
Morin, White Mountain Academy of the Arts, 99
Canada, British Columbia, Kelowna Spine Rd., Elliot Lake P5A 1X2; telephone (800)
“Kelowna Clay Festival,” including demonstrations 368-8655 or (705) 848-4347; fax (705) 848-1386;
with Elaine Brewer-White, Randy Brodnax, Rachelle or e-mail [email protected].
Chinnery, Robin Hopper, Gordon Hutchens, Bob
Kingsmill (August 24—25); fee: Can$l45 (approxi­ Canada, Ontario, Haliburton
mately US$95); or Can$80 (approximately US$52) “Pottery—Beginners” with Barbara Joy Peel (July 2—
for 1 day. Contact Kelowna Clay Festival, Glenmore, 7); fee: Can$271.52 (approximately US$180), in­
PO Box 3005, Kelowna VIV 2M4; e-mail cludes materials, firing and lab fee. “Pottery II” with
[email protected]; see website at Barbara Joy Peel (July 9-14); fee: Can$271.52, in­
www.bobhamm-art.com/clayfest; fax (250) 868-3240. cludes materials and firing. “Clay Relief Sculpture”
with Richard Gill Quly 16-20). “Pottery for the
Canada, British Columbia, Nanaimo Home or Marketplace” (July 16-21);fee: Can$256.52
“2001 Tozan International Wood Kiln Festival,” (approximately US$ 170), includes materials and firing.
demonstrations, firings, videos and slide presenta­ “Clay Relief Murals” with Richard Gill (July 23-27).
tions, exhibitions Quly 29—August 11). Instructors: “Pottery—The Decorated Form” (July 23-28); fee:
Larry Aguilar, Robin Hopper, Gordon Hutchens, Can$256.52, includes materials and firing. “Pot­
Lynn Johnson, Bill Merrill, Donald Stuef and Kim tery—Form and Process” with Les Manning (July
YongMoon. Instruction in English (some translators 30-August 3); fee: Can$228.05 (approximately
will be available). All skill levels. Fee: Can$1000/ US$ 150), includes materials. “Handbuilding—Terra
US$700. For further information, contact Maureen Cotta” with Paul Portelli (July 30-August 3).

