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Kahla Kreativ: an industry/artist collaboration

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[email protected]: (614) 895-4213fax: (614) 891-8960editor Sherman Hallassociate editor Jessica Knappassistant editor Holly Goringeditorial assistant Erin Pfeifertechnical editor Dave Finkelnburgonline editor Jennifer Poellot Harnetty

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Editorial Advisory BoardLinda Arbuckle; Professor, Ceramics, Univ. of FloridaScott Bennett; Sculptor, Birmingham, AlabamaVal Cushing; Studio Potter, New YorkDick Lehman; Studio Potter, IndianaMeira Mathison; Director, Metchosin Art School, CanadaBernard Pucker; Director, Pucker Gallery, BostonPhil Rogers; Potter and Author, WalesJan Schachter; Potter, CaliforniaMark Shapiro; Worthington, MassachusettsSusan York; Santa Fe, New Mexico

Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by Ceramic Publications Company; a subsidiary of The American Ceramic Society, 600 Cleveland Ave., Suite 210, Westerville, Ohio 43082; www.ceramics.org. Periodicals postage paid at Westerville, Ohio, and additional mailing offices.

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focus technology32 All That Glisters: Trudy Golley’s Exploration

of Durable Luster Technology by Paul Leathers

Ceramic sculptors and potters use lusters for all sorts of reasons, ranging from subtle accents for highlighting details to totally covered objects signifying over-the-top gaudy opulence. But none of these reflective metallic surfaces are terribly durable in the ceramic sense. Luckily, industry has figured this out, and while it can be expensive, durable luster is slowly becoming available on a smaller scale.

36 Ceramic Canvas: Using Substrates by Robin Hopper

If you could have a flat sheet of ceramic material that is about 1 millimeter thick, is more durable than stoneware, shows no warping or cracking at cone 10, and will accept just about any ceramic surface treatment, why wouldn’t you use it? It’s not a matter of scientific limitation, it’s just that high-alumina ceramic substrates have not been readily available to studio artists—until now.

features40 InVenture at KAHLA

by Johannes NagelA porcelain factory in Germany that has a 250-year ceramic history invites twelve artists to occupy the factory and push the industrial technology past its everyday use to discover new possibilities, with the intent that the collaboration go in both directions.

48 Aesthetics and Environment, Kilns and Carbon by Denise Joyal

A potter’s interest in atmospheric effects and concern for environmental impact leads her to research and define the actual carbon footprint of several different types of kilns. Some of the results are quite surprising.with A Carbon Comparison Across a Full Complement of Kilnsand Calculating Your Carbon Usage

54 MFA Factor: University of Georgia, AthensA three-year program with a new 15,000-square-foot studio space.

56 Child’s Play? The Sculpture of Raymond Gonzalez by Jarma R. Jones

Somewhere from among ideas of childhood innocence, adult relationships, and cultural nostalgia emerges a body of work that addresses the idea of play from multiple perspectives.

monthly methods Dying to Apply. How to dye monofilament for use with ceramic work.

studio visit30 Brendan Tang, Kamloops, British Columbia, Canada

It’s tough to be an extrovert in a basement, but this sculptor proves it is possible.

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cover: Core, sculpture made using the creamer form from the KAHLA “Matinee Collection.” Created during the KAHLA Kreativ InVenture workshop in KAHLA, Germany by Eva Aebi, (Switzerland). This and other works made in Kahla were on view through January 16 at the Grassi Museum of Applied Art in Leipzig, Germany.Photo: Gunter Binsack. Copyright KAHLA/ Thüringen Porcelain LLC.

contentsfebruary 2011 / Volume 59 Number 2



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departments8 from the editor

10 techno file glaze on clays by David PierMany things can affect how a glaze performs, but one of the easiest to forget is the clay on which the glaze is applied.recipe textured underglaze for use at any cone range

12 suggestions from readerstip of the month: sharpening trimming tools

14 upfront exhibitions

28 upfront reviews“Lay of the Land: George Timock, Cary Esser, and Paul Donnelly” at Sherry Leedy Contemporary Art in Kansas City, Missouri reviewed by Glen R. Brown

30 studio visitBrendan Tang, Kamloops, British Columbia, Canada

80 commentThe Other Option: Post-baccalaureate Certificate by David Katz

listings60 call for entries

60 International Exhibitions

61 United States Exhibitions

62 Regional Exhibitions

62 Fairs and Festivals

64 calendar 64 Conferences

64 Solo Exhibitions

66 Group Ceramics Exhibitions

68 Ceramics in Multimedia Exhibitions

68 Fairs, Festivals, and Sales

70 Workshops

78 classified advertising

79 index to advertisers

www.ceramicartsdaily.org Expanding Your Palette in Mid-range Firing

by Yoko Sekino-BovéLast month, we ran a great article on testing cone 6 glazes, but we could only include the test tile results from two of the five glazes the author tested. So we put the rest online. Check them out by going to the “CM Master Class” link on the right hand side of www.ceramicsmonthly.org.


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http://www.bennettpottery.com/


Monthly. Yes, it will have a new look, includ-ing a new logo (what better way to signal a change?), but it will also have a renewed focus on the studio, and several new items of content to address that focus.

One area that we are particularly ex-cited about is called Clay Culture, which is designed to address not only the culture of clay in which we all live to some extent, but also those elements of culture that affect clay—which is to say any part of any culture that connects with clay in some way that is pertinent to studio ceramics. For example, we might map ceramic centers that sprung up be-cause of local clay deposits and report on what their status is today. We may go looking for

ceramics in public art and tie our findings to a mobile application or a web-based geolocator. Certainly we’ll bring in high-tech ceramics from time to time, as well as low-tech.

We’ll be exploring and sharing at least one glaze in every issue, discussing not only the glaze itself, includ-ing recipes, variations, and application tips, but how the glaze came to be and what makes it do what it does. We’ll range from low-fire aventurine glazes to oil spots to lava glaze to more traditional and historical celadon, tenmoku, and shino. If there is a type of glaze you’ve always wanted to understand, let us know and we’ll find the right expert to delve into it.

What is currently known as Suggestions will be expanded and enlarged to become Tips and Tools. It will remain practical

studio tips from you, the readers, but its expansion allows for more images and more comprehensive how-to explanations for inventive processes and tools. So send us your best tips and tools (and don’t forget the pictures). If we publish them, you’ll get a free one-year subscription to CM.

The Upfront section is going to become Exposure, and will include current exhibi-tions only, with more images and links to see more—a sort of visual monthly snapshot of

from the editor Sherman Hallrespond to [email protected]

I was attempting, somewhat unsuccessfully, to organize my studio the other day and my wife peeked in to comment, “What a mess.” It is not often she will set foot in my studio (but then it’s not really big enough for two people at one time). I replied, “Tell me about it! But wait until I have this thing whipped into shape.” It didn’t really happen—at least not yet—but I was inspired by the prospect of a fresh start. I got down into the corners where odd bags of mystery materials lay waiting to be discovered. I broke many old seconds that had become thirds and fourths over time. It continues to be hard work, but it is gratifying to see it come together as the very beginnings of an organized space.

I must admit, there is another organizing project that I’m absolutely giddy about. We have been hinting around our new redesign for some time, and next month we are letting it loose! I’ve told you about several ideas we’ve had percolating around our offices for a while, and we’re all really excited to show you what we’ve been working on.

First, this is a bit different from a redesign, meaning it goes beyond graphical updates. We are, in effect, relaunching Ceramics

exhibitions to visit either in person or online. The reviews that are currently presented with Upfront will now be in their own section called (you guessed it) Reviews.

Some of our adjustments are based on the strength and maturation of the Internet and our endeavors there. We already have digital editions available to subscribers (if you haven’t checked it out, just go to the Ceramics Monthly home page and click “view this issue online”). Even five years ago, we could not have considered moving our listings online, but today that is where they are more useful and accessible by far than they ever were in print. The Calendar section, for example, will be online only, where it will be much easier to search and sort by keyword, location, artist name, venue name, etc.—far more handy, and much more robust.

Of course, many of the things you’ve come to expect and value will remain largely as they are. Call for Entries will stay in print as a one-page department (a nice tight package). We probably wouldn’t be able to touch Studio Visit without receiving a lot of letters we would rather not receive, so that will continue as it is. Likewise, we are keeping (and even expanding) Techno File, which has become a valuable studio reference. Same goes for our Monthly Methods sidebars with features, so they will be more instructive and applicable in the classroom and studio.

Another exciting department that will come straight from the artist’s studio is Spotlight (which will replace Comment on the back page), where we will ask a potter or sculptor probing questions (and perhaps a softball here and there) about a body of work, a way of working, an aesthetic proclivity, or a particular creative experience and discuss it from the perspective of the maker. After all, that is who this magazine is for; makers.

As soon as this issue goes to press, our Writing and Photographic Guidelines will be updated to reflect all of these new content ar-eas, and I encourage you to go check them out at www.ceramicsmonthly.org (just click on “Submit Content”). Then send us your ideas, thoughts, and feedback. And, of course, when your March issue arrives, take a look and tell us what you think, what you like, what you don’t like. Then get in your studio and make something—and tell us about that, too!

You can’t tell me you don’t have a corner in your studio that looks like this.





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The Interface RendezvousThe interface layer is the layer between the clay and glaze where the two have penetrated into each other during the glaze firing, resulting in a gradation from pure clay to pure glaze. In stoneware and porcelain, this layer is often thicker than the pure glaze layer on the top. If the glaze is applied thinly, then there might be no pure glaze layer at all. In low-fire ware this interface layer is usually thinner, in large part explaining why there are fewer surprises with low-fire glazing.

The interface layer has properties dictated by the exact combination of clay and glaze. It might be similar to what you would get if you mixed the clay and glaze together before firing, but there will also be more complicated interactions due to the gradated composition and due to crystals growing up through the layer starting at the clay side. The interface layer, affected by the composition of the clay, can push the glaze to matte or gloss, especially where it is thin.

The interface can be a different color than the unglazed clay, altering the apparent color of translucent and transparent glazes. A good example is titanium in the body turning iron blue (blue celadon) glazes into the more common green celadon. Since iron will only go blue when in low concentration along with the near total absence of titanium, only special low titanium clays, such as Grolleg kaolin, prevent a green interface.

Even without effects from the interface layer, the color of the clay

with can be different with and without glaze, particularly in reduction firing. This is because the color of the bare clay is actually a thin oxidized layer that forms during the cooling phase after the fuel is turned off. Oxygen won’t penetrate the glaze very far once it is fully melted, so the clay will maintain a fully reduced color. In the most common case, iron containing bodies are some shade of red/brown where unglazed and some shade of gray where glazed.

Many bodies contain small particles of iron sulfide and other impurities. The melting of these particles into the interface layer is responsible for most iron spots, something that is most common in stoneware. Different glaze ingredients will mask or exaggerate iron spots, and the iron spots will often show through an otherwise opaque glaze, so even opacity won’t always hide body effects.

The body can affect the gloss of a glaze, even if it doesn’t turn it matte. This is a subtle but important effect that often gets ignored, since people tend to consider gloss a yes or no condition, when actually gloss varies quite a bit. Much of this variance is due to the composition of the glaze, but bodies with large particles with different expansion/contraction rates (coefficients of expansion) than the rest of the body can cause tiny dimples or bumps in the glaze surface as the body and glaze cool. Silica sand has a particularly strong effect. As the body cools, silica contracts more than the rest of the body, so any particle near, or in, the interface pulls the glaze above it below the surrounding surface. This is why when you look into a hot kiln the glazes usually look perfectly glossy and smooth, but they aren’t so glossy when you unload the kiln.

body glaze

body glazebody-glaze layer

firing

cooling

techno fileAt some point, you’ve probably been surprised by the appearance of a glaze coming out of the kiln. Your application wasn’t too thick or too thin, and the kiln was fired correctly, so what happened? It may have been your clay!

Defining the TermsInterface Layer: The layer under the glaze where the body and glaze have fused into each other. It is a gradation from pure body to pure glaze (unless the glaze was applied thinly). Also called the clay-glaze interface, body-glaze layer, glaze-body interlayer, intermediate layer, buffer layer, or boundary layer.Iron Sulfide: Mineral that is present in most geologically old iron bearing clays, such as those used in most stoneware bodies. In raw clay it is visible as very small black specks. It is the primary cause of iron spots.

Know Your Inner Layer

glaze on claysby David Pier

Now that you know what to look for, you might end up trying different clays rather than glaze to get the results you want. If you need or want to continue using a clay that doesn’t give you the glaze results you want, then you can make an underglaze slip that can change the texture and color background for your glaze. Usually this is done to make a smoother and whiter background, but you can go in other directions for decorative effects.

Imagine a smooth body with a slip pattern painted with textured slip. An opaque glaze over such a clay/slip combo would show the slip-painted pattern in subtle texture.

When selecting and testing underglaze and slip recipes, keep in mind that you are adding a third variable to the glaze fit problem. Watch for unintended crazing and shivering effects. Sometimes you can simply thin a clay body with water, such as a porcelain, for use as an underglaze on another body, such as a stoneware. Here is a textured underglaze to get you started.

TexTured undergLaze

For use AT All cones onleATher-hArD clAY

or greenwAre

Dried clay body trimmings . . . . . . . . . 9235 mesh grog. . . . . . . . . . . . . . . . . . . . 8 100 %

For brushing, add water until you have a thick creamy consistency.

Send us your technical topic ideas to [email protected].

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The potter’s trimming tools contact dozens of miles of spinning clay in their lifetime. We think of clay as a soft material, but the clay contains abrasive particles that wear down the cut-ting edge of both wood and metal tools. Our ribs are made of dense hardwoods so it takes only a few minutes to restore a crisp cutting surface. Stroke the wooden tools across a flat surface of sandpaper with a 120 or 150 grit. Hold the tool at the angle of the “blade” edge, moving in just one direction, trailing the edge across the sandpaper.

Diamond sharpeners are best for looped metal trimming tools, unless you have water and oil stones that you know how to use. Metal trimming tools have a smaller beveled cutting edge, so work slowly and carefully. For the curved edges, rotate your holding hand as you pull across the sharpening surface. The cutting edge should be the trailing edge of the stroke.

If you want to use a grinder, belt sander, or disc sander, go very slowly, and beware of grits under 120. High speed grinders with coarse grits (60 or 80) are designed to shape shovels, not small steel pottery tools. Also avoid high-speed grinders that overheat the tool edge. The power tool can quickly chew up the hand tool, and shorten its lifetime. Most tool manufacturers discourage the use of power sharpening.

tip of the month: sharpening trimming tools

Congratulations to Kay Liggett of Monument, Colorado. Your subscription has been extended for one year!

suggestions email suggestions to [email protected]

Top: Wooden tools and medium grit sandpapers. Above left to right: Diamond sharpening surface, ceramic sharpening rods, and metal trimming tools.

Sharpen wooden ribs by making strokes in a single direction.

A shaped ceramic stone makes it easier to follow the bevel on curved and looped tools.

A trimming tool is pressed to the diamond file at the angle of the bevelled edge.



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upfront exhibitions and reviews

exhibitions 14 Karl Borgeson Akar Design, Iowa City, Iowa

15 Guess Who’s Coming to Dinner? Clay Art Center, Port Chester, New York

16 Zoomania Museu de Cerámica, Barcelona, Spain

16 From the Fire: Saint John’s Pottery The Grand Hand Gallery, St. Paul, Minnesota

16 Fables Contemporaines Galerie Jean-Jacques Dutko, Paris, France

18 European Triennial for Ceramics and Glass Grand Halle, Site des Anciens Abbatoirs, Mons, Belgium

18 The Clay Studio’s Members Exhibition The Clay Studio, Philadelphia, Pennsylvania

18 Surpassing Boundaries: Richard Milgrim’s Ceramics for Tea and Beyond Pucker Gallery, Boston, Massachusetts

20 Hella Jongerius—Misfit Museum Boijmans Van Beuningen, Rotterdam, the Netherlands

22 Sgrafo Vs. Fat Lava Ceramics and Porcelain Made in West Germany from 1960–1980 Centre d’édition Contemporaine, Genève, Switzerland

22 La Mesa in Santa Fe Santa Fe Clay, Santa Fe, New Mexico

24 Folly Jane Hartsook Gallery, Greenwich House Pottery, New York, New York

24 Chroma Lillstreet Art Center, Chicago, Illinois

26 It’s Only Clay Bemidji Community Art Center, Bemidji, Minnesota

26 Bricked Up Thomas Hunter Project Space at Hunter College, New York, New York

reviews 28 Lay of the Land by Glen R. Brown Sherry Leedy Contemporary Art, Kansas City, Missouri

Karl Borgeson An exhibition of new work by Karl Borgeson is on view through March 11 at AKAR Design (www.akardesign.com) in Iowa City, Iowa.

Above: Karl Borgeson’s covered jar, wheel-thrown stoneware, gas fired, salt glazed. Below: Karl Borgeson’s salsa server, wheel-thrown stoneware, gas fired, salt glazed.


http://www.akardesign.com


Guess Who’s Coming to DinnerA national invitational exhibition of plates and platters by 110 artists is on view from February 5 through March 5 at Clay Art Center (www.clayartcenter.org) in Port Chester, New York.

“It is the platter or plate itself that is the special ‘who’ at the table,” states Leigh Taylor Mickelson, Program Director at Clay Art Center. “When we have handmade works at our dinner table, we are bringing that artist to the table as well.”

1. Lynn Smiser Bower’s Dragonfly Plate, 9 in. (23 cm) in diameter, porcelain, stencils, wax resist and oxide brushwork, fired to cone 10 electric, 2010. 2. Emily Free Wilson’s plate, 10½ in. (27 cm) in diameter, wheel-thrown porcelain, underglaze, glaze, fired to cone 6, 2010. 3. Jennifer Allen’s dessert plate, 7 in. (18 cm) in diameter, cone 10 porcelain, 2010.4. Matthew Hyleck’s Field Platter, 15 in. (38 cm) square, stoneware, shino glaze, oxide inlay, ash, fired to cone 10 in gas reduction, 2010.

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http://www.clayartcenter.org


From the Fire: Saint John’s PotteryAn exhibition of ceramic works by Richard Bres-nahan and four of his former apprentices, Stephen Earp, Kevin Flicker, Sam Johnson, Anne Meyer was recently on view at the Grand Hand Gallery (www.thegrandhand.com) in St. Paul, Minnesota.

This exhibition honors the 30-year history of Saint John’s Pottery and Artist-in-Residence Richard Bresna-han at Saint John’s University in Collegeville, Minnesota.

Below: Anne Meyer’s Three Swans, 19 in. (48 cm) in height, stoneware with natural ash glaze, anagama fired, 2009.

Bottom: Richard Bresnahan’s serving dish with handle.

ZoomaniaAn exhibition of historical ceramics depicting animals is on view through March 27, 2011, at the Museu de Cerámica (www.museuceramica.bcn.es) in Barcelona, Spain.

Animals have always held a privileged position in human artistic representation. This exhibition of figures decorating vessels and other ceramic objects was curated from the museum’s archives. It is divided into sections based on three distinct aspects of the animal kingdom as it relates to human culture that are represented in the collected works: From Symbol to Myth, Wild Animals and Scientific Discovery, and Domesticated Animals and Pets.