102 CERAMICS MONTHLY

“Handbuilding Clay Sculpture” with Dzintars Mezulis
(August 6-10). “Raku—Advanced I” with Michael
Sheba (August 6-11); fee: Can$276.52 (approxi­
mately US$180), includes materials. “Raku—Ad­
vanced II” with Michael Sheba (August 13-18); fee:
Can$276.52. Skill requirements vary. Fee (unless
noted above): Can$220.05 (approximately US$145),
includes materials. Contact Shelley Schell, Haliburton
School of the Arts, Box 839, Haliburton KOM ISO;
e-mail [email protected]; telephone (705) 457-
1680; or fax (705) 457-2255.
Canada, Ontario, North Bay
“Raku I” with Jim Hong Louie (July 2-6). “Art
Marketing” with Jane Agnew and Keith Campbell
(July 7-8). “Glazing for Oxidation” with Keith
Campbell, participants must bring a variety of bisqued
forms; or “Handbuilding Clay Sculpture” with
Dzintars Mezulis Quly 9-13). “Mold Making” with
Peter Sloan (July 14-15 and 21-22). “Functional
Design—Pottery” with Steve Irvine (July 16-20).
“Intermediate Throwing and Design” with Robert
Tetu (July 23-27). “Intermediate Throwing and
Design II” with Robert Tetu (July 30-August 3). Skill
requirements vary. Fee/session: Can$232.10 (approxi­
mately US$ 150), includes materials and firing. Lodg­
ing (single) per week: Can$97 (approximately US$65).
Cafeteria meals available. Contact Keith Campbell,
Associate Director, Artsperience, 5605 School of the
Arts, Canadore College, PO Box 5001, North Bay
Vern Roberts oversees a dung firing at
P1B8K9; e-mail [email protected]; see
website at www.canadorec.on.ca; telephone (800) Coyote Arroyo Studios in Penrose, Colorado.
519-3534 or (705) 474-7601; or fax (705)
472-6189. throwing, trimming, making spouts, lids and handles,
burnishing, sawdust firing, wood-fired raku (July 22—
Canada, Quebec, Montreal 28, 29-August 4, 12-18 or 19-25); fee: £350 (ap­
“Finishing Workshop” with Susan Low-Beer (June proximately US$510), includes materials, firing, lodg­
20-21); fee: Can$l60 (approximately US$105), in­ ing and meals. Instructor/session: Deborah Baynes.
cludes materials. “Sculptural and Decorative Forms Skill requirements vary. Contact Deborah Baynes
in Ceramics” with Patrick Bureau (4 weeks beginning Pottery Studio, Nether Hall, Shotley, Ipswich, Suf­
July 3; Tues. and Thurs., 7-10 P.M.). “Decorative folk 1P9 1PW; e-mail [email protected];
Ceramics” with Eva Lapka (4 weeks beginning July 4; see website at www.potterycourses.net; telephone
Mon. and Wed., 1—4 P.M. or 7-10 P.M.) or with (44) 1473 788 300; or fax (44) 1473 787 055.
Terry Lazaroff (4 weeks beginning August 7; Tues.
and Thurs., 7-10 P.M.). Fee (unless noted above): Weekly sessions on all aspects of pottery production
Can$200 (approximately US$130), includes materi­ with Alan and Patt Baxter, including handbuilding,
als. E-mail Visual Arts Centre at [email protected]; throwing, glazing, kiln design, sawdust and raku
telephone (514) 488-9558; or fax (514) 488-7075. firings, and marketing (Summer); fee: £340 (approxi­
mately US$495), includes materials, firing, lodging,
Canada, Saskatchewan, Ruddell meals, and transportation to and from Ipswich rail
“Prairie Fire 2001,” slide presentations, films, discus­ station. All skill levels. Contact Alan Baxter Pottery
sions, plus loading, firing and unloading wood, raku, Workshop, The White House, Somersham, Ipswich,
salt and primitive kilns; participants must bring Suffolk 1P8 4QA; e-mail [email protected];
bisqueware (August 22-26); fee: Can$175 (approxi­ see website at www.potterycourses.com; telephone/
mately US$ 115); or Can$ 150, Sask Terra members. fax (44) 1473 831 256.
Primitive camping (with showers) available. Contact
Sask Terra, do Charley Farrero, Box 145, Meacham, England, Queen Camel
Saskatchewan S0K2V0; telephone (306) 376-2221; Weekly sessions on throwing, once firing and wood
or e-mail [email protected]. firing with Douglas and Jennie Phillips (July 16-21,
23-28, August 13-18 or 20-25); fee: £250 (approxi­
Denmark, Skadskor mately US$365), includes materials, firing and lunch.
“Focus on the Figure” with guest artists Mark Lancet All skill levels. For further information, contact Dou­
and Justin Novak (June 2-28); fee: US$120/week, glas Phillips, Ridge Pottery, Queen Camel, Yeovil,
includes lodging. “Clay Camp 2001: Objects and Somerset BA22 7NF; e-mail [email protected];
Installations” with Thomas Bjorka, Nancy Blum, see website at www.mud2fire.com; telephone (44)
Michael Geertsen, Sadashi Inuzukaand Phillip Shields 1935 850 753.
(August 17-19); fee: $198. Contact Birgitte Drud
Nielsen, International Ceramic Center, Heilmansvej England, Ross-on-Wye
31 A, 4230 Skaslskor; e-mail [email protected]; or Six-day workshops on soda-fired porcelain, with an
fax (45) 5819 0037. emphasis on thrown forms and raw firing, with Jack
Doherty Quly 23-28 or August 6-11); fee: £450
England, Hundon (approximately US$655), includes materials, firing
Handbuilding, plus smoke and organic firings (July and meals. Intermediate through professional. For
28-August 1 or August 5-9). Handbuilding, plus further information, contact Jack Doherty, Hook’s
smoke, saggar and organic firings (August 13-17). Cottage, Lea Bailey, Ross-on-Wye, Herefordshire
Instructor: Jane Perryman. Fee/session: £300 (ap­ HR9 5TY; e-mail [email protected]; tele­
proximately US$435), includes materials, firing and phone/fax (44) 1989 750 644.
meals. Skill requirements vary. Contact Jane Perry­
man, Wash Cottage, Clare Rd., Hundon, Suffolk England, Tenbury Wells
CO 10 8DH; e-mail [email protected]; Weekly and weekend sessions on all aspects of pottery
see website www.janeperryman.com; telephone/fax making, with an emphasis on throwing, pulling
(44) 1440 786 228. handles, spouts, trimming and modeling, with Mar­
tin Homer (weekly, July 8-21 and August 5-18; 2- or
England, Ipswich 3-day weekends starting June 22 or August 24); fee:
Handbuilding, throwing, decorating, salt glazing, weekly, £395 (approximately US$575); weekends,
loading and firing kiln, plus wood-fired raku (June 3— £269 (approximately US$390); includes materials,
16); fee: £675 (approximately US$980), includes firing, lodging and meals. All skill levels. Contact
materials, firing, lodging and meals. Handbuilding, Martin Homer Pottery, Lower Aston House, Aston

April 2001 103

 Summer Workshops nonpotters. Instruction in French and English.
E-mail [email protected]; or telephone/fax
(33) 467 55 94 54.

Germany, Wiesbaden
Bank, Tenbury Wells, Worcestershire WR15 8LW; “West African Pottery” (June 8-10). “Pueblo Indian
e-mail [email protected]; or telephone Pottery” (June 15-17). “Traditions in Mexican Pot­
(44) 1584 781 404. tery” (June 22-24). Sessions include handbuilding,
slip application, painting, burnishing, incising and
England, West Dean (near Chichester) sculpture. Instructors: Silvia and ManuelaCasselmann.
“Mosaics for Exterior Use” with Emma Biggs (June Instruction in German and English. Beginning
15-17); fee: £170 (approximately US$245). “Model­ through advanced. Limited to 10 participants. Fee/
ing the Figure from Life in Terra Cotta” with Alan session: DM 295 (approximately US$140), includes
Saunders (June 19-24); fee: £405 (approximately materials, electric firing (extra fee for primitive firing)
US$585). “Pottery—Glazes, Glazing and Firing” and two meals. Contact Manuela Casselmann,
with Alison Sandeman (June 24-29); fee: £405. Biebricher Allee 138, 65187 Wiesbaden; e-mail
[email protected]; or telephone (49) 61
184 3650.

Greece, Island of Evia

Two-week sessions on handbuilding, throwing, re­
duction stoneware, pit, raku, saggar and black firing,
with Alan Bain and Alexander Leckie (Summer); fee:
£275 (approximately US$400), includes materials,
firing, lodging, meals and excursions. All skill levels.
Contact Alan Bain, Kalamoudi Pottery, 34005
Kalamoudi near Limni, Island of Evia.

Italy, near Certaldo

“Architectural Ceramics” with Marcia Selsor, using
extruded forms and shapes, handbuilding, mold-
making demonstrations, design problems for specific
sites, installation, plus travel to various locations (May
25-June 9); fee: 2,400,000 lira (approximately
US$1135), includes materials, firing, lodging and
mid-day meals. Intermediate and advanced. Contact
Marcia Selsor, La Meridiana, 703 Burlington Ave.,
Billings, MT 59101; e-mail [email protected]; tele­
phone (406) 259-7244; or fax (406) 245-1642.

Seminar with Wally Keeler, plus workshops on terra

sigillata with Giovanni Cimatti; raku with Tim
Andrews; advanced throwing with John Colbeck;
sculpture with Mo Jupp; and soda firing with Pietro
Maddalena (Summer). Contact La Meridiana, Loc.
Bagnano, 135 50052, Certaldo (FT); e-mail
[email protected]; see website at
www.pietro.net; telephone (39) 571 660084; or fax
(39) 571 660821.

Italy, Faenza
Ron Meyers paddling a vessel made Workshop on sculpture, design and firing with Emidio
during a workshop at the Clay Art Center Galassi (July). Advanced and professional. Contact
in Port Chester, New York. Emidio Galassi, Arte Aperto, IV Novembre N i l ,
48018 Faenza; telephone/fax (39) 546 680398.