1. Apothecary jar made in the Manises (Valencia) workshop, 11 in. (27 cm) in height, 15th century. Tin-earthenware from the Blue Series decorated with a hare which is a symbol of the moon and femininity, related to fertility and longevity. These kind of jars were also used in the kitchen as containers for spices, aromatic herbs, and preserves. Collection of the Museum of Ceramics, Barcelona, acquired in 1932 from Luis Plandiurea.

2. Plate made in the Manises (Valencia) workshop, 14 in. (35 cm) in diameter, 15th century. The plate is lusterware decorated in blue with a stork, which symbolizes good luck and longevity. It is also associated with contemplation and spirituality. Lusterware was the luxury Medieval crockery and was made by commission for European kings, princes, noblemen, and religious officials. The technique of applying luster was invented in the Middle East (Syria, Mesopotamia, or Egypt) during the 9th century and exported to Al Andalus (Spain) during the 13th century. Through the 15th century, it was exported to other Mediterranean countries like Italy, France, Denmark, United Kingdom, Germany, and Russia. Collection of the Museum of Ceramics, Barcelona, acquired in 1932 from Luis Plandiurea.

Fables ContemporainesAn exhibition of contemporary ce-ramic works was recently on view at Galerie Jean-Jacques Dutko’s (http://dutko.com) Rue de Bretonvil-liers location in Paris, France.

The exhibition, which was cu-rated by Sophie Mainier, owner of Mouvements Modernes Gallery (www.mouvementsmodernes.com), includes works by thirteen international artists who are investigating a wide range of concerns within the field of contem-porary ceramics.

Betty Woodman’s Gauguin, Vase Diptich, created for Sèvres Manufacture, France, 2008–2009. Photo: Sèvres-cité de la céramique.

exhibitions

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http://www.thegrandhand.com

http://www.museuceramica.bcn.es

http://dutko.com

http://www.mouvementsmodernes.com


The Clay Studio’s Members ExhibitionA juried exhibition of works by members of The Clay Studio (www.theclaystudio.org) was recently on view in the facility’s gallery in Philadelphia, Pennsylvania. The exhibition included 33 works and represented a variety of approaches to clay, from utilitarian works and vessels, to representational and abstract sculpture.

Alex Hibbit’s Exercise #2, 20 in. (51 cm) in length, porcelain and felt, 2010.

European Triennial for Ceramics and GlassAn exhibition of works in clay and glass by Belgian artists and invited artists from two guest countries, Spain and Great Britain, was recently on view as part of the European Triennial for Ceramics and Glass, which was held at the Grand Halle, Site des Anciens Abbatoirs in Mons, Belgium.

The triennial, first held in 2007, is orga-nized by the World Craft Council-Belgium Francophone (WCC-BF) (www.wcc-bf.org) and the City of Mons. A total of 31 artists participated in this most recent exhibition.

The idea behind inviting artists from two guest countries was to give visitors not only an idea of current concepts and concerns in Belgian art and design but also to create a dialog between their work and the works of the artists from the guest countries and to further international exchange.

Below: Maria Oriza’s Filtro de las Mentiras, stoneware modeled with iron oxide, 2007. Bottom: Anne Turner’s River Ladders, handbuilt red stoneware, 2010. Photo: Nick Moss.

Surpassing Boundaries: Richard Milgrim’s Ceramics for Tea and BeyondNew work by Richard Milgrim is on view through February 14 at Pucker Gallery (www.puckergallery.com) in Boston, Massachusetts.

Milgrim, who divides his time between the US and Japan, creates work primarily for the tea ceremony. According to the gallery, he is the first Western potter whose tea ceramics have been endorsed by the Grand Tea Master of the Urasenke Tea School.

1. Richard Milgrim’sBowl with Five Petals (Konko-Gama), 10½ in. (27 cm) in diameter, black, clear, and yellow satin matte glaze. 2. Richard Milgrim’s tea bowl (Richado-Gama), 4¾ in. (12 cm) in diameter, shino glaze over iron oxide. 3. Richard Milgrim’s Diamond-shaped Water Container (Konko-Gama Diamentori Mizusashi), 6¼ in. (16 cm) in width, stoneware, rutile and clear glaze. 4. Richard Milgrim’s tea bowl (Konko-Gama), 4¾ in. (12 cm) in diameter, black, clear, and yellow satin matte glaze.

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http://www.theclaystudio.org

http://www.wcc-bf.org

http://www.puckergallery.com


For four days, the clay universewill gather in Tampa-St. Pete.

It will change the way you think about ceramics.

The National Council on Education for the Ceramic Artsinvites you to attend its 45th Annual Conference.

Tampa-St.Pete, FloridaMarch 30 to April 2, 2011

For conference or membership information:

website:www.nceca.net tollfree: 866.266.2322

Tampa skyline photo by Judy Kennamer

Eggert

Quinn

Godfrey

NCECA is the world’s largest organization dedicated to the ceramic arts and ceramic arts education, providing a wide range of valuable benefits to its members. NCECA members enjoy direct access to an extraordinary network of ceramic arts professionals, educators, students, enthusiasts and collectors. And, our conferences are legendary.

http://www.nceca.net


exhibitions Hella Jongerius—MisfitThe first Dutch retrospective exhibition of Hella Jongerius’ design work is on view at Museum Boijmans Van Beuningen (www.boijmans.nl) in Rotterdam, the Netherlands, through February 13.

The exhibition is a survey of Jongerius’ work and provides an insight into her working method, experi-ments, and finished pieces. One of the most recent is a group of 300 Coloured Vases (Series 3), which will be exhibited for the first time in Rotterdam. The three Coloured Vases series are experiments in color, in which an existing vase is used as a “canvas.” The first two series consisted of 40 and 42 different porcelain vases, partially coated with paint from the industrial color ranges RAL (2003) and NCS (2007). The third series was produced in close collaboration with the glaze experts at Royal Tichelaar Makkum.

Whereas the first two series employed in-dustrial paints, this series uses a combination of 100 historical mineral recipes and 100 modern chemical glaze recipes. Jongerius refers to the latter as the “fast-food” colors of the modern ceramics industry. The mineral recipes contain ingredients such as cadmium (red), iron (brown), selenium (yellow), copper (green), cobalt (blue), and manganese (purple). The historical and modern colors are applied in layers in a variety of patterns resulting in optical blending: a kind of Pointillism on porcelain. The combinations of colors and patterns and experiments with the fir-ing temperature result in new colors. These are not flat like industrial colors but are irregular, layered and lively like the colors we know from paintings. Jongerius believes that industry has focused too much on quantity and standardization over the past few decades. Industry has created thousands of colors that are designed to look the same in all circumstances. These colors lack the irregularities that can provide a more beautiful visual experi-ence such as those found in this series of Coloured Vases (series 3).

1. Long Neck and Groove Bottles, to 19 in. (50 cm) in height, porcelain, glass, plastic tape, 2000. Photo: Gerrit Schreurs Fotografie. Developed during a working period at the EKWC. Production: Jongeriuslab.Because glass and ceramics, two traditional materials, become respectively soft and hard at different temperatures, the two can never melt together. Therefore Jongerius chose to link them with a common tape, suitable for the packaging of fragile objects. The usual hierarchy is reversed because a simple plastic tape has become the constructional device of each vase.2. Coloured Vases (series 3), 16 in. (41 cm) in height, porcelain, 300 self-made colors through a mix of old and new glazes, 2010. Photo: Gerrit Schreurs Fotografie. Production: Royal Tichelaar. 3. Nymphenburg Sketches—Animal Bowls, to 14 in. (35 cm) in diameter, porcelain bowls, handbuilt animals, glaze, and hand-painted decorations, 2004. Photo: Nymphenburg Porcelain Manufacturer. Commission and production: Nymphenburg Porcelain Manufacturer. These sketches are a celebration of the animal collection found in the archives of

Nymphenburg. The blown up decorative patterns, which partly cover the sculpted animals, were originally used on the company’s cups and saucers.4. IKEA PS Jonsberg, 13 in. (34 cm) in height, stoneware, earthenware, porcelain, and bone china, glaze and various decorations, 2005. Photo: Gerrit Schreurs Fotografie. Commission and production: IKEA.The challenge: how to preserve signature and traces of the craft process within a mass-produced IKEA product. The same archetypal forms are made in four ceramic techniques and their decorations refer to specific parts of the world: Soviet Union, Africa, Asia, and Europe. This kind of time-consuming craftsmanship is only possible at affordable prices when commissioned by manufacturers who can produce and distribute in large quantities.

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http://www.boijmans.nl



http://www.greatkilns.com/


La Mesa in Santa FeA version of the annual exhibition of tableware organized by Santa Fe Clay and presented at the National Council on Educa-tion for the Ceramic Arts (NCECA) conference was also held recently at the gallery at Santa Fe Clay (www.santafeclay.com) in Santa Fe, New Mexico. 1. Munemitsu Taguchi’s place setting, to 10½ in. (27 cm) in diameter, porcelain. 2. Posey Bacopoulos’ table setting, to 11 in. (28 cm) in length, earthenware. 3. Maggie Mae Beyeler’s tumblers, porcelaneous stoneware, fired to cone 6.

exhibitions

Nearly 100 ceramic objects that were made in former West Ger-many are on view through February 5 at the Centre d’édition Contemporaine (www.c-e-c.ch) in Genève, Switzerland.

1. Steuler Industriewerke GmbH, Zyklon series, design Cari Zalloni, 1960-1970. 2. From left to right: Fat Lava vases, Ruscha, form 313, design Kurt Tschörner, 1954; ES Keramik (Emons & Söhne Keramik), 1960-70; Kreutz Keramik, 1970; ES Keramik, 1960-70; Otto Keramik, Mushroom vase, 1970 ; ES Keramik, 1960-70; Jopeko, around 1970 ; Otto Keramik, 1970; Kreutz Keramik, 1970; Otto Keramik, 1970; ES Keramik, 1960-70. 3. From left to right: Steuler Industriewerke GmbH, design Cari Zalloni; Scheurich KG; Scheurich KG; Bay; Rusha, Korfu series; Steuler Industriewerke GmbH, design Cari Zalloni; Steuler Industriewerke GmbH, design Cari Zalloni; Strehla Keramik. 4. Sgrafo Modern’s Korallenvase series, designed by Peter Müller 1960–1970. Photos: Olivier Pasqual.

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The objects included in the exhibition cover the various styles and production processes used by West German manufacturers and design-ers, and show the different aesthetic choices of a stylistically free period.

Sgrafo vs. Fat Lava: Ceramics and Porcelain Made in West Germany from 1960–1980


http://www.santafeclay.com

http://www.c-e-c.ch


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exhibitions

ChromaA two person show featuring new work by Hiroe Hanazono and Mikey Walsh is on view through February 27 at Lillstreet Art Center (www.lillstreet.com) in Chicago, Illinois.

Far left: Hiroe Hanazono’s bud vases, to 4½ in. (11 cm) in height, slip-cast porcelain and glaze. Left: Mikey Walsh’s Abundance Cup, porcelain and glaze.

FollyA new installation by Beth Katleman is on view through February 17 at Greenwich House Pottery’s (www.greenwichhouse.org/gh_pottery/index) Jane Hartsook Gallery in New York, New York.

“Katleman’s deliciously subversive porcelain sculptures combine Rococo ornament with icons from popular culture,” explains Adam Welch, Act-ing Director at Greenwich House Pottery. “The gallery, with its marble mantel and double-height windows, hints at a domestic past. Katleman re-sponds to the genteel surroundings by covering an entire wall with three-dimensional porcelain “wall-paper.” Fifty white sculptural tableaus hover just off the turquoise wall, surrounded by an explosion of fruit and flowers. Each tableau is a miniature land-scape with water features, topiaries, architectural follies, figurines, and toys from the flea market. Dark humor infuses the narratives: an elf sits astride a gi-ant smiling snail in the shadow of the Sacre-Coeur Basilica; a parade of bridesmaids ends badly with one attendant drowning in a pond; and a toothless boy cavorts with a kindly reindeer as a duckling tumbles over a waterfall.

“Inspired by the florid designs of 18th century wall coverings, Katleman explores themes of con-sumption and desire. She writes: ‘I have long been fascinated by Toile de Jouy, the printed fabrics that drape the walls and beds of 18th century France. Peasants cavort in bucolic landscapes decked out with flowers, all in the shadow of classical ruins. There is something surreal about these scenes, which float, disembodied in a world without gravity. I love the contrast between the frivolity of the scenes and the in-congruous settings.’ Her process involves scouring the flea markets in search of trinkets. ‘Often the 2nd and 3rd generation knock-offs catch my eye, especially those that seem to pine for a grander existence. I cast these trinkets in porcelain, a material that suggests luxury, refinement, and royal provenance.’”

Top: Beth Katleman’s Folly, detail of overall installation, 16 ft. (4.9 m) in length, slip-cast porcelain, fired to cone 10, wire, steel rods, heat-shrink tubing, 2010. Above: Individual tableaux is 19 in. (48 cm) in length. Photos: Alan Weiner.


http://www.greenwichhouse.org/gh_pottery/index

http://www.lillstreet.com


Nan Rothwell • Sandi Pierantozzi • Paul Andrew Wandless

presents

Announcing the Ceramic Arts Daily Presents video series!Learn new techniques or enhance existing skills in your

own studio at your own pace.

Fundamentals of Screen Printing on Clay with Paul Andrew WandlessWhat If? Explorations with Texture and Soft Slabs with Sandi Pierantozzi

Wheel Throwing with Nan Rothwell

More titles coming!

ceramicartsdaily.org/bookstore 866-672-6993

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exhibitions

Bricked UpNew work by Adam Welch was recently on view at the Thomas Hunter Project Space at Hunter College (www.hunter.cuny.edu/art/) in New York, New York.

“Inspired by bricked-up windows and painted advertisements, the brick paintings illustrate a further existence with linguistic potential,” explains Welch. “The paints are Martha Stewart Living, a symbol of culture and advertising. Stewart’s democratization of taste frees us from having to establish our own aesthetic. The six-symbol system [she created to coordinate her product lines] allows anyone . . . to create what she describes as ‘a harmonious scheme and beautiful transitions.’”

1. Adam Welch’s Martha’s Picks, 25 in. (63 cm) in width, ceramic, mortar, paint, 2010. 2. Adam Welch’s Bay Leaf and Ballet Slipper, 18 in. (46 cm) in length, ceramic, mortar, paint, 2010. 3. Adam Welch’s Martha’s 12 and the Compliments, 6 ft. 2 in. (1.9 m) in length, ceramic, wood, paint, 2010.

It’s Only ClayAn annual juried exhibi-tion focusing on functional clay vessels was recently on view at the Bemidji Com-m u n i t y A r t C e n t e r (http://bcac.wordpress.com) in Bemidji, Minnesota.

Wisconsin-based pot-ter Simon Levin juried the exhibition this year, and selected around 50 pieces for inclusion.

1. Luke Sheets’ 36 Views, 10 in.(25 cm) in length, wood- fired stoneware. 2. Matthew Krousey’s Crane Basket, 19 in. (48 cm) in length, stoneware with flashing slips and glaze, salt-fired. 3. Justin Lambert’s cruet, 6 in. (15 cm) in height, wheel-thrown and assembled stoneware, soda-vapor glazed.

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http://www.hunter.cuny.edu/art

http://bcac.wordpress.com


Ceramic Transfer Printing

Ceramic transfers and decals provide an excit-ing creative potential for any ceramic artist. With these techniques, you can transfer pictures, pat-terns or text onto both two- and three-dimen-sional forms. Most importantly, printing on ceramics achieves distinct aesthetic effects not possible using any other decorating techniques.

Drawing on more than twenty years of expe-rience, Kevin Petrie offers a focused analysis of the potential of ceramic transfer printing as a creative medium. He traces the history of

the subject and explains the distinctive visual qualities of a range of transfer printing meth-ods. The specific materials and techniques for making versatile screen-printed ceramic trans-fers are explained – from the ‘low tech’ to the more sophisticated. Other approaches by art-ist researchers are also brought together and recent developments with digital transfers ap-praised. A range of case studies shows the po-tential and diversity of approach in this area, which extends beyond ceramics to include enamel on metal and glass.

Coming early February!

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$26.95

New!

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reviews

Coinciding with the 125th anniversary of the Kansas City Art Institute (KCAI), “Lay of the Land: George Timock, Cary Esser, and Paul Donnelly” at Sherry Leedy Contemporary Art in Kansas City (www.sherryleedy.com) seemed at first glance to provide precisely what one expected—that is, simply an opportunity to become better acquainted with the work of current faculty in one of the country’s most celebrated undergraduate programs in ceramics. That in itself might have justified the exhibition. After all, the dynamic between faculty members is a key element defining any academic department, and the particular makeup of KCAI’s ceramics area has been important both to the cultural life of Kansas City and to the field of contemporary ceramics at large. Since the days when Ken Ferguson and Victor Babu im-parted their advice and inspiration to the burgeoning genius of students such as Richard Notkin, Kurt Weiser, Akio Takamori, Chris Gustin, and Chris Staley, the influence of KCAI’s ceramics department has rippled outward with significant momentum.

But the exhibition was really only incidentally about an institution, and any hints that it might have dropped about pedagogy were too vague to decipher. Inviting reflection on the complementarity of academic colleagues was obviously of lower priority than showcasing the latest pieces by three ceramists who appeared to have somewhat different aims. The placement of each artist’s works in a separate gallery space reinforced that appearance, creating the initial impression of three solo shows. Under that im-pression, it might have occurred to more than one contemplative visitor that the unity of the exhibition was only nominal: literally

Lay of the Land: George Timock, Cary Esser, and Paul Donnellyby Glen R. Brown

the consequence of a name, or more specifically the exhibition’s title, which tentatively held everything together. That thought, however, would have raised intriguing consequences, since “lay of the land” is of course an idiom for how things work together—for, in other words, the very aspect of the exhibition that one was puz-zling over. Thinking about the lay of the land ultimately produced some interesting interpretations.

If taken to refer to the field of contemporary ceramics as a whole, the exhibition’s title was certainly apt. As anyone with even a rudimentary experience can attest, contemporary ceram-ics is a picture of diversity, and some principal landmarks of its varied topography were nicely summarized by Donnelly’s utilitarian pieces, Timock’s vessel-referential works, and Esser’s sprawling, multipartite sculptures. In contemporary ceramics, the lay of the land is complex, consisting as much of disparity and even contradiction as of common ground. Lay of the land is also, of course, an idiom that borrows from the contexts of geology and landscape—and landscape, as it turned out, was a productive word to keep in mind, particularly if one allowed it to embrace the built environment as well as natural land forma-tions. Ultimately, a strong element does unite the works of Esser, Timock, and Donnelly. It consists of a certain sensitivity to the relationship between architecture, the horizon, and topography.