“Sculptural Ceramics and Vessels Decorated with Italy, Florence

Colored Vitreous Slips” with Carolyn Genders (July Handbuilding, throwing, majolica decoration and
28-August 3). “Mosaics—Texture, Tone and Color” modern mosaics in ceramics with Isabella Fazzo and
with Emma Biggs; or “Oceanic Ceramics— Silvia Fossati (July 2-13); fee: 1,250,000 lira (ap­
Handbuilding on Marine Themes” with Gordon proximately US$590), includes materials and firing.
Cooke (August 4-10). “Handbuilding and Throw­ Lodging: 500,000 lira (approximately US$235). In­
ing for Raw and Stoneware Firings” with Alison struction in Italian and English. All skill levels. Con­
Sandeman (August 11-17). Beginning through ad­ tact Anna Wendy, Studio Giambo, Corso Tintori, 6
vanced. Fee (unless noted above): £510 (approxi­ Black, Firenze, Italy 50122; telephone/fax (39) 552
mately US$740), includes firings, lodging and meals. 343735; e-mail [email protected].
Contact the College Office, West Dean College,
West Dean, near Chichester, West Sussex PO 18 OQZ;
Italy, Siena
e-mail [email protected]; see website at “Archaeology and Clay” with Polly Tessler (July 3—
www.westdean.org.uk; telephone (44) 1243 811 301; August 1); Fee: US$4220, includes 5 college credits.
or fax (44) 1243 811 343. Instruction in English. All skill levels. Location: Ital­
ian headquarters of the Etruscan Foundation, Castello
France, Allegre di Spannocchia. Contact Office of Special Programs,
One-, two- and three-week sessions on throwing, Parsons School of Design, 66 Fifth Ave., 8th FI., New
glazing, firing and raku with Simonot Michel (Sum­ York, NY 10011; see website atwww.parsons.edu/sis;
mer); fee: 3000 Fr (approximately US$420) or 6000 or telephone (212) 229-8933.
Fr (approximately US$840), includes materials, firing,
lodging and meals. Beginning and intermediate. Con­ Japan, Mashiko
tact Simonot Michel, Mas Cassac, F-30500 Allegre- “Throwing” with George Dymesich, staff and guest
Les Fumades; e-mail [email protected]; see artists, hands-on workshop plus visits to museums
website at www.ceramique.com/Mas-Cassac; tele­ and temples (May 30-June 6). Instruction in Japa­
phone (33) 466 24 85 65; or fax (33) 466 24 80 55. nese and English. Beginning and intermediate. Con­
tact George Dymesich, 7475 Oakridge Rd., Aptos,
France, Burgundy CA 95003; or telephone (831) 475-5614.
Earthenware, raku and smoke firing, plus half-day
instruction on handbuilding and throwing for begin­ Korea, Suwon
ning through intermediate levels, with Marlene Rob­ “The Fourth Annual Macsabal International Wood
ert (Summer); fee: US$1000 per week; US$600 for Fire Festival 2001” includes workshops, slide presen-