Esser’s recent work, comprised mostly of sculptures of glazed fritware, conjures surfaces of weathered rock or expanses of mud that have dried and shivered into geometric patterns of crevices. Assembled from hexagonal units, wall-mounted pieces such as

1 and 2. Cary Esser’s Topo 1–7, 14 ft. (4.3 m) installed length, individual groupings to 33¾ in. (86 cm) in height. glazed fritware, steel, seven compositions of ceramic blocks arranged on a steel table, 2010. Photos: E.G. Schempf. 3. Paul Donnelly’s flower brick, slip-cast porcelain, oxidation fired. 4. Paul Donnelly’s platters, wheel-thrown porcelain, oxidation fired.

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http://www.sherryleedy.com



Shield 2, suggest a 90° realignment of horizontal sections of the earth toward the vertical plane, whereas horizontally disposed compositions such as Topo 1–7, which extend over a series of thin steel tabletops, are reminiscent of the tightly interlock-ing stone columns composing the famous Giant’s Causeway of Northern Ireland. The hexagon, which forms in nature in rare instances when molten basalt forces its way through chalk beds, is in Esser’s sculptures equally allusive to a tile shape commonly found in Islamic architecture. Nature, in fact, seems to metamor-phose into architectonic lines in the Topo series, in which the horizontally arranged units—tiles extending to varying heights like leavened dough expanding and rising but maintaining their contours—become the visual equivalent of a city skyline, dentate with high-rise buildings dispersed along a stretch of coastline.

Timock’s current work, dramatically different from the double-walled raku vessels that long anchored his reputation, reflects the strong influence of recent residencies at the In-ternational Ceramics Studio in Kecskemet, Hungary. Carved from milk-white Herend porcelain and accented with gold and silver lusters, these sculpted vessels manifest a different brand of opulence from Esser’s earthy glistening, though the artists share some key aspects of sensibility. Timock’s inspiration, too, encompasses the architectural, in particular the eclectic blend of classical, medieval, art-nouveau, and socialist architecture of Budapest and the gilded interior of that city’s Saint Stephen’s Basilica. But interspersed with the dramatically reconfigured detritus of rib vaulting, gold tesserae and monumental pedi-

ment ornaments in his pieces such as Vessel BBB are curved planes of a rougher, irregular, more geological texture that ties the building references to landscape and makes of the relief components a simultaneous reflection on architectonics and abstract natural topography.

The lay of the land in Donnelly’s work is even easier to recog-nize, and he too refers abstractly to land and horizon and professes inspiration from architecture. This does not merely invoke the architectonics of the domestic interior—what he describes as a “landscape” in which his functional pottery operates—but also leads to a tendentious structural relationship between geometric and organic. The relationship is perhaps most obvious in his thinly celadon-glazed flower bricks, in which rectangular blocks rise from recesses in slab bases, their sides sheathed by a vertical fluting that imparts the impression of skirts of grass or vines work-ing their way up building walls. Alternately, the effect could be perceived as indicative of deterioration: a flaking away of stucco from a building’s exterior. Donnelly’s plates, partly smooth and partly fluted, set up similar contrasts between an abstract organi-cism and indications of the human-made environment, often suggesting the meeting of grass and sidewalk.

In the end, the title Lay of the Land proved superbly suited to this exhibition, provoking, as titles ideally should, a flow of observations enriching the experience of all three artists’ works.

the author A frequent contributor to CM, Glen R. Brown is a professor of art history at Kansas State University in Manhattan, Kansas.

5. George Timock’s Vessel FFF, Herend porcelain. 6. Cary Esser’s Shield 2, 17¼ in. (44 cm) in width, glazed fritware mounted on wood, 2010. Photo: E.G. Schempf. 7. George Timock’s Untitled Vessel BBB, 9 in. (23 cm) in width, Herend porcelain, 2008. 8. Paul Donnelly’s platter, wheel-thrown porcelain, oxidation fired. 9. Cary Esser’s Topo 9, 26½ in. (67 cm) in length, glazed fritware. Photo: E.G. Schempf. 10. George Timock’s Untitled Vessel BBB (detail).

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Studio Visit Brendan Tang Kamloops, British Columbia, Canada

the studioI’m in the process of moving house and studio. For the past three years, my studio has been located in the basement of my house in Kamloops, British Columbia. It is about 800 square feet, not including a room dedicated to the storage of works and packing material. I suppose the best part of my studio is that it is located where I live, which is great when you’re sitting a kiln or working late. But as many self-employed types have found, this can also be a studio’s greatest short coming, as you can never really get away from work (I suppose that’s where Facebook comes into play).

Since I don’t have a lot of natural light in my studio, I’ve painted the walls white and in-stalled more lighting. The floors are concrete, so I use floor pads to save my back. I generally keep my electronics (cameras, computer, etc.) out of my studio space, but that’s not always possible when your office is also the guest bedroom.

paying duesMy training in ceramics began with an apprenticeship at JoVic Pottery in Chemainus, British Columbia, and has continued through workshops, residencies (the Archie Bray Foundation for the Ceramic Arts in Helena, Montana, and Medalta Potteries in Medicine Hat, Alberta, Canada), and two degrees in fine arts (at the Nova Scotia College of Art & Design, and Southern Illinois University at Edwardsville).

I spend about 30 hours a week on creation of works, including research, planning, and hands-on time with clay. The rest of my time (about 35 hours a week) is spent on promotion and sales. This involves maintaining my website, writing emails, processing sales, and making arrangements for exhibitions.

Just the FactsClaywhite earthenware (aka ghetto porcelain)

Primary forming methodwheel throwing

Favorite surface treatmentI use two painting approaches in my current body of work. Airbrushing un-derglaze allows me to create a super pol-ished look. More meditative is my practice of hand painting blue underglaze in the fashion of classical Chinese decoration.

Primary firing methodelectric

Favorite toolmy hands



WebFaceSpaceBloGallerTwEtsyListwww.brendantang.com | Facebook: Brendan Lee Satish Tang

I also teach courses or workshops on occasion (such as an upcoming workshop in Israel), and enjoy engaging with students as a visiting artist. It surprises me—and a lot of other people—that I spend so much time outside of the studio.

bodyOne of the dangers of my lifestyle is that I can become fixated on work, which can be hard on my shoulders and back. I practice Bi-kram yoga, which definitely helps the issue and satiates my “type A” personality. The intense physicality helps me get centered and out of my own thoughts and worries about work. As a Canadian resident, I thankfully don’t need to worry about buying health insurance to help cover costs when I need to see a doctor. In addition, I also add on an occasional massage or chiropractic treatment.

mindNow, I’ve never done the Myers-Briggs assessment (a psychometric test that identifies personality type), but I would guess that I rank high on the Extroversion scale. This means that I get a charge from social contact; however, this conflicts with the solitary nature of my studio practice. To combat my isolation, I’ve gotten into the brave new world of social networking. It’s actually a little embarrassing how much time I spend on online, as any of my friends would attest to—this includes

my two Facebook sites and my website/blog. Through these venues, I gain camaraderie with artist peers who are also in the studio, ceramics or otherwise. I’d also like to think that these windows into my life give non-artist friends a sense of what artists “do”—for example, what my studio life involves, what my exhibitions look like, and places I’m traveling to for work.

Despite my attachments, though, electronic communication is no substitute for hanging out with folks in the flesh. The best way for me to recharge is through an artist residency program, which I try to do at least once a year. My most recent residency was at Medalta Potteries, and I am heading back there in early 2011. In late 2011, I’ll be at a residency at the European Ceramic Work Centre in the Netherlands.

marketingMy advice for making a living in the visual arts is to get the work out there. I’m always looking for different ways to get my work seen. For instance, I try to get my work posted on all sorts of blogs that have nothing to do with ceramics. In the past, I’ve had my work featured on BoingBoing.net and NotCot.org.

http://www.brendantang.com



All That Glisters

Many cultures have set gold’s value high, and maybe none more so than that of the Chinese. So one can imagine the multitude of gleaming porcine artifacts that Canadian ceramic artist Trudy Golley encountered during a month-long artist’s residency in Jingdezhen at the Pottery Workshop’s Experimental Factory in 2007, the Year of the Golden Boar. The practicality of coating so many commercially manufactured objects has, however, driven the ceramic industry in Jingdezhen to seek alternate methods to the familiar kiln-fired 24k gold luster. In a process known as Physical Vapor Deposition (PVD) or Sputtering, chromium or titanium metal is vaporized in a vacuum chamber using high voltage plasma energy and deposited onto the ceramic forms within.

Possibilities Present Themselves

Golley first encountered this process earlier while on a brief side visit from Shanghai to Jingdezhen in 2005. Walking about the Sculpture Factory (a large, two-city-block-sized compound which houses the

Trudy Golley’s Exploration of

Durable Luster Technology

by Paul Leathers

Above: JDZ Silver Spiral, 8½ in. (22 cm) in length, slip-cast porcelain with underglaze transfers, fired

to 2480°F (1360˚C) and PVD lustered, 2007.



residency facility among other buildings), the workshop owners were keen to engage the foreign visitor and welcomed her to access their equipment and expertise. Captivated by the possibilities that such a process might bring to her ongoing use of lustered ceramic forms, she made plans to return.

International Cultural Exchange

Six years later, and planning her fifth trip to Jingdezhen this May, Golley values the creative and cultural exchange, as well as the access to the technical equipment, that a residency at The Pottery Workshop affords. The artisans within the greater Sculpture Fac-tory have welcomed her into their workshops, shared their meth-ods, and offered their appreciation of her ability to both integrate and expand on their techniques.

Golley feels that these residencies offer her a number of sig-nificant benefits: most obvious perhaps is the quiet time away from the day-to-day responsibilities of a busy teaching schedule, but there is also the challenge of working with new materials and methods, the significant impact that a month or two of thinking outside of the box brings to her studio practice, and the enlarged social network of like-minded professionals.

Left: Raw, glaze-fired piece before the metal is applied using the PVD process. Notice that, in a similar finished piece on the opposite page, the decals and the raw clay react differently to the metal vapor. Right: Listen to..., 13 in. (33 cm) in length, slab-built stoneware with 24k gold luster, fired to 2192°F (1200°C), 2004.

An example of the cross-fertilization that is possible may be seen, perhaps, in the work of Ms. Zhang (pronounced JAHNG). This 38-year-old designer/businesswoman started her Jingdezhen-based ceramics production factory ten years ago and is using the metalizing process in her current work (see page 34). She subcontracts a number of the manufacturing processes and uses the same PVD facility in the Sculpture Factory that Golley uses. Golley had the chance to see Ms. Zhang’s work in the workshop while it was having the PVD coating applied, and was interested in the similarities between their work. This commonality opened a dialog between the two.

Like Golley, Zhang is passionate about ceramics and sees its capacity for a broader humanitarian role. As well as trying to find ways to give back to the poor of her community by sharing her prosperity, she gives local students a leg-up by having them come to work with her for the work experience component of their school-ing. “Business is not all about making money,” she maintains, “we need to help each other.”

Primarily self-taught, Zhang is interested in integrating tradi-tional Chinese designs and concerns. A keen observer of trends who develops her own solutions in response to her clients’ needs, she

f o c u s technology



attends the home furnishings trade shows in Guangdong twice a year where she wholesales her work to distributors and hotel chains.

The Light Beyond the Work

Golley used her residencies in 2007, 2008, and 2010 to explore ways in which to incorporate the PVD process into her own work, not just as a means to “gild the lily.” She has investigated the various effects delivered by depositing the metallic layers over raw and/or manipulated surfaces. Water erosion, applications of vitreous slips, underglaze transfers, overglaze decals and mingbai celadon glaze have all been used to develop and explore a range of surfaces that extend from matte to highly reflective.

“Over the course of my studio practice,” Golley states, “I have used light to attract and locate the viewer, to provide an unex-pected sense of discovery, and to address notions of conceptual and intellectual illumination.” Past works have “…explored the mate-rial and immaterial through the creation of a ‘drawing’ in light and shadow.” Often these works have employed kiln-fired 24k gold luster to capitalize, when dramatically lit, on the multiplying effect of gold reflecting onto gold. Such an enigmatic effect may be read as a parergon—that which is outside the work, yet undeni-ably part of it—but the object’s extension into its surroundings is a central feature of the work and one that Golley attempts to exercise strict control over. The luster is not just used to convey a sense of preciousness but rather to extend the object’s physicality.

Ms. Zhang’s production work, which shows the variety of surface finishes she achieves through the PVD process.

JDZ Silver Spiral, 8½ in. (22 cm) in length, slip-cast porcelain with underglaze transfers and PVD luster, 2010.

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GettinG Metal to Stick to clay

In an industry that is only about 70 years old, the vacuum coating process (VCP) is used to deposit thin films of less than 0.5 microns thickness, as well as thicker coatings, that provide both decorative and functional advantages: a pleasing appearance with increased wear resistance. Examples include the anti-reflective coatings on prescription glasses and optics, the rainbow-colored coatings on sunglasses and gift-wrap films, and the gold-colored coating seen on modern steel drill bits.

The PVD process is relatively straightforward. First, the surface of the ceramic work is chemically cleaned with acetone and then the object is heated in an oven to between 212˚–932˚F (~100°–500˚C) to drive off any residual fingerprint oils. Next, it is suspended in a vacuum chamber and, once sealed, the metal to be deposited is ionized using a plasma (ionized gas) and an electromagnetic field. This causes particles of the metal (ions) to emanate from the source metal and to condense, like a fog, onto the rotating work within.

Hybrid processes combine physical vapor deposition (PVD) with chemical vapor deposition (CVD) to deposit complex compounds such as titanium nitride. The workshop at the Sculpture Factory operated by Liu Laoban appears to use the hybrid process.

In the West, PVD can be quite expensive, but there are two companies Golley has found that perform the service on a small scale: Fused Metals, Inc., Georgetown, Ontario, Canada (www.www.fusedmetalsinc.com) and Crystallume in Lincoln, California (www.crytallumepvd.com).

“The space where the reflected light exists,” she explains, “is as important as the object that defines it.” Edges are carefully refined at the greenware stage to ensure that incidental light fall-ing on them will be caught, reflected, and thereby activate the surrounding wall.

Golley sees the PVD process as a boon in that it allows her to develop and quickly try out new ideas that would have previously consumed hundreds of dollars worth of palladium or gold luster. Whether the resulting objects are seen as finished works or as rough sketches for ideas to be completed in her studio at home in Canada, the time spent in China, and especially the access to

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equipment unavailable for use by ceramic artists in the West, has been liberating.

For further information about the Pottery Workshop, see www.potteryworkshop.org.

the author Paul Leathers is a studio metalsmith and occasional writer who resides in Red Deer, Alberta. He and his wife, col-laborator and business partner Trudy Golley, operate Alluvium (www.alluvium.ca). Their work also can be found at David Kaye Gallery (www.davidkayegallery.com) in Toronto.

Equipment for Physical Vapor Deposition (PVD), shown here with ceramic works being loaded into the vacuum chamber, 2010.

http://www.www.fusedmetalsinc.com

http://www.crytallumepvd.com


http://www.potteryworkshop.org

http://www.alluvium.ca

http://www.davidkayegallery.com


It is extremely rare to find anything new in a medium that has been in constant use for over 10,000 years, over most of the globe, in most cultures. It is impossible to be 100% certain that ceramic substrates have never been used before in the ways I will be de-scribing, but I have never seen or heard of anyone using them as a basis for drawing and painting. The company that developed and manufactures them for an entirely different advanced-technology use informs me that this is new to them as well. My introduction to this material opened up the possibility of ceramic drawing and painting on a superfine surface. For the painter, graphically skilled artist, or anyone working two dimensionally, ceramic substrates offer exciting new possibilities not only because of their surface but also because of their durability and range of applications. After a lifetime spent largely informing people of what has been done before, it is really exciting to consider how these might be applied to a painterly/graphic use, in home decoration, lighting,

as a translucent alternative for stained glass, for large- and small-format murals, and many other architectural possibilities. Beauti-ful miniatures and jewelry panels could also be possible when the substrates are cut to a very small size.

Material

Ceramic substrates are high-tech, porcelain-like, super-thin, pre-fired sheets of mostly alumina that were developed for use in the automotive, electronic, avionics, medical, and military fields. They are primarily used for screen-printing digital circuitry diagrams for a variety of electronic applications. They are composed of 96% alumina, and are fired to over cone 10 (2372°F, 1300°C). Despite their thinness and lightness in weight, they are amazingly strong. Even when fired several times with an incomplete coat of glaze on only one side, there were no structural or glaze fit issues. They also have no shrinkage, which is a major benefit when you

Prunus Triptych, three sheets of untreated substrate with bronze-black pigment brushwork, fired to cone 10 in reduction. Chrome/lead orange glaze applied with a fine trailer and refired to cone 010.

CeramiC Canvas: Using sUbstrates by Robin Hopper




consider that regular porcelain bodies generally shrink between 12% and 17%.

If one thinks of the ceramic substrate as just another work surface to paint and draw on like paper, vellum, card, board, or canvas, it can be approached in the same way as one would for any discipline in drawing and painting. Lightweight, break resistant, and wonderfully translucent, it is paper without all the fussy curatorial issues and ceramic without all the technical issues. The only real difference would be that the materials used on the surface are ceramic.

Testing

I first used ceramic substrates 20 years ago when I tested some of my regular glazes on them and they came out of the kiln with a particularly beautiful surface quality, more so than the same glaze on other clay surfaces. So far, my research shows that they have the ability of taking on any glaze I have tried, at any temperature up to cone 10, in oxidation or reduction. They can be refired numerous times to layer glazes of different temperatures, starting with the highest and working down. I haven’t tested them in soda, salt or wood firings, because, in theory, one needs a much larger amount of silica than is present in these substrates to develop a suitable surface with sodium, potassium, and calcium (the major fluxes that bond with silica to form glaze in atmospheric or fumed firings). I don’t have kilns for these firing processes, so here might

be a research area for someone else to work with and develop. Theories are made to be challenged!

I am purchasing and using what the manufacturer calls fall-out material, or seconds. The cost of the material for industrial applications is extremely high and sheet sizes are generally very small. However, the fallout material is now distributed un-der the brand name Porcelain Canvas™ through the website www.ceramicartcart.com in a variety of sizes, with prices that are

This image shows a montage of an old decal, cut-up, layered and reassembled on the untreated surface. Fired in oxidation at cone 019.

Basic working set-up with warming trays, blank and fired substrates, lambswool paint roller and glaze tray, brushes, underglaze pens and pencils. It could easily be set up on a corner of a kitchen table and only needs a household outlet to function.

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http://www.ceramicartcart.com


comparable to other art mediums such as good quality watercolor paper or stretched canvas. Therefore, one can do a lot of testing inexpensively. It should be noted that this is a recycled material, and as such, the sheets will vary slightly in size and thickness depend-ing on current industrial applications. However, any variable in available formats is a small price to pay for a cost-effective supply. There may be slight imperfections, but it would take an expert to find them. The sizes that I am currently using are 5×7 inches and 7.4×11 inches, with a thickness of 0.04 inches. The 5×7-inch Porcelain Canvas costs $ 5.99 per sheet, and is available in a pack

of five sheets for $29.99. The 7.4×11-inch size, costs $15.50 for one sheet or $77.50 per pack of five. A third sized sheet, which is 10.5×7.30 inches, costs $14 per sheet or $70 per pack of five. Jewelry blanks in a variety of shapes and sizes will be available soon. You can buy the firsts in many different sizes, but the prices get quite steep.

If you need a different size than what’s available or need to alter or pierce it, the sheets can be cut with a diamond saw, or you can use a CO2 laser (if you have one lying around) to cut, drill, or scribe the material.

Methods

It takes little time to adjust and feel the difference between a traditional clay surface and that of a sub-strate. That said, substrates do require a bit of special consideration to work with. This is due primarily to the fact that they offer no absorption, as they have been pre-fired to above cone 10. Because of this, water-based glazes and colorants dry very slowly.

I had a hunch that they would better accept glazes on the surface if the substrates were heated during application. Looking for the most convenient heating method, I stumbled on two kitchen warming trays at the local thrift store for $15. They worked perfectly. Larger warming trays may be available from restau-rant supply stores. I placed a sheet of rigid copper on top of the warmer to make sure that the heat was evenly distributed throughout the substrate, which I placed directly on top of the copper.

Inexpensive trays don’t usually have a heat con-trol. More expensive ones have rheostats that can be set for temperature control. My thrift store find gave me one of each, and I find that they both work equally well. You can also use hair dryers or electric paint strippers.

Once an initial layer of glaze has been applied to the substrate, you will need to heat it until the water in the applied glaze is evaporated, probably to around 150°–200°F (65°–95°C), or medium hot to the touch. Once the base glaze has dried, you can do brushwork, or carefully add different glazes by any method, until you have the image that you want. The substrate is then fired at the temperature and atmosphere suitable for the glazes being used. The optimum thickness of glaze will differ for almost everyone. Keeping notes on the behavior of each glaze will help in controlling the end result.

Depending on the type of artworks being done and the vision of the artists doing them, it might not be necessary to apply an overall base coat of glaze. Some methods of application can be done cold. The ivory/vellum-like surface can be drawn on with ceramic pens,

Top: Randy Brodnax’s raku substrate test, raku fired with ferric chloride. Above: Keral 99 Substrate with scumbled underglaze pencil background and brushwork using Laguna Clay’s Moroccan Sand Oxide Stain Ebony Black MS-102. Fired in oxidation at cone 8.



pencils, and variations of Conté crayons, producing an image that is similar to regular pen and ink or pencil drawings, but fired in place, usually at around cone 6. Glaze and slip trailers in a variety of sizes are perfect for doing linear work in combination with glazes or terra sigillatas. Firing between ap-plications of underglaze pencil, pen, and glaze to set the colors allows a complex matrix of marks to be built up.

Depending on the character of the glaze, from very fluid to very dry, the surface might be anything from smooth and flat to a definite raised line. After try-ing many variations of application, I find that the following four work best for me:

1. I draw and paint directly on the sur-face as purchased. I may do additional fir-ings to increase complexity of the image.

2. I apply an even coat of underglaze (I prefer black) and fire it anywhere between cone 04 to 6. Then I will apply two or three coats of glaze (I prefer white) and cut sgraffito (scratch line drawings) through the glaze down to the underglaze surface. I then brush off the powdery glaze with a soft brush and fire the piece to the final glaze temperature.

3. I will sometimes apply a crystal-line glaze directly to the surface in a thick coating, leaving at least ¼ of an inch bare at the edges, in case the glaze is excessively fluid. This way, it can run even on a flat, horizontal surface.

4. Most of the time, I lay down a thin glaze ground on the substrate using a small lambswool or fine cellulose sponge roller with thickened glaze (just let the solids settle and take most of the water off ). After the first coat is dry, I apply two more coats, giv-ing me a slightly pebbled texture to paint on—a ceramic version of a primed canvas. If the glaze is particularly finicky to use or paint details over, I usually fire the base coat to 1832°F (1000°C), or in a bisque firing. Although the substrate is non-absorbent, the applied glaze will be absorbent until fired to its maturity. Sometimes I use colorless glazes that are crystalline when fired and cooled appropriately. The same base glaze just fired to maturity will likely give a nicely textured background.

I have fired substrates in cone 10 oxidation and reduction, cones 6 and 8 oxidation, and cone 06 oxidation. Others, like Randy Brodnax, have tested the substrates in raku firings.

The substrate sheets accept and withstand various print-making approaches, such as monoprint, linocut, woodcut, screen print-

ing, and decals. The potential range of applications is limited only by the creative mind and technical understanding of the person doing it. If one can imagine all the possibilities of paper, card, or canvas, substrates are just another flat, white surface waiting for the artist’s touch!

the author Robin Hopper is a potter and author of several books (available at www.ceramicartsdaily.org/bookstore). He lives in Victo-ria, British Columbia, Canada. He would like to thank Skutt Kilns for the nifty, custom-built 14 x 14 x 10-inch computerized test kiln for substrates. For more information about Robin, and to learn about his work and books, go to www.chosinpottery.ca.

White barium glaze ground, layered glazes and brushwork, fired at cone 8 in oxidation. Chrome/lead orange glaze applied with a fine trailer and refired to cone 010.




http://www.chosinpottery.ca


InVenture at kAHLA by Johannes Nagel

Kahla is a small town in eastern Germany and the site of a porcelain manufacturer with a tradition dating back 250 years. Barbara Schmidt, KAHLA/Thüringen LLC’s head designer, has almost annually pre-sented a new series of tableware and thus managed to transition into an era with new needs and desires.

The factory itself is a place where up-to-date technology and tra-ditional manual work join together. As an industrial manufacturer, it has a very strict set of routines of production to ensure consistent quality. Machines and workers are perpetually repeating the same tasks to create a perfect output of fine porcelain.

About every three years, the company invites 12 artists and design-ers into this environment to work for a month, to use the technology and tools, to experiment with no prescribed intention or goal—to deliberately do things differently in contrast to the routine of a factory. The workshop is called KAHLA Kreativ and this year’s subtitle was “InVenture,” which could be translated as a call to the participants: take a chance to explore and to discover something that you (and the factory) did not know before.

According to the participants of the workshop, the hosts sup-ported every notion or technical need of the artists. It is not hard to see how the program benefits artists, but it is harder to understand the company’s motivation. According to Barbara Schmidt, the program is designed both to facilitate young designers’ and artists’ own progress and expose the factory staff to the lateral thinking of someone who is new to their environment. They are also interested in the creative input artists and designers provide, and some of the ideas stimulated by the workshop make it into the factory’s production line.

The resulting work made by the 12 artists and designers during the workshop is currently being presented at the Grassi Museum of Applied Art in Leipzig, Germany.

Left: Eva AebiBelow: Eva Aebi’s Two Cores, 10 in. (25 cm) in height, slip-cast and assembled porcelain (creamers from the KAHLA Matinee Collection), glaze, 2010.



Top: Rebecca MaederAbove: Rebecca Maeder’s Fairy Tale Crockery,

slip-cast and altered porcelain, 2010.

The ceramicist Eva Aebi (Switzerland) was clearly inspired by the abundance of molds and semi-finished tableware in the factory. She was lead by the beauty of small, simple shapes and their potential to become something totally different when assembled into larger structures. A creamer was the starting point of what turned out to be eight sculptures made of 900 single pieces taken from the produc-tion line. The objects may be perceived as jugs transformed into a poetical entity, and indeed it was that transformation that motivated her. But they also seem to embody her experience at the site on a metaphorical level; part of her work routine was devoted to coping with an inner emptiness in the face of an abundance of inspiration.

Danijela Pivasevic-Tenner’s (Serbia, Germany) installation Antiqui-ties of Pergamon shows a series of voids, negative spaces enclosed by porcelain that echo the shapes of the factory’s products. In a reversal of the usual process, she keeps the production remnants and discards the product itself after using it as a template. Reduced to a negative space, the dishes lose all their particularity and become mere circular areas. It is the material of the surface around them that gives evidence of their origin. In Boston Tea Party, a set of two classical teapots mounted on plates and a creamer are altered and overlaid by a flurry of blue. It is only towards the outer areas of that swirl that one can identify the straw décor Blau Saks that was traditionally stamped on KAHLA’s tableware.

Top: Danijela Pivasevic-TennerAbove: Danijela Pivasevic-Tenner’s Boston Tea Party, slip-cast and altered porcelain, glaze, luster, 2010.



Rebecca Maeder (Switzerland) focused on a metamorphosis of the perfect, repetitive industrial product into individual anecdotes. She felt that objects lose their value in bulk. By pinching the soft porcelain rims and spouts of cups and teapots she starts to dissolve the original shape to give them an organic quality and a new iden-tity. The dishes lose their functionality but gain a narrative content that is summed up in the title of the work: Fairy Tale Crockery. The pieces seduce the observer to question perfection—the functional simplicity of the original product versus the sculptural identity of the transformed object.

With Alim Pasht-Han’s (Russia/Germany) work Cuticula, it is the assembled object that shows the sculptural potential of the dish from which it originates. The artist felt challenged by the functional object and created a sculpture by stacking the forms. Pasht-Han seems to be interested in the formal visual beauty of the new, multi-part object, and its self-evident growth.

This form of natural complexity is contrasted by a different project. Cheap plastic packaging is transferred into the valuable ap-pearance of porcelain by taking molds of the remnants of a product that can’t quite be identified by its negative shell anymore. The porcelain casts of the packaging form ambiguous objects that are both familiar and alien at the same time.

The Taiwanese born artist Mei-Shiu Winde-Liu (Germany) in contrast did not deal with aesthetic or formal issues related to the factory/site. She was rather pushing to experience the limits of por-celain by handbuilding and assembling delicate formations that had to make it through the factory’s fast firing process. Her pieces all have a very ruminant appearance as each structure is made up of small, thinly pinched porcelain slabs and coils. The build up of tactile, intuitively crafted material is organized into abstract compositions that serve as a (picture) frame for the intimacy of the maker’s touch.

Narrating less through the tactility of the material than through drawings, Chloé Peytermann (Switzerland/ France) used plates as a storyboard for fragments of scenes and landscapes. In their sequence, they don’t tell a coherent story but are rather like snapshots taken from a moving train. The fine lines carved into the surface of plates form an imagery that is descriptive and decorative at the same time. She expresses her motivation as follows: “Bowls and plates are my daily work, and my thoughts constantly circle around how to make them special.” Being faced with a factory full of what she described as “potential future objects” made her feel like Chloé in Wonderland.

A completely different and unusual approach to decorating tableware is the installation Light Dinner by the Finnish designer Kirsti Taiviola. Three pendant lamps with a head of hand blown glass emit an individual pattern of light onto plates placed below them. It is a temporary decoration that can be turned off and a homage to the persuasiveness of simplicity. A second, contrasting project was the series Bijoux de Table. Porcelain was invented in Europe 300 years ago by alchemists who were actually trying to confect gold and indeed they had reproduced a very valuable material that was referred to as white gold. The historical nickname was an inspiring link for Taiviola as she assembled handles and other details from the production into large-scale necklaces designed to adorn the table.

Top: Alim Pasht-HanAbove: Alim Pasht-Han’s Cuticula, slip-cast and assembled porcelain, glaze, 2010.

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Top: Mei-Shiu Winde-LiuAbove: Mei-Shiu Winde-Liu’s Six Dishes (detail), each 17 in. (44 cm) in length, handbuilt porcelain, 2010.

Top: Chloé PeytermannAbove left: Chloé Peytermann’s Crepuscules, each piece 3 in. (7.5 cm) in diameter, black and white slip-cast porcelain lids, 2010.



Top: Kirsti Taiviola Above left: Kirsti Taiviola’s Bijoux de Table, slip-cast porcelain

vessels with chain made from slip-cast and assembled handles, 2010.Above right: Kirsti Taiviola’s Light Dinner, slip-cast porcelain light fixture, handmade glass lens, 2010.

Top: Eszter ImreMiddle: Eszter Imre’s jewelry, slip-cast, handbuilt and assembled porcelain, 2010.Above: Eszter Imre’s cups, slip-cast porcelain, applied KAHLA touch! velvet coating, 2010.



Eszter Imre’s (Hungary) jewelry is intended to bring delicate de-tails from the factory into everyday life. Cross sections of traditional crockery are released from their functional context and adapted to be rings and necklaces. It is less the actual possibility to wear them that is intriguing and more the ornamental quality and ambiguity of some of the details. With the most alluring ones, it takes a second glance to understand their origin as a cup or creamer. In a reverse strategy to the cross sections, she created objects by merging several jugs into ironic commodities. Though functional in principle, the result suggests a performance rather than an every day use.

Lisa Grahner’s (Germany/Netherlands) tea cups are strictly functional. Their only unusual detail is a vertical groove in the rim. Her explanation of this simple intervention is that “It is puzzling. It invites conversation and some people might even use it to prevent the tea bag’s tag from sliding into the tea.” In a coherent joint-venture of humor and functional exploration, the Underwater/Vase Objects are puzzling too. They focus on what is at least equally important in

contemporary design as functionality—the eye-catching invention that imports the innovative spirit of a wandering mind into peoples homes and daily life.

The designer Johanna Hitzler (Germany) came to KAHLA with a specific project. Used to working in a factory environment on her own straight forward production, it was not the opportunity to explore a site of industrial porcelain manufacturing that was important to her during the workshop but the time out from her own routine. As a result of 4 weeks of intense work, Marge and Quirin came to life. These are three-dimensional outlines of a poodle and a bull, reduced to their basic features cast in porcelain. Marge in particular has such an iconic appearance that she could be counted as a contemporary archetype.

In Anne Xiradakis’ (France) work, the design of crockery is closely related to actually cooking and serving food with it herself. In previous projects, she has worked in close collaboration with chefs to create custom-made tableware. Accordingly, one of her research projects in KAHLA was a series of plates and objects that can be used

Left: Lisa GrahnerBelow: Lisa Grahner’s tea cups, 5½ in. (14 cm) in height, slip-cast and cut porcelain, glazed and airbrushed, with applied KAHLA touch! velvet coating, 2010. Bottom: Lisa Grahner’s Underwater/Vase Objects, 23 in. (60 cm) in length (installed), slip-cast and assembled porcelain, magnets, 2010.



Left: Johanna HitzlerBelow: Johanna Hitzler’s Marge, 14 in. (36 cm) in height, slip-cast porcelain with gold luster, 2010.

Top: Anne Xiradakis’ One Object, One Series, slip-cast and altered porcelain, 2010.Above: Anne Xiradakis’ olive oil tasting set, slip-cast porcelain, 2010.Right: Anne Xiradakis



both to print patterns on food and to serve it. The project One Object, One Series is a declination of a cup. By simply dissecting the cup horizontally, each to a different height, she created 50 variations out of one mold; porcelain design reduced to its most basic function of serving.

At the opposite end of the factory’s potential, Mag-dalena Gazur (Poland) focused on the rejects—plates discarded from the production line. In Reconstruction it is simply the dialogue between the incomplete fragments of a plate and the gaps. By mounting the shards onto a red background the space between becomes the subject matter. The perception is drifting back and forth between the insignificance of a broken plate and its provocation to search for meaning in the coincidental cracks and gaps. In her second work, Dialogue with the Kiln, she decorated cracked plates with screen prints to deliberately restore a sense of value.

The difference in how the 12 participants made use of their time and the facility is well described by Johanna Hitzler as she outlines the artists versus the designers functioning during the workshop: “Designers prepared their project in detail, with draft drawings or the help of a computer before actually touching any material. They generally produced a smaller variety of forms, but what they did produce tended to be repeatable objects. It seems like they were involved with each object much longer.

“With the artists, it was more like an effervescence, with object inspired by object in an immediate flow —many related pieces came into being. It seemed like a perpetual process that wasn’t pointed towards a definite end, in that the first findings already were final results and not just tests.”

The objects shown at the Grassi Museum are each participant’s highlights from the many results. It is one of the features of the workshop that there are no limitations in material or firing, thus facilitating not just success but also failure—the two ends of experiment. Creativity needs the freedom of inefficiency a quality that has less room in a regular studio practice driven by the need of well-directed working. Whereas the findings of the participants could be discussed further, the overall success of a workshop like KAHLA Kreativ can not be measured by the artistic output only. It is also the interaction and incitement the workshop generates. The inspiration taken from each other may show in the future in the individual work of the designers and artists or the products of the manufac-turer. The experience may become part of a motivation or growing concept, almost impossible to trace back to its roots. Hence the exhibition at the Grassi Museum is the snapshot of a temporary encounter and possibly work in progression.

the author Johannes Nagel is a studio artist living in Halle/Saale, Germany.

Top: Magdalena GazurAbove: Magdalena Gazur’s Dialogue with the Kiln, (detail of one of the three plates in the series) 12 in. (31.5 cm) in diameter, porcelain plate, screen printed images, 2010.



Aesthetics and Environment,

Kilns And CArbon by Denise Joyal


One spring night in March, as I watched my husband get a head start on the summer by smoking pork ribs over wood coals, I con-templated the new studio and kiln I plan to build. I have fired a number of different types of kilns over the years and tend to favor the atmospheric effects of propane. However, I am also a recycler and a composter, and my house will be powered by solar energy in the near future. Would I be throwing my environmental con-cerns under the bus in order to achieve the aesthetic I desire? Am I alone in putting aesthetics first? Building a kiln is no small affair. I needed to be secure in my decision, so I started asking questions of various environmentally conscious potters.

Later that spring, I visited John Thies in Thurmont, Maryland, while he was firing his manabigama wood kiln. As he stoked the kiln, we discussed wood-fired pottery and its environmental im-pact. He told me about one of his teachers, who lived and worked in Colorado in the mid 1970’s. The potter used crank-case oil to fire five kilns as he watched the jets from a nearby Air Force base fly overhead. Some local environmentally conscious citizens challenged his firing methods, despite the potter’s estimate that ten years’ of firing produced the same amount of pollution as one flight of one jet flying over his house. Thies posited that perhaps people’s reactions to (or perceptions of ) the sometimes billowing smoke—compared to the “clean,” cloud-like appearance of con-trails in the sky—speak to how we approach environmentalism.

However, if this were the only factor, it would also suggest a tendency to favor the cleaner “looking” propane flame compared to the wood firing Thies prefers. In the environmental debate of today, what we see is less important than what we can calculate. Well-heeled environmentalists and even casual recyclers know a smoke cloud when they see it: but like the potter in Colorado who was, perhaps, ahead of his time, they also recognize a carbon footprint when they can’t. One of the primary standards used to measure impacts on air quality and greenhouse gas emissions, “the carbon footprint” is the amount of carbon released from the begin-ning to the end of any product, process, or event. This includes the mining, processing, transporting, delivery to the user, and the consumption of the fuel.

“Nothing really makes perfect sense in being more environ-mentally conscious in pottery. You can’t stop firing if you want to make wares.” John muses as he dons his gloves and stokes his kiln again. While he doesn’t discount the importance of environmental consciousness, his decision to fire with wood has more to do with the results he gets from his firings. The finish it creates, he says, is “the natural birth of the wood.”

Warren Frederick and Catherine White have an anagama and a gas kiln at their studio in Virginia. I called to ask them both ques-tions about fuel costs and consumption. We talked about carbon dioxide and the “carbon footprint” as the big sticking point in environmentalism these days. We also discussed aesthetics. They both agreed the reason they fire wares in an anagama kiln is because they love the surface. As artists, their aesthetic decisions were their primary concern.