104 CERAMICS MONTHLY

tations, wood firing and tours (May 30—June 10); fee: 3 college credits. Participants not enrolled at Univer­
US$200, includes materials, lodging, meals. Contact sity of North Dakota will need to register as transient
PJ Gama, Kual-3 Dong 442, Osan City, Kyonggi Do, students through admissions office. Contact Office of
South Korea447-140; e-mail [email protected]; see International Programs, University of North Dakota,
website at www.macsabal.org; telephone Kim Yong PO Box 7109, Grand Forks, ND 58203; e-mail
Moon (82) 31 374 1336; fax (82) 31 374 1774. [email protected]; see website at
www.und.edu/dept/oip; telephone Don Miller (701)
Mexico, Nuevo Casas Grandes 777-4231 or Braden Frieder (701) 777-2963.
“Ancient Culture Through Pottery” with Gregory S.
Wood and Julian Hernandez, digging for clay, mak­ Netherlands, Oosterwolde (Fochteloo)
ing tools, handbuilding, burnishing, decorating and Stoneware and porcelain workshop (July 16—20); or
wood firing (August 12-18); fee: US$395, includes earthenware and raku workshop (August 13-17);
materials, firing, and trips to archaeological sites, with Kees Hoogendam. Sessions include clay prepa­
museums and Mata Ortiz. Instruction in Spanish and ration, handbuilding, throwing, kilnbuilding, and
English. All skill levels. For further information, firing with gas, oil and wood. Fee/session: A600
contact Ancient Arts®, PO Box 27, Masonville, CO (approximately US$250), includes materids, firing,
80541; e-mail [email protected]; see website at lodging and meals. All skill levels. Contact Kees
www.AncientArts.org; or telephone (970) 223-9081. Hoogendam, de Knolle 3A, 8431 RJ Oosterwolde
(Fochteloo); telephone/fax (31) 51 658 82 38.
Mexico, San Miguel de Allende
“Ceramics in Mexico” with Jack Coelho, Netherlands, Veghel
handbuilding, throwing, decorating and firing (June “Porcelain on the Wheel” with Thomas-Jan Konig
17-July 1); fee: $1300 (does not include airfare). (June 25-29); fee: A400 (approximately US$165).
Contact Lois DeBruno, Extended Campus Programs, Beginning through advanced. Contact Pieter Brueghel
Southern Oregon University, 1250 Siskiyou Blvd., Institute, Middegaal 25,5461XB Veghel; see website
Ashland, OR 97520; e-mail [email protected]; or atwww.pieterbrueghel.nl; telephone (31) 41 336 56
telephone (541) 552-6333. 75; or fax (31) 41 335 49 07.
Mexico Puerto Rico, Guaynabo
“Ancient Arts of Mexico—Field Experience” with Handbuilding workshops for children ages 4—15
Don Miller and Braden Frieder, studying ceramics years with Ida Gutierrez (June-July, 3 days per week,
and architecture of pre-Columbian and modern A.M. or P.M.). Instruction in Spanish and English.
Mexico in Mexico City, Teotihuacan, Tula, Contact Ida Gutierrez, Manos Felices, Taller Creativo,
Guanajuato, Michoacan, Mitla and Monte Alban Urb. Ponce de Leon, P2#60, Guaynabo 00969;
(May 14-June 11); fee: estimated US$2750, includes e-mail [email protected]; telephone/fax (787) 789-3443.

A participant adds newspaper as instructor James Watkins places a hot-from-the-kiln

pot in a garbage can for postfiring smoking during a raku and saggar-firing workshop
at the Appalachian Center for Crafts in Smithville, Tennessee.

April 2001 105

106 CERAMICS MONTHLY
April 2001 107
108 CERAMICS MONTHLY
April 2001 109
 Comment
Opening Doors byJeffZamek

My father died when I was seven years lege of Ceramics at Alfred University came
old, and I frequently felt the lack of hav­ by and critiqued my pots that their faults
ing someone to show me the way or open were revealed to me. They were very badly
doors. Going into the family business or, thrown and awkwardly glazed. It always
at the very least, having the backing of an amazes me that I didn’t leave ceramics,
experienced mentor is an advantage in never to return, after hearing that the
life. You could even become president if sum total of my endless hours in the
born into the right family. Whether you studio amounted to nothing. To this day,
choose to make the most of this circum­ I still do not fully understand why this
stance or waste it is another matter. As assessment of my incompetence didn’t
Woody Allen once said, “Ninety percent persuade me to stop working in clay.
of life is showing up on time.” The importance of mentoring can
Having someone push or gently guide never be fully understood until it is expe­
you to show up physically or mentally is rienced. To some extent, this kind of en­
not the only aspect of getting what you richment happens in any good teaching
want from life, but it can never be under­ situation, but whether mentoring occurs
estimated. As in billiards, position is ev­ over a sustained period of time or during
erything. What does finding yourself in a single instance, the effect can be instru­
the right “spot” have to do with making mental to one’s career. The goal is to give
pots? Well, being in the right position, enough help and guidance to open a door;
either through your own efforts or a guid­ it’s the student’s responsibility to go
ing hand, can have a significant impact. through that door to make the most of
My career in ceramics is now more the situation.
past than future. It all has gone by very After obtaining a degree in business, I
quickly. I used to teach and sell pots; stayed on at my undergraduate college,
now, as a consultant, I talk pots. I still go enrolling in art courses and advanced ce­
into the studio, but now as a true ama­ ramics classes. Many of my former busi­
teur—one who makes pots for the love ness teachers saw me that year and asked,
of the endeavor. They are thrown, “What are you doing here? I thought you
trimmed, bisque fired and glazed, then graduated.”
either given away as gifts or stored in my My goal was to enter Alfred’s College
attic. I do not show, sell or talk about my of Ceramics and obtain a master’s degree
pottery, as it is now a “hobby.” in ceramics. My first application and sub­
Some 30 years ago, I was the typical sequent letter of rejection left me crying,
pot-shop rat who, upon discovering clay even though California College of Arts
in college, lived in the ceramics studio. and Crafts in Oakland had accepted me
Climbing in closed pot-shop windows into its graduate program. For several
after hours and on holidays was an ac­ reasons, I had my mind set on that “pot
cepted way of life. If the door was locked place in New York State,” as my friends
it could be pried open with a fettling called it.
knife. When caught by the security guard During the following year of continu­
for the fourth time, I offered a bribe of a ing education in ceramics, my ceramics
handmade coffee cup, and security (or teacher, an Alfred graduate, made a call
lack of it) was no longer an issue, so I on my behalf to someone at Alfred. What
continued with my solitary after-hours he said, I do not laiow. In fact, I don’t
ceramics study. actually know for sure he made that call;
My first year was spent happily, but it was only after piecing together several
ignorantly, throwing bad pots. If I had clues over the past 20 years that I came to
realized how inept my efforts were, I that conclusion.
would have surely quit at that time; igno­ When I applied again the next year, I
rance was bliss. It was not until a potter was admitted as a “special student.” This
from the legendary New York State Col­ status allowed me to work for a year at

110 CERAMICS MONTHLY

April 2001 111
Comment Initially, I could not distinguish the half to help them along. But at that point,
difference between them and myself as to it was up to them to take advantage of
our methods of entry to this highly rated the situation.
Alfred before again applying for admis­ program, but over the next two years, I Looking back, I am convinced that it
sion to the graduate program. did recognize a lack of effort and desire was a telephone call by a teacher that
During that exciting first year there, I on their parts to develop as potters. They resulted in an opportunity to pursue my
never left town; in fact, I only left my were given a chance, they took it and dream. Taking that action at the right
studio to eat and sleep. There was no they were essentially just waiting around time allowed me to achieve on my own.
more climbing through pot-shop win­ to be handed their next “free pass.” This was not a long-term mentoring rela­
dows as in my undergraduate days; Alfred Strangely enough, they each got it. Both tionship, but when that teacher took the
studios were open all day and night. Other were placed in good college teaching po­ time to pick up a telephone and make a
students went away for Christmas or sitions and have since advanced in their call, the result was an open door.
spring vacation, but the breaks simply profession. I do think placed is the cor­ My story is clearly biased. After all, I
gave me more time to work undisturbed. rect word for their entry into the teach­ am the one doing the telling. Neverthe­
With a year of persistent effort behind ing world, as it denotes a passive quality. less, I also want to emphasize that the
me, I was accepted into the graduate pro­ While realizing that life is unfair, I do practice of mentoring, of helping others,
gram. I don’t know if my pots actually believe it is more important to note that is worthwhile not only for the recipient
improved in that year; however, I was when mentoring or helping a student, but also for the person who is in the
given a chance to show what I could do there is always the question of helping position of offering time and expertise.
and made the most of the opportunity. the right student. Giving back to a field that has allowed
At that time, only 10 out of 200 ap­ Teachers may never fully realize how you to follow your heart’s desire (we all
plicants from across the United States their actions or inactions can affect the know there is no money in ceramics) is
were admitted to AJfred’s graduate pro­ students they encounter. I remember good for the soul and permits a wider
gram in ceramics. Most of my fellow spending extra time discussing career pros­ perspective on your own life’s work.
students were capable and very hard work­ pects with my students. Many had the
ing, but one of the first things I noticed drive to pursue a career in ceramics, The author A frequent contributor to Ce­
were two students whose acceptance was whether making pots or teaching—or as ramics Monthly and author 0/What Ev­
not based entirely on their work. In short, frequently happens, doing both. I also ery Potter Should Know, Jeff Zamek resides
they got in on their connections. made some telephone calls on their be­ in Southampton, Massachusetts.