John Britt’s teabowl, 4 in. (10 cm) in height, stoneware, fired with wood and vegetable oil in the Penland Noborigama. CO2 footprint: 0.63 lb.

Denise Joyal’s stoneware bowl, 7 in. (18 cm) in height, fired in Del Martin’s kiln to cone 10 reduction. CO2 footprint: 1.45 lb.

Del Martin’s large bowl, 16 in. (41 cm) in diameter, propane fired. CO2 footprint: 13.28 lb.



PottertyPical electric Firer Pete Pinnell Del Martin

catherine WhiteWarren FreDerick alison severance John Britt John thies kirke Martin kristin Muller

kiln top-loading barrel Geil DB-12 fiber-lined car kiln propane kiln catenary arch cross draft2 chamber norborigama

3 chambernorborigama anagama

anagama w/ noborigama chamber

Fuel electricity natural gas propane propane wood wood & vegetable oil wood wood wood

cubic Feet 7 12 50 36 45 60 300 220 (estimate) 220 (estimate)

Fuel consumed 87 KwH24 Therms(.29 gallons) 50 gallons 50 gallons 1.75 cords

0.2 cords 25 gal. used veg oil 1.5 cords 3 cords 10.5 cords

if Wood, What type Hardwood Poplar Oak Hardwood mostly oak80% pine20% oak, maple, ash

Firing cone 10 10 10 9 11 10 12 12 front, 9-10 back 11-12 front, 9-10 back

Firing length 12 hr firing 12 hr firing 12 hr firing 12 hr firing 12 (plus 6 hr pre-heat) 18–24 hrs 16-18 hours 3.5 days 8.5 days average

1300 wood 156.75 bio-fuel

total co2 output 116.6 lb 289.44 lb 640.5 lb 640.5 lb 11375 lb 1456.75 lb 9750 lb 19500 lb 68250 lb

co2 per cubic Foot 16.66 lb 24.12 lb 12.81 lb 17.8 lb 252.7 lb 24.28 lb 32.5 lb 88.63 lb 310.23 lb

assuming Wood is 75% neutral n/a n/a n/a n/a 63.19 lb 8.03 lb 8.125 lb 22.16 lb 77.76 lb

Fuel cost $.0827/KwH$1.25/therm($105/gallon) $1.60/gallon $3.60/gallon $30/bundle from sawmill

free lumber scrapsfree oil $75/cord split

$52/cord for unsplit logs $15/cord for end cuts free

cost to Fire entire kiln $7 $30 $80 $129.60 $90 $0 $112.50 $120 $0

cost per cubic Foot $1.03 $2.50 $1.60 $3.60 $0 $0.38 $0.54 $0

A CArbon CompArison ACross A Full Complement oF Kilns

John Britt, author of The Complete Guide to High-Fire Glazes: Glazing & Firing at Cone 10, is a potter who puts significant weight behind environmental concerns. In an article titled “Firing with Vegetable Oil,” Britt challenges potters to be more environmentally aware and to consider their fuel choices. He cites Sam Clarkson’s transformation of the Penland two-chamber noborigama kiln to a wood- and used-vegetable-oil-fired kiln from what was a wood- and diesel-fuel kiln. Britt noted that “Clarkson wanted to minimize both the cost and the detrimental effects of burning hydrocarbons while pursuing his passion for high-fired pottery.” Britt also told me he felt any environmental argument that wood was 100% carbon neutral was “too pie-in-the-sky” and that I should look into that as well.

Perhaps less clay-focused sources would help answer my di-lemma. A recent National Geographic article touting the virtues of wood as an energy source stated, “Wood is 100% carbon neutral if the trees are replaced, because burned or decomposing, wood still

releases the same amount of carbon it consumed during its lifetime back into the atmosphere.” However, John Gulland, co-founder of www.woodheat.org believes that wood is 75% carbon neutral. Gulland notes that only some of the CO2 from decomposition actually enters the atmosphere. “On a scale of carbon neutrality, (burning wood) is better than burning a fossil fuel, but it’s not the same as wind or solar.” For the purposes of this article, we need to assume that some amount of the wood used in a firing may not be completely burnt, in which case the carbon footprint may be slightly reduced, at least in the near term. Mark W. Anderson, professor of ecology at he University of Maine, suggests that “these biofuels (wood) contain ‘biogenic’ carbon. Under international greenhouse gas accounting methods developed by the Intergov-ernmental Panel on Climate Change (IPCC), biogenic carbon is part of the natural carbon balance and it will not add to atmo-spheric concentrations of carbon dioxide.” That said, you should still count these carbon emissions if you want to be honest with


http://www.woodheat.org


PottertyPical electric Firer Pete Pinnell Del Martin

catherine WhiteWarren FreDerick alison severance John Britt John thies kirke Martin kristin Muller

kiln top-loading barrel Geil DB-12 fiber-lined car kiln propane kiln catenary arch cross draft2 chamber norborigama

3 chambernorborigama anagama

anagama w/ noborigama chamber

Fuel electricity natural gas propane propane wood wood & vegetable oil wood wood wood

cubic Feet 7 12 50 36 45 60 300 220 (estimate) 220 (estimate)

Fuel consumed 87 KwH24 Therms(.29 gallons) 50 gallons 50 gallons 1.75 cords

0.2 cords 25 gal. used veg oil 1.5 cords 3 cords 10.5 cords

if Wood, What type Hardwood Poplar Oak Hardwood mostly oak80% pine20% oak, maple, ash

Firing cone 10 10 10 9 11 10 12 12 front, 9-10 back 11-12 front, 9-10 back

Firing length 12 hr firing 12 hr firing 12 hr firing 12 hr firing 12 (plus 6 hr pre-heat) 18–24 hrs 16-18 hours 3.5 days 8.5 days average

1300 wood 156.75 bio-fuel

total co2 output 116.6 lb 289.44 lb 640.5 lb 640.5 lb 11375 lb 1456.75 lb 9750 lb 19500 lb 68250 lb

co2 per cubic Foot 16.66 lb 24.12 lb 12.81 lb 17.8 lb 252.7 lb 24.28 lb 32.5 lb 88.63 lb 310.23 lb

assuming Wood is 75% neutral n/a n/a n/a n/a 63.19 lb 8.03 lb 8.125 lb 22.16 lb 77.76 lb

Fuel cost $.0827/KwH$1.25/therm($105/gallon) $1.60/gallon $3.60/gallon $30/bundle from sawmill

free lumber scrapsfree oil $75/cord split

$52/cord for unsplit logs $15/cord for end cuts free

cost to Fire entire kiln $7 $30 $80 $129.60 $90 $0 $112.50 $120 $0

cost per cubic Foot $1.03 $2.50 $1.60 $3.60 $0 $0.38 $0.54 $0

A CArbon CompArison ACross A Full Complement oF Kilns

yourself about your impact on the environment. The simple fact is that once carbon dioxide goes into the atmosphere, its effects on climate systems are the same wherever it comes from, fossil fuels or biomass. By logic employed by the Department of Energy here, you could consider fossil fuels to be “biogenic” and part of the natural carbon cycle, you just need to assume a much longer time scale for what you call “natural.” The real question is not where your carbon emissions come from in terms of fuel, rather it is one of how large your emissions footprint is from all sources.

Anderson recently published Reducing Your Footprint: A Hand-book for Reducing Household Carbon Dioxide Emissions. His data includes the average per pound of CO2 output generated fuel type includes propane, wood, natural gas, and electricity (averaged from all production sources including the CO2 from production and delivery of each fuel). Note: Your carbon output for electric-ity will vary from this average depending on the specific way in which it was produced. Informed by these numbers, I was able

to draw some specific conclusions regarding the CO2 output of a variety of kiln types.

In general, I knew that the larger a kiln is, the more efficient it is (primarily because of residual heat and the amount of thermal mass), so I searched for a way to compare them. I felt the most logical criteria for comparing kilns of different sizes and types was to determine the pounds of CO2 output per cubic foot of stacking space. This would put every kiln on equal footing. I factored in fuel types, the amount of fuel used on average and then divided by the cubic feet of each kiln. I also calculated the cost per cubic foot to fire these kilns, a reasonable factor to consider when deciding what kiln to build. I used both the 100% and 75% carbon neutral assumptions for wood. At the same time, it is important to note that, while wood is individually renew-able in this way, on average wood-firing introduces more carbon per cubic foot into the atmosphere than an electric kiln.

The most surprising result however is, using 75% carbon neutrality as an assumption, the noborigama kilns have half



the carbon foot print per cubic foot of stacking space as a standard 7-cubic-foot electric kiln. Certainly this favors the norborigama in terms of both environmental friendliness and aesthetics if wood-fired surfaces are the desired effect, especially if the wood used to fire is replaced by planting new trees. The primary factor here is fuel and kiln style. Single-chambered wood kilns introduce nearly 2 to 3 times the CO2 output per cubic foot than the electric kiln I compared, while multiple chambered wood kilns introduced between 0.5 and 2 times the CO2 as the electric kiln.

Natural gas and propane kilns offer alternative environ-ments to both wood and electricity. White and Frederick fire their propane kiln to cone 9 on average 8–10 times per year with a nearly identical CO2 output per cubic foot as a standard 7-cubic-foot electric kiln. The data used for this article assumes complete combustion of fuel, so if reduction is a desired ef-fect, the additional environmental impact will be based on the degree to which oxygen for the combustion of fuel is limited in favor of a reduced environment in the kiln.

My friend and mentor, Del Martin, has been a successful production potter for over 35 years. In his Sharpsburg, Mary-land, studio, he fires a 50-cubic-foot propane kiln to cone 10 once a month. When asked if he felt propane was environmen-

Allison Severance’s teabowl 4½ in. (11 cm) in height, fired to cone 12 and salted in a wood-fired cross-draft kiln. CO2 footprint: 8.06 lb. Photo: John Keith.

Warren Frederick’s Dot Plate, 11½ in. (29 cm) square, propane fired. CO2 footprint: 1.36 lb.

John Thies’ porcelain bottle, 9 in. (23 cm) in height, fired to cone 12 in a manabigama. CO2 footprint: 9.03 lb.



tally sensitive, Martin suggested that nothing truly is. “If a potter really wanted to be 100% environmentally friendly, he would sit in an empty room and meditate on making pots rather than actually making them. They would turn out exactly as he imagined they would.”

However Duchampian a notion this may be, Martin did conclude that “most potters actually do want to make pottery,” so choosing a fuel based on availability, cost, and aesthetics is a more reasonable solution. Just because there is obvious smoke or flame doesn’t mean your fuel is worse for the environment. It just may be that you’re using a fuel that is closer to the carbon source.

Based on my findings, it appears that multi-chamber kilns are more efficient than single chamber kilns be-cause they take better advantage of residual heat, and they require the fuel to travel a more circuitous route to the flue, resulting in more complete combustion. Propane kilns can be more efficient than the average electric kiln, but this depends on proper management of the atmosphere in the kiln. Single chamber wood kilns tend to be less efficient than propane, electric or multi-chambered wood kilns.

Knowing this, I feel strongly that I can justify using propane. I enjoy the process, I love the results, and even if I want moderate reduction, I can still be at least as environmentally friendly as I would be using my electric kiln. Now that I no longer harbor guilt in the face of my aesthetic, I need to order some bricks.

the author Denise Joyal lives in Smithsburg, Maryland, where she owns and operates Kiln Joy Ceramics.

CalCulating Your Carbon usage

1. The first thing you need to know is what kind of fuel you are using (easy) and how much Co2 per unit it produces upon combustion:

Fuel/Units Pounds of CO2 Per Unit*

Electricity/kwh 1.3

Gasoline/gal 19.6

#2 oil/gal 22.4

Propane/gal 12.8

Wood/cord 6500.0

Kerosene/gal 21.5

natural Gas/gal 12.1

*based on the national Us average for each fuel type

2. The next thing you need to know is how much fuel you use in a firing:

• Electric kiln manufacturers can tell you how to calculate your electricity (kwh) usage based on how long your kiln is fired on a given setting (usually a calculation based on the number of hours on low, medium, and high).

• For gas or liquid fuel, you will either need a gauge on your kiln’s fuel supply or you will need to calculate the difference between your fuel usage on the day(s) when you fire and your “normal” usage (total firing day usage - normal day usage = single firing usage). You may need to perform this calculation several times and take an average in order to be confident in the result.

• One cord of wood is the amount of wood that, when tightly stacked, will fill a space that is 4 × 4 × 8 feet (128 cubic feet).

From here, it’s a simple matter of multiplying the units of fuel used by the Co2 per unit to arrive at your Co2 output per firing.

3. okay, so what if you want to know the Co2 output for a single piece fired in your kiln? You will need to know how many cubic feet of space your kiln contains, and how many cubic feet of space a given piece occupies. You can then use these figures to calculate the Co2 usage per cubic foot in your kiln and apply that to each piece.

• Cubic feet of kiln = length × width × height measured in feet.

• Cubic feet of ware = (length × width × height measured in inches) × 0.000578704. [1 cubic inch = 0.000578703704 cubic feet.] For round pieces, you should calculate the cube or box it fits into, rather than the exact space it occupies, since the empty space around the pieces is “fired” right along with your ware.

• CO2 per cubic foot = fuel used per firing / cubic feet of kiln

• CO2 per piece = Co2 per cubic foot × cubic feet of piece.Catherine White’s Inauguration Text Plate, 11 in. (28 cm) in diameter, propane fired. CO2 footprint: 1.25 lb.



Program Details• Years to complete/graduation requirements: 3 year program

• Applicants/year: 20–30

• Positions available/year: 2

• Teaching Assistantships and/or Fellowships available:

–Departmental Assistantships (variable)

–Dorothy McCrae Graduate Scholarship

• Cost (tuition and fees): $6,616 (in-state)–$17,794 (out-of-state)

Facilities Highlights

• clay storage room, glaze storage and mixing room with spay booth room

• large kiln room with four gas kilns, 15 Olympic electric kilns including a large oval kiln and several small tests kilns

• outdoor kiln rooms with soda and raku areas• graduate kiln room with 5 electric kilns• fork lift and pallet jacks for large work• 15,000 sq. ft. new ceramic studio completed in 2010• foyer with exhibition space• state of the art ventilation system and compressed air• 30 electric wheels, 10 kick wheels• 4 clay mixers• slab roller and extruder• computer room and slide room• graduate studios are available 24 hours a day. Two large

rooms divided into approximately 14 × 14 ft work spaces.

mfa factor University of Georgia, Athens

Sunkoo Yuh, Associate Professor, Inspiration JP, 23 in. (58 cm) in height, porcelain, handbuilt, glazed, gas oxidation, fired to cone 10, 2003.

Ted Saupe, Associate Professor, Tangled Up In, 30 in. (76 cm) in height, handbuilt stoneware, black stains, oxides, fired with salt to cone 3, 2008.



1. Clara Hoag’s His Ambivalence Was Like A Plague, 341/2 in. (33 cm) in height, coil- and slab-built earthenware, engobe, copper wash, slip, fired to cone 04, glaze, glue, metal, 2010.

2. Peter James McCarron’s Two Too Many, 13 in. (33 cm) in height, mold made, porcelain, glaze, salt fired to cone 10, cast iron, 2010.

3. Taylor Robenalt’s Deep Blue Light, 10 in. (25 cm) of wearable ceramic part, porcelain, LED light, fabric, epoxy, mixed media, 2010.

4. Robin Reif’s The Year I Learned to Ride a Bike, 14 in. (36 cm) in height, thrown and handbuilt porcelain, glaze, fired to cone 6 in oxidation, decals, 2010.

5. Kyungmin Park’s Introduction, 48 in. (1.2 m) in height, handbuilt, underglazes, glazes, fired to cone 04, mixed media and resins, 2009.

5

1 2

4

3



Child’s Play? by Jarma R. Jones

There is no rubber ball to accompany the large ceramic “jacks” in Raymond Gonzalez’ Collectible VII. These ceramic forms, coated in slick black glaze and confined by red leather jackets, are not to be snatched up before the ball bounces to end your turn. In addition to the innocent youthful game, this work evokes images of adult play, with its smooth surfaces and leather. While Gon-zalez’ ceramic sculptures allude to toys popularized in the 1950s and 1960s, such as metal jacks, plastic pop beads, and miniature

sputniks, their fragile composition and delicate, jewel-like exteri-ors belie their usefulness as toys. The incorporation of Swarovski crystals, leather, monofilament, and automotive paint into his works provides a contrast to the effects of nostalgia.

Gonzalez finds inspiration in economic and social elements popularized after World War II. The most prevalent reflection of mid-century influence is the concept of mass production, with regard to homes, automobiles, toys, and other consumer

The Sculptureof Raymond Gonzalez

Collectible VII, 18 in. (46 cm) in height, cast and constructed earthenware, glaze, leather, lacing, brass grommets, 2006.



goods. Gonzalez chose two main forms that he reproduces via slip casting en masse for the Collectibles series. He makes each one unique through variations in glaze and application of non-ceramic media. Rather than creating identical pieces and reflect-ing on consumerism, he uses the reproduced form to subvert an association with mass production by creating distinct pieces out of the similar forms.

The Collectibles series demonstrates a shift in Gonzalez’ work from larger, wall-mounted sculptures. His earlier “toy” sculptures played with the concept of mass-production more overtly, since the different components were simply glazed and could be interlocked with one another in a variety of color schemes and patterns. This

Right: Collectible X (Miami), 12 in. (30 cm) in height, cast and constructed earthenware, glaze, rubber grommet, flocking, 2009.

Below: Collectible XV, 6 in. (15 cm) in height, cast and constructed earthenware, glaze, rubber grommet, flocking, Swarovski crystals.



earlier series also made a stronger connection with early childhood toys and the innate association between child and adult play. In contrast to his earlier work, Collectibles are carefully arranged groupings of forms. Their colors and textures continue to evoke the idea of play, but the placement of two or more pieces adjacent to one another, but not connected, creates an unfulfilled desire to play with them, to fit them together and pull them apart, to fall into youthful play. Desire is a strong element in Gonzalez’ artwork; it evokes desires of interaction, of youthfulness, and of the unattainable.

Gonzalez also looks to Ken Price’s surf-inspired sculptures for movement and form, to the bright, bold color palettes of Price, Adrian Saxe, Paul Henry Ramirez, Nora Fok, and also to nature, classic car designs, candy, and graffiti art. Gonzalez, incorporates non-ceramic media to heighten the tactility and hyper-sensuality of his pieces. The incorporation of monofilament in some of Gon-

zalez’ pieces, such as Collectible XVI, provides an anthropomorphic quality to the piece similar to the addition of hair in works by Jason Briggs. There is an inherent desire to touch the monofilament as one would want to feel the hair on Briggs sculptures. Gonzalez’ work fits within this group of artists who use ceramic art and mixed media to explore sensuality of play. While he uses clay as his foundation, the strength of the work is heightened with the incorporation of new media.