Index to Advertisers
A.R.T. Studio............................................ 71 Clay Times.................................................9 Kelly Place .......................................... 103 Pupick Pottery..................................... 101
Aftosa........................................................ 79 Clayworks Supplies ............................ 104 Kickwheel Pottery......................................2 Pure & Simple......................................... 86
Amaco/Brent/Genesis........................6, 7 Clayworld................................................. 87 Krueger Pottery................................... 110 Sapir Studio..............................................81
American Ceramic Soc. ... 73,77,93,111 Contemporary Kiln.............................. 104 L&L ............................................. Cover 3 Scott Creek.............................................. 83
Amherst Potters Supply....................... 105 Continental Clay...................................... 80 Laguna Clay............................................ 13 Shadow Bay Pottery & Gallery .... 104
Anderson Ranch.......................................95 Corey Ceramic Supply.............................88
Laloba Ranch...........................................95 Sheffield Pottery......................................84
Annie’s Mud Pie Shop............................. 76 Cornell Studio...................................... 108
Lockerbie................................................. 89 Shigaraki.............................................. 106
Appalachian Center............................. 106 Craft Business Institute...........................81
ManitouArts (HBD Ceramics) ... 110 Shimpo............................................Cover 2
Art Clay USA............................................ 83 Creative Industries.................................. 92 Sierra Nevada College......................... 100
Master Kiln Builders........................... 108
Axner Pottery........................................... 15 Davens......................................................89 Skutt Ceramic Products................. Cover 4
Max Wheel........................................... 108
Bailey Pottery............................. 1, 34, 35 Del Val................................................. 108 Smoky Mountain Pottery.................... 105
MBF Productions................................ 102
Bennett’s Pottery....................................... 5 Dolan Tools......................................... 109 Southern Pottery Equipment................ 72
Miami Clay...............................................89
BigCeramicStore.com......................... 108 Dragonfly Journeys ............................ 100 Spectrum Glazes..................................... 74
Mile Hi Ceramics.................................... 30
Bluebird....................................................86 Duncan Enterprises................................ 17 Standard Ceramic Supply....................... 87
Minnesota Clay........................................25
Brickyard.............................................. 102 Duralite................................................ 104 Studio Potter............................................88
Moravian Pottery & Tile Works ..103
Brown Tool Co.........................................76 Euclid’s.................................................... 32 Sunbury Shores.................................... 102
Mudpie Potters.................................... 100
Callas, Peter..............................................91 Falcon.................................................. 110
New Mexico Clay................................ 104 Taos Art School....................................... 97
Campbell’s Ceramic Supply.................... 70 Geil Kilns........................................ 28, 29
Nields, Elizabeth................................. 104 Tara Productions.....................................33
CCAD....................................................... 97 Georgies................................................... 10
Ninety-Second St. Y.................................93 Thomas-Stuart.........................................27
Ceraco International........................... 110 Giffin Tec................................................. 21
North Star Equipment ........................... 11 Touchstone Center..................................93
Ceramic Services (CA).............................84 Great Lakes Clay......................................78
Trinity Ceramics Supply......................... 85
Ceramic Services (PA) ............................90 Greenwich House Pottery................... 105 Olympic Kilns.......................................... 91
Orton Ceramic Foundation.....................72 U. S. Pigment ......................................... 87
Ceramic Supply Chicago......................... 82 Handmade Lampshades .................... 105
Ceramic Supply of New England ... 70 Haystack Mountain School ....................99 Ox-Bow School........................................ 78 Ward...........................................................8
Ceramic Supply of NY & NJ................... 81 Highwater Clay........................................94 Paragon Industries.............................23, 75 West Coast Kiln................................... 109
Chester Springs Studio........................ 100 Hurricane Mountain........................... 101 Penryn Workshop.................................... 98 Westerwald.............................................. 82
Clark Art Glass & Refractories............ 109 Idyllwild Arts................................98, 106 Peter Pugger........................................ 109 Wise Screenprint.................................. 110
Classifieds ........................................... 107 Interlaken School of Art ......................... 83 Potters Shop.............................................90 Wolfe, Jack D....................................... 109
Clay Art Center.........................................83 ITC........................................................... 85 Pottery Making Illustrated...................... 77 Worcester Center.....................................95
Clay Factory......................................... 103 Jepson Pottery................................. 19, 31 POTTERY.COM.....................................99 YWCA, City of New York....................... 91

112 CERAMICS MONTHLY