Gonzalez’ color choices reflect his aesthetic and the influence of his own memory and associations within the pieces. For example, he is drawn to classic car color schemes that exude a slick and powerful sexiness, or the bold and contrasting colors of his late 1970s and early 1980s youth. The classic car imagery of bright, bold colors, classy sheen, and chrome are reflected in a number of his works. The pink surface and white gold luster of Collectible XIII is further reinforced by the plain black rubber grommets. It

Collectible XIII, 12 in. (30 cm) in height, cast and constructed earthenware, glaze, white gold luster, Swarovski crystals, flocking, rubber grommets, 2009.



becomes easy to imagine running fingers along its cool smooth surface as you would a pristine paint job on a classic car.

In contrast, Collectible XVII gives the viewer a subtle reference to the space race of the mid-20th century with its shining LED lights and form that allude to space satellites and more complex technologies. However, the yellow and gold adorning this piece also recall the popular disco era of the 1970s and are jewel-like in their appearance and construction.

Collectible XV creates a duality in its refer-ences to wealth and industry. A matte black glaze covers the single piece and is accented by the bling of the black Swarovski crystals. This combination creates a dark sexiness to the work, and the deep richness contrasts with the boldness of Collectible X (Miami). Bright yellow enhances the slipped stippling on the piece. You can imagine caressing it with your hand as you admire the piece from afar. This piece is loud and bold; it is Miami. Whether you are drawn to the glamour of wealth implied in Collectible XV or the live-liness of a destination hotspot exuded from Miami, each person can find significance with this collection of pieces based on simple forms, exotic surfaces, and memories.

The Collectibles provide an outlet for our imagination. Gonzalez’ work allows us to delve into the communal past of childhood, while providing unique individual associa-tions with the pieces. The playful works are now represented by the Mindy Solomon Gallery in St. Petersburg, Florida and were on view in the gallery’s “Art Spaces,” exhibi-tion in 2010.

Raymond Gonzalez lives with his Boston Ter-rier, Boomer, in Gainsville, Florida where he maintains an active studio and works at the University of Florida. His work is represented by the Mindy Solomon Gallery. To learn more, please visit www.gonzalezstudio.com.

Jarma Jones writes from her home near Sacra-mento, California. To learn more, please visit www.jonesvorhauer.com.

Top: Burning the tip of a piece of monofilament. Middle: Adding pieces of monofilament to simmering dye solution. Bottom: Laying out the dyed pieces.

Mo

nth

ly

Meth

od

s

dying to apply

Raymond Gonzalez applies a variety of media to his ceramic-based forms. The most intriguing is his incorporation of dyed monofilament. Monofilament comes in various weights and sizes, from fishing line in heavier weights down to thinner strands found among sewing materials. Gonzalez uses a multi-step process of dying and applying the monofilament to his glazed pieces. First he heats the ends to create smooth, slightly balled tips. He dyes the monofilament using WashFast Acid Dye, which is dissolved into solution with boiling water. Gonzalez submerges the monofilament and it simmers in the dye solution for 30 minutes. Afterward he removes the monofilament with tongs and rinses it. The strength of the color is determined by the concentration of dye; Gonzalez typically uses a strong concentration of ½ teaspoon of dye to two cups of boiling water. This process needs to be done in a well ventilated area and precautions should be taken to prevent dying of material other than the monofilament. After the monofilament has been dyed and dried, he then adheres the strands into small holes made in the ceramic forms. The brightly dyed monofilament adds yet another element of movement to his playful pieces.

Above: Gonzalez inserting monofilament pieces into Collectible XVI.

(Monthly Methods IMages taken by enrIque g. Vargas.)

http://www.gonzalezstudio.com

http://www.jonesvorhauer.com


call for entries deadlines for exhibitions, fairs, and festivalsSubmit online at www.ceramicsmonthly.org

international exhibitions

February 1 entry deadlineOklahoma, Stillwater “Collections of One:

Solo Portfolio Exhibits” (April 1–July 1) open to international artists. Juried from digital. Fee: $30 for twelve entries; $40 for twenty entries. Juror: Rick Bartholomew. Contact DHM Digital Gallery, Oklahoma State University, 431 HES, DHM, Still-water, OK 74078; [email protected]; www.ches.okstate.edu/dhm/gallery.

February 5 entry deadlineIllinois, Chicago “22nd Annual Teapot Show”

(April 3–May 15) open to teapots. Juried from

digital. Fee: $30. Contact Joan Houlehen, A. Hou-berbocken, Inc., PO Box 196, Cudahy, WI 53110; [email protected]; 414-481-4000.

February 11 entry deadlineVirginia, Alexandria “Nest” (April 2–May 15)

open to work from all media responding to the theme of nests. Juried from digital. Juror: Gretchen Shermerhorn. Contact Target Gallery, Torpedo Factory Art Center, 105 N. Union St., Alexandria, VA 22314; [email protected]; [email protected]; 703-838-4565.

February 14 entry deadlineFlorida, Tallahassee “The 26th Annual Tallahas-

see International Competition” (August 21–Sep-

tember 24) open to US and international artists over the age of 18. Juried from digital or slides. Fee: $20 for two entries. Contact Jean Young, Florida State University, Museum of Fine Arts, 530 W. Call St., 250 Fine Arts Bldg., Tallahassee, FL 32306-1140; [email protected]; www.mofa.fsu.edu/pages/participate/tallahasseeinternational.shtml; 850-644-3906.

February 15 entry deadlineFlorida, Tampa “Cafecito: A Juried Exhibition

of Espresso Cups” (March 27–April 22) open to espresso, demitasse, and small cups as well as saucer sets. Juried from digital. Fee: $25. Juror: McKenzie Smith. Contact Trevor Dunn, Café Hey, Art Dept., 4000 Old Main Hill, Logan, UT 84322; [email protected]; www.cafecito2011.com; 435-797-3566.

February 15 entry deadlineNew York, New York “The Charlatan Ink Art

Prize” open to all media. Juried from digital. Contact Charlatan Ink, 1133 Broadway, Ste. 708, New York, NY 10010; [email protected]; www.charlatanink.com; 212-330-8214.

February 18 entry deadlineWashington, Bellingham “Big Rock Garden Park

Sculpture Exhibition 2011” (May 8–September 30) open to sculptural work suited for outdoor instal-lation. Juried from digital. Contact Bellingham Parks and Recreation Office, 3424 Meridian St., Bellingham, WA 98225; www.cob.org/services/recreation/parks-trails/bigrock.aspx; 360-778-7100.

February 28 entry deadlineNew York, Hudson “Arte Natura” (May 5–28)

open to work from all media responding to the theme of nature. Juried from digital and slides. Fee: $35 for up to four entries. Contact SlowArt Productions, Arte Natura, 123 Warren St., Hudson, NY 12534; [email protected]; www.slowart.com.

March 1 entry deadlinePennsylvania, Pittsburgh “Humor in Craft”

open to all media. Juried from digital. Con-tact Crafthaus, 461 Cochran Rd. #103, Pitts-burgh, PA 15228; [email protected]; http://crafthaus.ning.com.

March 18 entry deadlineSpain, Toledo “5th International Biennial of

Ceramics: Ciudad de Talavera” (April 5–25) open to ceramic work. Juried from digital or slides. Contact Organismo Autónomo Local de Cultura de Talavera, Plaza del Pan nº 5, 45600 Talavera de la Reina, Toledo, Spain; [email protected]; http://cultura.talavera.org.

March 23 entry deadlineSpain, L’Alcora “31st Concurs Internacional

de Ceràmica l’Alcora 2011” (June 24–September 11) open to ceramic work. Juried from digital. Contact Museu de Ceràmica de L’Alcora, Teixidors, 5, L’Alcora, E-12110 Spain; [email protected]; www.lalcora.es; 34 964 362 368.

March 31 entry deadlineHungary, Kecskemét “3rd International Trien-

nial of Silicate Arts” (August 2011) open to work no larger than 50 kilograms in weight or 1 meter in any direction. Juried from digital. Fee: $55.73 for one entry. Contact International Triennial of Silicate Arts, International Ceramics Studio, Kapolna u.11, Kecskemét, Bacs-Kiskun H-6000 Hungary; [email protected]; www.kitsa.org.

April 15 entry deadlineTaiwan, PR China, Yingge “The 2012 Taiwan

Ceramics Biennale” (July–November 2012) open to ceramic work no larger than 150 cm. Juried from digital or slides. No fee. Contact Ms. Chiu, Taipei County Yingge Ceramics Museum, 200 Wunhua

Potter’s Choice Cone 5/6Ancient Jasper PC-53 over Deep Firebrick PC-59

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http://www.ches.okstate.edu/dhm/gallery





http://www.mofa.fsu


http://www.cafecito2011.com


http://www.charlatanink.com

http://www.cob.org/services


http://www.slowart.com


http://crafthaus.ning.com


http://cultura.talavera.org


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22–June 27) open to two dimensional work no larger than 50 in. and sculptural work no larger than 72 in. in any dimension. Juried from digital. Fee: $30 for five entries. Juror: Andrew Wodzianski. Contact Susan Bernard, d’ART Center, 208 E. Main St., Norfolk, VA 23510; [email protected]; www.d-artcenter.org; 757-625-4211.

March 18 entry deadlineMissouri, Kansas City “KC Clay Guild Teabowl

National 2011” (June 6–25) open to teabowls. Juried from digital. Fee: $30 for three entries. Juror: Steven Hill. Contact KC Clay Guild, 200 W. 74th St., Kansas City, MO 64114; [email protected]; www.kcclayguild.org; 816-363-1373.

March 25 entry deadlineMissouri, St. Louis “Identify Yourself: National

Juried and Invitational Exhibition” (May 20–July 3) open to work portraying an aspect of the artist’s identity. Juried from digital. Fee: $35 for two entries. Juror: Duane Reed. Contact Stephanie Kirkland, Craft Alliance, Delmar Loop, 6640 Delmar Blvd., St. Louis, MO 63130; [email protected]; www.craftalliance.org; 314-725-1177.

May 1 entry deadlineNew Jersey, Surf City “Jersey Shore Clay Na-

tional 2011” (June 25–July 25) open to functional and sculptural work. Juried from digital. Fee: $25. Juror: Heather Mae Erickson. Contact Matt Burton,

Rd., Yingge, Taipei 23942 Taiwan, PR China; [email protected]; www.ceramics.tpc.gov.tw; 886 2 8677 2727 4104.

June 1 entry deadlineTurkey, Eskisehir “2nd International Sympo-

sium of Overglaze-Underglaze Paintings 2011” (June 20–July 1). Juried from digital. No fee for up to three entries. Contact S. Sibel Sevim, Anadolu University, Ceramics Department, 26470 Tepebasi, Eskisehir, 26470 Turkey; [email protected]; [email protected]; http://seramik.anadolu.edu.tr; 90 222 335 1290.

June 15 entry deadlineAustria, Kapfenberg “7th International Kapfen-

berg Biannual of Ceramics” (September 30–Novem-ber 6). Juried from digital. No fee for three entries. Contact KulturZentrum Kapfenberg, Mürzgasse 3, Kapfenberg, A – 8605 Austria; [email protected]; www.keramik-biennale-kapfenberg.at.

united states exhibitionsFebruary 1 entry deadline

Texas, Laredo “Call for Solo Exhibition Proposals for 2011–2012 Exhibition Schedule” open to all media. Juried from digital. No fee. Jurors: David Bogus and Nicole Foran. Contact David Bogus, Texas A&M International University, 5201 University Blvd., Laredo, TX 78041; [email protected]; www.tamiu.edu/coas/fpa; 956-326-3079.

February 1 entry deadlineVirginia, Alexandria “Call for Exhibition Proposals

for Fall Exhibition” (August 20–September 25) open to North American artists working in all visual media. Juried from digital. Jurors: Jacqueline Ionita, Danielle O’Steen, and Tim Tate. Contact Target Gallery, Tor-pedo Factory Art Center, 105 N. Union St., Alexan-dria, VA 22314; [email protected]; [email protected]; 703-838-4565.

February 2 entry deadlineNebraska, Lincoln “National Juried Cup Exhibi-

tion” (March 4–April 30) open to ceramic work. Juried from digital. Fee: $20 for three entries. Juror: Julia Galloway. Contact Leach Vendetti, Lux Center for the Arts, 2601 N. 48th St., Lincoln, NE 68504; [email protected]; www.luxcenter.org; 402-465-2529.

February 4 entry deadlineCalifornia, Lincoln “Feats of Clay XXIV” (April

23–May 29) open to work comprised of at least 70% clay. Juried from digital or slides. Fee: $30 for three entries; $25 for two entries; $20 for one entry. Contact Claudia Renati, Executive Director, Lincoln Arts & Culture Foundation, 580 6th St., Lincoln, CA 95648; [email protected]; www.lincolnarts.org; 916-645-9713.

February 5 entry deadlineNew York, Rochester “College Clay Collective”

(April 8–28) open to student work. Juried from digital. Fee: $20 for three entries, $15 for one entry. Juror: Kathy King. Contact Kate Whorton, Genesee Pottery, 713 Monroe Ave., Rochester, NY 14607; [email protected]; www.geneseearts.org; 585-271-5183.

February 21 entry deadlineNew York, New York “Yunomi: The Other Tea

Vessel” (July 14–August 11) open ceramic work by artists over the age 18. Juried from digital. Fee: $35 for three entries. Juror: Sam Chung. Contact Adam Welch, Greenwich House Pottery, 16 Jones St., New York, NY 10014; [email protected]; www.greenwichhouse.org; 212-242-4106.

March 7 entry deadlineVirginia, Norfolk “Works on Paper and Clay:

21st Annual Mid-Atlantic Art Exhibition” (April

10-year warranty10-year warranty

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http://www.d-artcenter.org


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http://www.ceramics.tpc.gov.tw




http://seramik.anadolu.edu.tr


http://www.keramik-biennale-kapfenberg.at


http://www.tamiu.edu/coas/fpa




http://www.luxcenter.org


http://www.lincolnarts.org


http://www.geneseearts.org


http://www.greenwichhouse.org



call for entriesm.t. burton gallery, 1819 N. Long Beach Blvd., Surf City, NJ 08008; [email protected]; www.mtburtongallery.com; 609-494-0006.

May 4 entry deadlineVirginia, Lorton “Workhouse Clay National

2011” (August 3–28) open to functional or sculp-tural ceramic work. Juried from digital. Fee: $30 for three entries. Juror: Ellen Shankin. Contact Dale Marhanka, Workhouse Arts Center, 9601 Ox Rd., Lorton, VA 22079; [email protected]; www.workhousearts.org; 703-584-2982.

August 6 entry deadlineOhio, Nelsonville “Starbrick Clay National Cup

Show 2011” (September 25–October 25) open to

drinking vessels including cups, goblets, mugs, tea bowls, teacups, and tumblers. Juried from digital. Fee: $20 for three entries; $30 for five entries. Juror: Kristen Kieffer. Contact Ann Judy, Starbrick Gallery, 21 W. Columbus St., Nelsonville, OH 45764; [email protected]; www.starbrick.com; 740-753-1011.

regional exhibitionsFebruary 4 entry deadline

Florida, Niceville “19th Southeast Regional Juried Fine Arts Exhibition” (May 1–June 2) open to South Eastern US artists working in all fine art media. Juried from digital. Fee: $35 for three en-

tries. Juror: P. Hope Brannon. Contact Marcy Eady, Arts and Design Society, 17 1st St. SE, Fort Walton Beach, FL 32548; [email protected]; www.artsdesignsociety.com; 850-585-4967.

February 14 entry deadlineIndiana, Indianapolis “Clayfest 2011” (April

4–29) open to IN artists. Juried from digital. Fee: $20 for three entries. Juror: Macy Dorf. Contact Kather-ine Fries, University of Indianapolis, 1400 E. Hanna Ave., Indianapolis, IN 46227; [email protected]; www.art.uindy.edu; 317-788-3253.

April 15 entry deadlineRhode Island, Kingston “38th Earthworks: Open

Juried Clay Annual” (April 21–May 14) open to New England artists. Juried from actual work. Fee: $15 per entry, up to five entries. Juror: Steven Branfman. Contact Rhonda Shumaker, South County Art As-sociation, 2587 Kingstown Rd., Kingston, RI 02881; [email protected]; www.southcountyart.org; 401-783-2195.

May 16 entry deadlineColorado, La Veta “Clay Continuum 6” (July

19–August 20) open to CO, NM, and WY clay art-ists. Juried from digital. Fee: $25 for five entries; students $20. Juror: Nancy Utterback. Contact Nicole Copel, Spanish Peaks Arts Council, PO Box 713, La Veta, CO 81055; [email protected]; www.spanishpeaksarts.org; 719-742-0213.

fairs and festivalsFebruary 21 entry deadline

Canada, Montreal “Festival International Montréal en Arts” (December 1, 2010–February 21) open to artists working in all fine art media. Juried from digital or slides. Fee: $25. Jurors: René Binette, Claire Crombez, Jean Fortin, and Valérie Racine. Contact Marie C. Scholl, FIMA, 576 Sainte-Catherine St. E., Office 211, Montreal, Quebec, Canada H2L3E8; [email protected]; www.festivaldesarts.org; 514-522-4646.

February 28 entry deadlineKansas, Salina “Four Rivers Craft Show” (June

10–12) open to hand made traditional and con-temporary craft and folk art. Juried from digital. Fee: $30. Contact Karla Prickett, Four Rivers Craft Show, Smokey Hill River Festival, PO Box 2181, Salina, KS 67402-2181; [email protected]; www.riverfestival.com; 785-309-5770.

February 28 entry deadlinePennsylvania, Lancaster “Long’s Park Art and

Craft Festival” (September 2–6) open to all craft media. Juried from digital. Fee: $35. Contact Sue Savage, Long’s Park Amphitheater Founda-tion, PO Box 1553, Lancaster, PA 17608-1553; [email protected]; www.longspark.org; 717-735-8883.

March 1 entry deadlineTennessee, Townsend “Smoky Mountain

Pottery Festival” (June 3–4) open to pottery. Juried from digital or slides. Fee: $110. Con-tact Jeanie Hilten, Townsend Visitors Center, 7906 E. Lamar Alexander Pkwy., Townsend, TN 37882; jh i l [email protected]; www.smokymountains.org/pottery-festival.html; 865-273-1242.

March 18 entry deadlineNew York, Syracuse “41st Annual Syracuse

Arts and Crafts Festival” (July 29–31) open to all fine art media. Juried from digital. Fee: $25. Contact Laurie Reed, Downtown Committee of Syracuse, Inc., 572 S. Salina St., Syracuse, NY 13202; [email protected]; www.syracuseartsandcraftsfestival.com; 315-422-8284.

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calendar conferences, exhibitions, workshops, fairssubmit listings at www.ceramicsmonthly.org

conferencesArizona, Yuma February 24–26 “32nd An-

nual Yuma Art Symposium.” Contact Yuma Art Center, 254 S Main St., Yuma, AZ 85364; www.yumasymposium.org; 928-373-5202.

Florida, Gainsville March 27–28 “Creative Meaning: The Pre-Conference,” with Kathy King, Nan Smith, and Kevin Snipes. Fee: $180–$220. Contact University of Florida College of Fine Arts, 101 Fine Arts Bldg. C, Gainsville, FL 32611; [email protected]; http://conferences.dce.ufl.edu/ceramics/default.aspx?page=814; 352-273-3050.

Montana, Helena June 23–25 “2011: From the Center to the Edge.” Contact Rachel Hicks, Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave., Helena, MT 59602; [email protected]; www.archiebray.org; 406-443-3502.

North Carolina, Asheboro March 4–6 “24th Annual NC Potters Conference,” with Li Chao, Dai Guangyu, Feng Shangjin, Zhan Shaolin, Feng Weina, and Xie Zhenghua. Con-tact The Randolph Arts Guild, PO Box 1033, Asheboro, NC 27203; [email protected]; www.randolphartsguild.com; 336-629-0399.

Texas, Houston February 12 “Rolling in Mud: 40 Years of Ceramics,” with Peter Held. Contact MFAH Glassell School of Art, 5101 Montrose Blvd., Houston, Texas 77002; [email protected]; 618-910-9229.

Turkey, Eskisehir June 20–July 1 “2nd Inter-national Symposium of Overglaze-Underglaze Paintings 2011.” Contact S. Sibel Sevim, Anadolu

University, Ceramics Department, 26470 Tepebasi, Eskisehir, 26470 Turkey; [email protected]; http://seramik.anadolu.edu.tr; 90-222-335-1290.

solo exhibitionsArizona, Scottsdale February 17–24 “Natural

Elements,” works by Jennifer Moquino; at King Galleries of Scottsdale, 7100 Main St., #1.

California, Fresno through February 26 “Feast or Famine,” works by Una Mjurka; at Clay Mix, 1003 N Abby St.

California, Hanford March 26–July 30 “Pu-rity of Form,” works by Fukami Sueharu; at The Clark Center for Japanese Art and Culture, 15770 Tenth Ave.

California, Santa Monica through February 5 “New Work,” works by Cheryl Ann Thomas; at Frank Lloyd Gallery, 2525 Michigan Ave. B5B.

California, Sonoma through February 20 “New Works,” works by Mark Chatterly; at A New Leaf Gallery, 23588 Hwy. 121.

District of Columbia, Washington through March 1 “Paisley Monuments,” works by Tamara Laird; at cross mackenzie ceramic arts, 1054 31st St.

Kentucky, Louisville through February 11 “Heritage,” works by Sebastian Moh; at Crane House, The Asian Institute, 1244 S. Third St.

Michigan, Ann Arbor through February 27 “Majolica and More,” works by Ann Tubbs; at Clay Gallery, 335 S. Main St.

New Mexico, Albuquerque March 4–28 “Slow Clay,” works by Willi Singleton; at Wey-

rich Gallery/The Rare Visions Art Galerie, 2935 D Louisiana Blvd. NE.

New York, Jackson Heights through June 17 “Sleeping Beauty,” works by Kenjiro Kitade; at The West Harlem Art Fund, 39th and Roosevelt Ave.

New York, New York through February 17 “Folly,” works by Beth Katleman; at Jane Hartsook Gallery, Greenwich House Pottery, 16 Jones St.

New York, New York March 1–26 “Sculpture,” works by Ayano Ohmi; at Ceres Gallery, 547 W. 27th St., 2nd Fl.

North Carolina, Charlotte February 2–March 26 “New Works,” works by Ronan Kyle Peterson; at Lark & Key Gallery, 128 E. Park Ave., Ste. B.

Pennsylvania, Philadelphia February 4–27 “Recent Work,” works by Jessica Stoller; at The Clay Studio, 137–139 N. Second St.

Virginia, Lorton March 2–27 “New Work,” works by Pete Pinnell; at Workhouse Arts Center, 9504 Workhouse Way, Bldg. 8 Ceramics.

Switzerland, Solothurn through February 6 “Das Ist die Welt, Sie Steigt und Fällt,” works by Audrius Janusonis; at Kunstforum Solothurn, Schaalgasse 9.

Switzerland, Solothurn February 18–March 27 “Gefässe Vessels,” works by Johannes Nagel; at Kunstforum Solothurn, Schaalgasse 9.

Switzerland, Solothurn April 29–May 29 “New Works,” works by Daphne Corregan; at Kunstforum Solothurn, Schaalgasse 9.

The Netherlands, Delft February 12–March 12 “New Work,” works by Tim Breukers; at Galerie Terra Delft, Nieuwstraat 7.


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calendar solo exhibitions

The Netherlands, Delft March 19–April 16 “New Work,” works by Henk Wolvers; at Galerie Terra Delft, Nieuwstraat 7.

The Netherlands, Deventer March 20–April 16 “Showcase,” works by Marion Askjaer-Veld; at Loes & Reinier International Ceramics, Korte Assenstraat 15.

The Netherlands, Leeuwarden through April 3 “Eternal Fire,” works by Armando; at Ceramic Museum Princessehof, Grote Kerkstraat 11.

group exhibitionsAlabama, Fairhope February 4–March 26 “Feats

of Clay,” works by Estella Fransbergen, Clifton

Pearson, LuAnne Simpson, Charles Smith, and Maria Spies; at Eastern Shore Art Center, 401 Oak St.

Alabama, Fairhope through February 28 “Some Georgia Potters,” works by Maria Dondero, Ron Meyers, and Geoff Pickett; at The Kiln Studio and Gallery, 60 N. Section St.

California, Claremont through April 3 “The 67th Scripps College Ceramic Annual”; at Ruth Chandler Williamson Gallery, Scripps College, 1030 Columbia Ave.

Connecticut, Guilford March 18–April 22 “Bowls”; at Guilford Art Center, 411 Church St.

Florida, St. Petersburg March 26–April 4 “Resonance,” works by Linda Arbuckle, Anna

Calluori-Holcombe, Erin Furimsky, Ovidio Giberga, Magdalene Gluszek, Raymond Gonzalez, Kathy King, Nan Smith, Kevin Snipes, and Tara Wilson;at The Studio @ 620, 620 First Ave. S.

Florida, Tampa March 30–April 30 “Storytell-ers,” works by Angela Dicosola, Maria De Castro, Nuala Creed, Misty Gamble, Magda Gluszek, Gerit Grimm, Priscilla Hollingsworth, Cynthia Seigel, Ceil Sturdevant, and Cheryl Tall; at Clayton Galleries, 4105 S. MacDill Ave.

Florida, Tampa March 30–April 2 “La Mesa”; at Santa Fe Clay, Tampa Convention Center, 333 S. Franklin St.

Georgia, Roswell through February 5 “Physical Embodiment,” works by Andrea Moon and Shawn O’Conner; at Roswell Art Center West Gallery, 1355 Woodstock Rd.

Georgia, Sautee Nacoochee through Septem-ber 6 “Arie Meaders Pottery Exhibition”; at Folk Pottery Museum of Northeast Georgia, Georgia Hwy 255, Sautee Nacoochee Center.

Illinois, Chicago through February 27 “Chro-ma,” works by Hiroe Hanazono and Mikey Walsh; at Lillstreet Art Center, 4401 N. Ravenswood Ave.

Iowa, Dubuque through March 6 “Biennial Juried Exhibition”; at Dubuque Museum of Art, 701 Locust St.

Maine, Peaks Island March 3–27 “High Fire Porcelain,” works by Rick Boyd and Pamela Wil-liamson; at Richard Boyd Art Gallery, 15 Epps St.

Maine, Peaks Island March 31–April 24 “Metallics: The Golden Age”; at Richard Boyd Art Gallery, 15 Epps St.

Maine, Peaks Island April 28–May 29 “On the Surface: Slips and Reticulation Glazes”; at Richard Boyd Art Gallery, 15 Epps St.

Maryland, Baltimore through February 27 “100 Teapots V”; at Baltimore Clayworks, 5707 Smith Ave.

Minnesota, Bloomington February 25–April 8 “BTAC Invitational Ceramic Exhibiton,” works by Allison Bohlke, Kate Christopher, Marko Fields, Norman Holan, Peter Jadoonath, Laurie Landry, Deb Leair, Robin Murphy, and Lazare Rottach; at Bloomington Theatre and Art Center, 1800 W. Old Shakopee Rd.

Montana, Helena through April 2 “Beyond the Brickyard: Third Annual Juried Exhibition”; at Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave.

Nebraska, Lincoln March 4–April 30 “National Juried Cup Exhibition”; at Lux Center for the Arts, 2601 N. 48th St.

New Jersey, Clinton February 27–June 12 “Claybodies: Reinterpreting the Figure”; at The Hunterdon Art Museum, 7 Lower Center St.

New Jersey, Surf City April 9–May 16 “Top That! Contemporary Wedding Cake Toppers,” works by Pavel Amromin, Matt Burton, Linda Ganstrom, Shane Keena, Eva Kwong, Billy Ray Mangham, Peter Morgan, Adelaide Paul, Paul Andrew Wandless, and Debbie Weinstein; at m.t. burton gallery, 1819 N. Long Beach Blvd.

New Mexico, Santa Fe through February 26 “Small Sculptures,” works by Miguel Abugattas, Cynthia Rae Levine, Karen Thuesen Massaro, and Katherine Taylor; at Santa Fe Clay, 545 Camino de la Familia.

New Mexico, Santa Fe March 4–April 16 “Summer Workshop Preview,” works by Claudia Alvarez, Chuck Aydlett, Pattie Chalmers, Charity Davis-Woodard, Steven Heinemann, Kristen Kief-fer, Curt Lacross, Liz Quackenbush, Lisa Reinertson,

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ceramicartsdaily.org/potters-council/inspired-ceramic-surfaces

I N S P I R E D C E R A M I C S U R F A C E S

Potters Council Regional Conference May 20-22, 2011 | Temple, Texas

Forming, Finishing and Firing Lead to Inspired Surfaces

Featured Presenters: Jake Allee, Margaret Bohls, Sumi von Dassow, Claudia Reese, Sharon Smith and James Watkins

Host: Cultural Activities Center

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calendar group exhibitions

and Emily Schroeder; at Santa Fe Clay, 545 Camino de la Familia.

New Mexico, Santa Fe March 4–April 16 “New Work,” works by Steven Godfrey and Andy Shaw; at Santa Fe Clay, 545 Camino de la Familia.

New Mexico, Santa Fe April 22–June 4 “Figu-rines”; at Santa Fe Clay, 545 Camino de la Familia.

North Carolina, Asheboro March 4–6 “24th Annual NC Potters Conference,” works by Li Chao, Dai Guangyu, Feng Weina, Feng Shangjin, Zhan Shaolin, and Xie Zhenghua; at The Randolph Arts Guild, 123 Sunset Ave.

North Carolina, Charlotte through March 13 “Contemporary British Studio Ceramics: The Grainer Collection”; at Mint Museum Uptown, 500 South Tryon St.

North Carolina, Charlotte through April 17 “New Visions: Contemporary Masterworks from the Bank of America Collection”; at Mint Museum Uptown, 500 South Tryon St.

Oregon, Salem February 1–26 “Plate it Up: 100 Artists Show”; at Mary Lou Zeek Gallery, 335 State St.

Pennsylvania, Philadelphia February 4–27 “Looking Back: Work from Past Guest Residen-cies”; at The Clay Studio, 137–139 N. Second St.

Pennsylvania, Philadelphia February 4–27 “Claymobile Creations”; at The Clay Studio, 137–139 N. Second St.

Pennsylvania, Philadelphia March 4–April 10 “For the Table: Dinnerware”; at The Clay Studio, 137–139 N. Second St.

Texas, Irving through March 4 “University of Dallas 2011 Regional Juried Ceramic Competi-tion”; at University of Dallas, 1845 E. Northgate Dr.

Virginia, Norfolk through February 20 “Magic Dirt”; at The Baron and Ellin Gordon Art Galleries, Old Dominion University, 4509 Monarch Way.

Washington, Bellingham February 1–28 “Tea for Two: Teapot Show”; at Good Earth Pottery, 1000 Harris Ave.

Germany, Schleswig through May 15 “Trans Formation”; at Stiftung Schleswig-Holsteinische Landesmuseen Schloss Gottorf, Schloß Gottorf.

Spain, Barcelona through March 27 “Zo-omania”; at Museu de Ceràmica, Palau Reial de Pedralbes, Av Diagonal 686.

Switzerland, Genève through February 5 “Sgrafo vs Fat Lava: Ceramics and Porcelains Made in West Germany, 1960-1980”; at Centre d’édition Contemporaine, 18 rue St.-Léger.

The Netherlands, Delft April 23–June 4 “Brand-punt Terra”; at Galerie Terra Delft, Nieuwstraat 7.

The Netherlands, Deventer through February 19 “New Work,” works by Johan van Loon and Gökhan Taskin; at Loes & Reinier International Ceramics, Korte Assenstraat 15.

The Netherlands, Deventer February 27–April 2 “New Work,” works by Pascal Geoffroy and Sonngard Marcks; at Loes & Reinier International Ceramics, Korte Assenstraat 15.

multimedia exhibitionsincluding ceramics

California, Brea through March 4 “ACGA Clay and Glass National Juried Competition”; at City of Brea Art Gallery, 1 Civic Center Cir.

District of Columbia, Washington March 25–July 31 “Renwick Craft Invitational 2011,” including ceramic works by Cliff Lee; at Renwick Gallery of the Smithsonian American Art Museum, Pennsylvania Ave. at 17 St., NW.

Kentucky, Berea through February 26 “The Horse: Interpretations by Kentucky Artisans”; at Kentucky Artisan Center at Berea, 975 Walnut Meadow Rd.

Massachusetts, Brockton through February 6 “The New Materiality: Digital Dialogues at the Boundaries of Contemporary Craft”; at Fuller Craft Museum, 455 Oak St.

New York, New York through May 15 “The Global Africa Project”; at Museum of Arts and Design, 2 Columbus Cir.

North Carolina, Rocky Mount through May 22 “2011 Handcrafted”; at Rocky Mount Arts Center, 270 Gay St.

Vermont, Randolph through February 20 “Haptikos,” including ceramic works by Holly Walker; at Chandler Art Gallery, 73 Main St.

Vermont, Randolph through February 20 “Continuum,” including ceramic works by Bhakti Ziek; at Chandler Art Gallery, 73 Main St.

Washington, Camano Island March 5–April 10 “Northwest Designer Craftsmen Invitational Show”; at Matzke Fine Art and Design, 2345 Blanche Way.

Wisconsin, Sheboygan through June 5 “Ani-mal Instinct”; at John Michael Kohler Arts Center, 608 New York Ave.

England, Liverpool through March 5 “Me-tropolis,” including ceramic works by Dan Stafford; at Bluecoat Display Centre, The Bluecoat, College Lane Entrance.

Netherlands, Amsterdam through April 17 “Passion for Perfection”; at De Nieuwe Kerk Amsterdam, Nieuwe Kerk, Dam Square.

The Netherlands, Rotterdam through Febru-ary 13 “Misfit,” including ceramic works by Hella Jongerius; at Museum Boijmans van Beuningen, Museumpark 18.

fairs, festivals, and salesArizona, Tempe February 26–27 “10th An-

nual Self-Guided Ceramic Studio Tour”; at ASU Art Museum Ceramics Research Center, Arizona State University, Mill Ave. and Tenth St.

California, Marina del Ray February 26–27 “Marin Show: Art of the Americas”; at 578 Washington Blvd. #555.

California, Pasadena February 12–13 “The 12th Annual Los Angeles Pottery Show”; at The Pasadena Convention Center, 300 E. Green St.

California, San Francisco March 12–13 “Contemporary Crafts Market”; at Contemporary Crafts Market, Fort Mason Festival Pavilion, 99 Marina Blvd.

Florida, Bradenton Beach March 9–10 “4th Coquina Beach Fine Arts and Crafts 2”; at Com-munity Affair, 1506 Gulf Dr. S.

Florida, Bradenton Beach March 30–31 “Coquina Beach Fine Arts and Crafts 3”; at Com-munity Affair, 1506 Gulf Dr. S.

Florida, Longboat Key March 16–17 “Long-boat Key 2 at Joan Durante Park”; at Community Affair, 5550 Gulf of Mexico Dr.

Florida, Marco Island February 21–22 “13th Annual Marco Island Fine Arts and Crafts”; at Community Affair, 403 Elkcam Circle.

Florida, Marco Island March 21–22 “Marco Island Fine Arts and Crafts”; at Community Affair, 403 Elkcam Cir.

Florida, Nokomis March 2–3 “Casey Key Fine Arts at the Plaza 2”; at Community Affair, 100 Casey Key Rd.


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calendar fairs, festivals, and sales

Florida, Punta Gorda February 16–17 “3rd Annual Gilchrist Art in the Park”; at Community Affair, 400 W. Retta Esplanade.

Florida, Punta Gorda April 6–7 “Art in Laishley Park”; at Community Affair, 100 W. Retta Esplanade.

Florida, Sarasota March 12–13 “6th Annual Sarasota Five Points Park Fine Arts & Fine Crafts”; at Community Affair, 1331 1st St.

Hawaii, Honolulu March 18 “2011 Empty Bowl Hawaii”; at Hawaii Potters Guild, 1159 Nuuanu Ave.

New Jersey, Morris County March 18–20 “CraftMorristown”; at The Morristown Armory, Western Ave.

New Jersey, Westfield April 9–10 “Spring Fine Art and Crafts”; at Rose Squared Produc-tions, Inc., Westfield Armory, 500 Rahway Ave.

New York, Corning May 26–29 “GlassFest 2011”; at Corning Museum of Glass, 1 Museum Way.

New York, New York April 1–3 “CraftNew York”; at 7W New York, 34th St. at Fifth Ave.

Oregon, Portland April 29–May 1 “29th Annual Ceramic Showcase”; at Oregon Potters Association, Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd.

Pennsylvania, Haverford April 16–May 25 “Fine Art Sale”; at Main Line Art Center, 746 Panmure Rd.

Pennsylvania, Philadelphia March 4–11 “Some Like it Hot: A Sizzling Celebration of Contemporary Art, Craft, and Design”; at The Clay Studio, 137–139 N. Second St.

Wales, Aberystwyth July 1–3 “International Ceramics Festival”; at Aberystwyth Arts Centre, Aberystwyth University, Penglais Campus.

workshops

Alabama, Fairhope March 21–26 “Cone 6 Soda Firing,” with Ronan Peterson. Fee: $350. Contact Susie Bowman, The Kiln Studio and Gallery, 60 N. Section St., Fairhope, AL 36532; [email protected]; thekilnstudio.com; 251-517-5460.

Alabama, Fairhope April 23–24 “Utilitarian vs Diminutive,” with Fong Choo. Fee: $150. Contact Susie Bowman, The Kiln Studio and Gallery, 60 N. Section St., Fairhope, AL 36532; [email protected]; thekilnstudio.com; 251-517-5460.

Arizona, Phoenix February 11–13 “Great Western Raku Rodeo Workshop,” with Steven Branfman, Eduardo Lazo, and Jim Romberg. Fee: $395. Contact Mishy, Desert Dragon Pottery, 25037 N. 17 Ave., Phoenix, AZ 85085; 602-690-6956; [email protected]; www.desertdragonpottery.com.

Arkansas, Mountain View April 13–17 “Firing a Wood-fired Groundhog Kiln,” with Judi Munn and John Perry. Fee: $30–$110. Contact Jeanette Larson, Ozark Folk Center State Park, PO Box 500, Mountain View, AR 72560; [email protected]; www.ozarkfolkcenter.com; 870-269-3851.

California, Fresno April 9 “Workshop,” with Frank Boyden. Fee: $65; in advance $55. Contact Ritsuko Miyazaki, Clay Mix, PO Box 27825, Fresno, CA 93701; [email protected]; www.clay-mix.com; 559-485-0065.

California, Mendocino March 7–April 11 “Building on Basics,” with Sarah Logan. Fee: $199. Contact Linn Bottorf, Mendocino Art

Center, PO Box 765, Mendocino, CA 95460; 800-653-3328; [email protected]; www.mendocinoartcenter.org.

California, Mendocino March 11–13 “Paleteado Ceramics,” with Polo Ramirez. Fee: $320. Contact Linn Bottorf, Mendocino Art Center, PO Box 765, Mendocino, CA 95460; 800-653-3328; [email protected]; www.mendocinoartcenter.org.

California, Mendocino March 26–27 “Hon-ing Your Skills,” with Michael Berkley. Fee: $199. Contact Linn Bottorf, Mendocino Art Center, PO Box 765, Mendocino, CA 95460; 800-653-3328; [email protected]; www.mendocinoartcenter.org.

California, Mendocino April 7–May 12 “Naturally Hands On,” with Derek Hambly. Fee: $199. Contact Linn Bottorf, Mendocino Art Center, PO Box 765, Mendocino, CA 95460; 800-653-3328; [email protected]; www.mendocinoartcenter.org.

California, Mendocino April 16–17 “Ba-sic Raku,” with Derek Hambly. Fee: $199. Contact Linn Bottorf, Mendocino Art Center, PO Box 765, Mendocino, CA 95460; 800-653-3328; [email protected]; www.mendocinoartcenter.org.

California, San Diego March 5–6 “Trans-formations,” with Adrian Arleo. Fee: $175; members $150. Contact Clay Artists of San Diego, P.O. Box 22524, San Diego, CA 92192; [email protected]; www.clayartistsofsandiego.org; 619-462-0045.

Colorado, Snowmass Village April 2–3 “Glazes and Clays Made Simple,” with Doug Casebeer and Ralph Scala. Fee: $300. Contact Doug Casebeer, Anderson Ranch Arts Cen-ter, 5263 Owl Creek Rd., Snowmass Village, CO 81615; [email protected]; www.andersonranch.org; 970-923-3181.

Connecticut, South Kent February 5–6 “Sam Taylor Workshop,” with Alison Palmer. Fee: $200. Contact Alison Palmer, Alison Palmer Studio, 48 Stone Fences Ln., South Kent, CT 06785; [email protected]; www.alisonpalmer.com; 860-927-5262.

Florida, West Palm Beach February 5–6 “The Art of Saggar Firing,” with Brenda McMahon. Fee: $225. Contact Helen Otterson, Armory Art Center, 1700 Parker Ave., West Palm Beach, FL 33401; [email protected]; www.armoryart.org; 561-832-1776.

Florida, West Palm Beach February 7–11 “Sculpture: Down to the Skin,” with Nan Ja-cobsohn and Beth Cavener Stichter. Fee: $1185. Contact Helen Otterson, Armory Art Center, 1700 Parker Ave., West Palm Beach, FL 33401; [email protected]; www.armoryart.org; 561-832-1776.

Florida, West Palm Beach February 26–27 “Making it Work, Making it Beautiful: Form, Surface, and Function,” with Mark Shapiro. Fee: $440. Contact Helen Otterson, Armory Art Center, 1700 Parker Ave., West Palm Beach, FL 33401; [email protected]; www.armoryart.org; 561-832-1776.

Florida, West Palm Beach March 25–27 “Animated Figures: Teeth to Nails,” with Esther Shimazu. Fee: $480. Contact Helen Otterson, Armory Art Center, 1700 Parker Ave., West Palm Beach, FL 33401; [email protected]; www.armoryart.org; 561-832-1776.

Georgia, Decatur March 18–20 “Elegant and Intimate,” with Liz Zlot Summerfield. Fee: $295.





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http://www.chineseclayart.com/mall/c110/s25729/

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calendar workshops

Massachusetts, Boston February 5–6 “Draw-ing and Lithography for Ceramics,” with Keri Straka. Fee: $235. Contact Massachusetts College of Art and Design Continuing Education, 621 Hun-tington Ave., Boston, MA 02115; [email protected]; www.massart.edu/ce; 617-879-7200.

Massachusetts, Stockbridge February 12–13 “Introduction to Colored Clay.” Fee: $167. Con-tact Hope Sullivan, IS183 Art School, PO Box 1400, Stockbridge, MA 01262; [email protected]; www.is183.org; 413-298-5252.

Massachusetts, Stockbridge March 12 “Basic Glaze Formulation and Application.” Fee: $76. Contact Hope Sullivan, IS183 Art School, PO Box 1400, Stockbridge, MA 01262; [email protected]; www.is183.org; 413-298-5252.

Massachusetts, Stockbridge April 9 “In-troduction to Sculpting the Figure.” Fee: $167. Contact Hope Sullivan, IS183 Art School, PO Box 1400, Stockbridge, MA 01262; [email protected]; www.is183.org; 413-298-5252.

Michigan, Jackson March 18–20 “3 Days of Clay,” with Lana Wilson. Fee: $165; stu-dents, $80. Contact Jackson Pottery and Clay Guild, PO Box 1922, Jackson, MI 49204; 3dayso fc l ay@ jacksonpot te r ygu i ld . com; www.jacksonpotteryguild.com; 517-782-7898.

Nevada, Las Vegas February 19–20 “Hands-on Alternative Surface Techniques,” with John W. Hopkins. Fee: $150. Contact Amy Kline, Pottery West, 5026 N. Pioneer Way, Las Vegas, NV 89149; [email protected]; www.potterywest.com; 702-685-7573.

New Jersey, Clinton March 5–April 9 “Bisque Fired Earthenware Tiles,” with Joanna Platt. Fee: $190; members $170. Contact The Hunterdon Art Museum, 7 Lower Center St., Clinton, NJ 08809; [email protected]; www.hunterdonartmuseum.org; 908-735-8415.

North Carolina, Brasstown February 6–12 “Beginning Portraits in Clay,” with Mike Lalone. Fee: $546. Contact John C. Campbell Folk School, One Folk School Rd., Brasstown, NC 28902; [email protected]; www.folkschool.org; 800-365-5724.

North Carolina, Brasstown February 13–19 “A Family Tradition in Clay,” with Brad Dodson and John E. Dodson. Fee: $546. Contact John C. Campbell Folk School, One Folk School Rd., Brasstown, NC 28902; [email protected]; www.folkschool.org; 800-365-5724.

North Carolina, Brasstown February 27–March 5 “Porcelain: Wheel, Slab, Brush, and Carve,” with David Voorhees. Fee: $546. Contact John C. Campbell Folk School, One Folk School Rd., Brasstown, NC 28902; [email protected]; www.folkschool.org; 800-365-5724.

Ohio, Wooster April 14–16 “Functional Ce-ramics Workshop,” with Charity Davis-Woodard, Marty Fielding, and Jan McKeachie Johnston. Fee: $180; students $90. Contact Functional Ceramics Workshop, 7747 TR 103, Millersburg, OH 44654; [email protected]; www.functionalworkshop.com; 330-345-7576.

Pennsylvania, Haverford February 20 “Sur-face Decorating Techniques,” with Lana Hecken-dorn. Fee: $65; members $51. Contact Rachel Ammon, Main Line Art Center, 746 Panmure Rd., Haverford, PA 19041; [email protected]; www.mainlineart.org; 610-525-0272.

Pennsylvania, Haverford February 27–March 6 “Mosaics: Mini Workshop,” with Barbara Henig. Fee: $95; members $80. Contact Rachel Ammon, Main Line Art Center, 746 Panmure

Tappan Spur Rd., Watkinsville, Georgia 30677; [email protected]; 706-410-5200.

Illinois, Chicago February 12–13 “From Tem-plate to Mold: Designing Functional Forms without the Wheel,” with Hiroe Hanazono. Fee: $250; members $240. Contact Eric Tschetter and Elizabeth Oboler, Lillstreet Art Center, 4401 N. Ravenswood Ave., Chicago, IL 60640; [email protected]; www.lillstreet.com; 773-769-4226.

Maryland, Glen Echo March 25–27 “Passion for Details: Pots On and Off the Wheel.” Contact Glen Echo Pottery, 7300 MacArthur Blvd., Glen Echo, MD 20812; [email protected]; www.glenechopottery.com; 301-229-5585.

Contact Luba Sharapan and Erik Haagensen, directors, MudFire Clayworks & Gallery, 175 Lar-edo Dr., Decatur, GA 30030; [email protected]; www.mudfire.com; 404-377-8033.

Georgia, Decatur April 29–May 1 “Alteration and Ornamentation Workshop,” with Kristen Kieffer. Fee: $325. Contact Luba Sharapan and Erik Haagensen, directors, MudFire Clayworks & Gallery, 175 Laredo Dr., Decatur, GA 30030; [email protected]; www.mudfire.com; 404-377-8033.

Georgia, Watkinsville February 5–6 “Form/Function/Fun,” with Joe Singewald. Fee: $135. Contact Nancy Green/Wolf Creek Pottery, 1500



http://www.massart.edu/ce


http://www.is183.org






http://www.jacksonpotteryguild.com


http://www.potterywest.com


http://www.hunterdonartmuseum.org


http://www.folkschool.org






http://www.functionalworkshop.com


http://www.mainlineart.org



http://www.lillstreet.com


http://www.glenechopottery.com


http://www.mudfire.com


http://www.mudfire.com

http://www.tuckerspottery.com/tkps/index.php


Rd., Haverford, PA 19041; [email protected]; www.mainlineart.org; 610-525-0272.

Pennsylvania, Haverford March 26–27 “Porcelain Clay Jewelry Workshop,” with Luca Tripaldi. Fee: $195; members $175. Contact Ra-chel Ammon, Main Line Art Center, 746 Panmure Rd., Haverford, PA 19041; [email protected]; www.mainlineart.org; 610-525-0272.

Pennsylvania, Philadelphia February 12 “Glaze Intensive: Application Techniques,” with Kathryn Narrow. Fee: $50. Contact The Clay Studio, 137-139 N. Second St., Philadelphia, PA 19106; [email protected]; www.theclaystudio.org; 215-925-3453.

Pennsylvania, Philadelphia February 5 “Secrets of Slip Ware: Contemporary Tech-niques,” with Janice Strawder. Fee: $50. Con-tact The Clay Studio, 137-139 N. Second St., Philadelphia, PA 19106; [email protected]; www.theclaystudio.org; 215-925-3453.

Rhode Island, Kingston April 17 “Earthworks Workshop.” Fee: $55. Contact Rhonda Shumaker, South County Art Association, 2587 Kingstown Rd., Kingston, RI 02881; [email protected]; www.southcountyart.org; 401-783-2195.

Texas, Houston February 19–20 “Throw-ing, Altering, and Decorating Porcelain,” with Lorna Meaden. Fee: $150. Contact Sharon Warrington, 18 Hands Gallery, 249 W 19th St., Houston, TX 77008; [email protected]; www.18handsgallery.com; 713-869-3099.

Texas, San Marcos March 19–20 “Pottery Deco-ration: Greenware,” with Billy Ray Mangham. Fee: $250. Contact Eye of the Dog Art Center, 405 Valley View W. Rd., San Marcos, TX 78666; 512-754-8171; [email protected]; www.eotdac.com.

Texas, San Marcos April 30–May 1 “Nerikomi: Colored Clay,” with Mike Haley and Susy Seigele. Fee: $275. Contact Eye of the Dog Art Center, 405 Valley View W. Rd., San Marcos, TX 78666; 512-754-8171; [email protected]; www.eotdac.com.

Virginia, Floyd March 5 “Understanding Glazes,” with John Britt. Fee: $100; members $81. Contact Amy Avery-Grubel, The Jackson-ville Center for the Arts, 220 Parkway Ln., Floyd, VA 24091; [email protected]; www.jacksonvillecenter.org; 540-745-2784.

Virginia, Floyd March 26–27 “Exploring the Surface,” with Ben Carter. Fee: $100; members $81. Contact Amy Avery-Grubel, The Jacksonville Center for the Arts, 220 Parkway Ln., Floyd, VA 24091; [email protected]; www.jacksonvillecenter.org; 540-745-2784.

Virginia, Floyd April 4–8 “Large Pots Work-shop,” with Leon Nichols. Fee: $500; members $405. Contact Amy Avery-Grubel, The Jackson-ville Center for the Arts, 220 Parkway Ln., Floyd, VA 24091; [email protected]; www.jacksonvillecenter.org; 540-745-2784.

Virginia, Floyd April 25–29 “Scratching the Surface,” with Ronan Peterson. Fee: $500; mem-bers $405. Contact Amy Avery-Grubel, The Jack-sonville Center for the Arts, 220 Parkway Ln., Floyd, VA 24091; [email protected]; www.jacksonvillecenter.org; 540-745-2784.

Virginia, Fredericksburg April 16–17 “Brit-ish Slipware,” with Doug Fitch and Hannah McAndrew. Fee: $150. Contact Libertytown Arts Workshop, 916 Liberty St., Fredericksburg, VA 22401; [email protected]; www.libertytownarts.com.

Virginia, Lorton March 25–27 “Form and Surface for the Potter,” with Pete Pinnell. Fee: $215. Contact Dale Marhanka, Workhouse

Arts Center, 9517 Workhouse Way, Lorton, VA 22079; [email protected]; www.workhousearts.org; 703-584-2982.

West Virginia, Huntington February 11–13 “Exploring the Domestic Landscape: Form and Meaning in Pottery,” with Alleghany Meadows. Fee: $225; members $195; teach-ers $165; students $120. Contact Huntington Museum of Art, 2033 McCoy Rd., Huntington, WV 25701; 304-529-2701 ; [email protected]; www.hmoa.org/pages/aa-classes.html.

England, West Sussex February 4–7 “Pottery: Basic Techniques for Handbuilding and Throwing,” with Alison Sandeman. Fee:

$401.66. Contact Ellen Cheshire, West Dean College, Chichester, West Sussex, PO18 0QZ England; [email protected]; www.westdean.org.uk; 44 (0) 1243 818 280.

England, West Sussex February 17–20 “Quirky Creatures in Clay,” with Claire Ireland. Fee: $385.59. Contact Ellen Cheshire, West Dean College, Chichester, West Sussex, PO18 0QZ England; [email protected]; www.westdean.org.uk; 44 (0) 1243 818 280.

England, West Sussex March 21–24 “Paper-works and Paper-clay: Make, Shape, and Cast,” with Carol Farrow. Fee: $374.88. Contact West Dean College, Chichester, West Sussex, PO18 0QZ England;

KATHY KING—May 30–June 3LEAH LEITSON—June 6–10ALICE BALLARD—June 13–17DAVID GAMBLE—June 20–21ALEX IRVINE—June 22–24LIZ ZLOT SUMMERFIELD—June 27–July 1 LORNA MEADEN—July 11–15SHOKO TERUYAMA & MATT KELLEHER—July 18–22MELISA CADELL—July 25–29T J ERDAHL—August 1–5

ODYSSEY CENTER FOR CERAMIC ARTS 2011 SUMMER WORKSHOPS

236 Clingman Ave, Asheville NC 28801www.highwaterclays.com • [email protected]

KELLEHER

CADELL IRVINE

MEADEN

BALLARD

TERUYAMA

SUMMERFIELD

LEITSONERDAHL











http://www.southcountyart.org


http://www.18handsgallery.com


http://www.eotdac.com


http://www.eotdac.com


http://www.jacksonvillecenter.org








http://www.libertytownarts.com

http://www.libertytownarts.com


http://www.workhousearts.org


http://www.hmoa.org/pages/aa-classes.html


http://www.westdean.org.uk



http://www.highwaterclays.com


calendar workshops

44 (0) 1243 818 280; [email protected]; www.westdean.org.uk.

England, West Sussex April 3–8 “Sculpting in Clay: Pigs, Chickens, and Sheep,” with Jon Barrett-Danes. Fee: $646.67. Contact Ellen Cheshire, West Dean College, Chichester, West Sussex, PO18 0QZ England; [email protected]; www.westdean.org.uk; 44 (0) 1243 818 280.

England, West Sussex April 21–25 “Pottery: Handbuilding and Throwing,” with Alison Sande-man. Fee: $523.50. Contact Ellen Cheshire, West Dean College, Chichester, West Sussex, PO18 0QZ England; [email protected]; www.westdean.org.uk; 44 (0) 1243 818 280.

England, West Sussex May 27–29 “Developing a Sense of Form for Wheel-made Pots,” with Alison Sandeman. Fee: $277.15. Contact Ellen Cheshire, West Dean College, Chichester, West Sussex, PO18 0QZ England; [email protected]; www.westdean.org.uk; 44 (0) 1243 818 280.

France, Cordes sur Ciel April 25–May 1 “Throwing, Woodfiring, Raku, and Terra Sigillata,” with Fernand Evereart. Fee: $689.56. Contact La-Céramique, la Plaine, Cordes sur Ciel, Tarn 81170 France; 33 56353 7297; [email protected]; www.laceramique.com.

France, Cordes sur Ciel May 2–8 “Throwing and Woodfiring,” with Frank Theunissen. Fee: $588.16. Contact LaCéramique, la Plaine, Cordes sur Ciel, Tarn 81170 France; 33 56353 7297; [email protected]; www.laceramique.com.

France, Cordes sur Ciel May 9–15 “Raku,” with Frank Theunissen. Fee: $588.16. Contact LaCéramique, la Plaine, Cordes sur Ciel, Tarn 81170 France; 33 56353 7297; [email protected]; www.laceramique.com.

France, Cordes sur Ciel May 23–29 “Crys-talline Glazing and Throwing,” with Frank Theunissen. Fee: $588.16. Contact LaCéramique, la Plaine, Cordes sur Ciel, Tarn 81170 France; 33 56353 7297; [email protected]; www.laceramique.com.

Greece, Crete September 19–October 4 “Ancient and Contemporary Throwing and Handbuilding,” with Giorgos Dalamvelas and Denys James. Fee: $3775. Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Saltspring Island, British Columbia V8K 2L8 Canada; [email protected]; www.denysjames.com; 250-537-4906.

Mexico, El Tuito February 21–26 “Clay Making Adventure,” with Patricia Gawle. Fee: $875. Contact Your Art Adventure, Hidalgo #550, Puerto Vallarta, Jalisco 48300 Mexico; [email protected]; www.yourartadventure.com; 941-312-2234.

Mexico, El Tuito March 7–12 “Claymak-ing and Handbuilding Traditions,” with Pa-tricia Gawle. Fee: $950. Contact Your Art Adventure, Hidalgo #550, Puerto Vallarta, Jalisco 48300 Mexico; [email protected]; www.yourartadventure.com; 941-312-2234.

Mexico, Puerto Vallarta through February 5 “From the Earth,” with Kathleen Carrillo and Patricia Gawle. Fee: $1450. Contact Your Creative Awakening Studio, Hidalgo #550, Puerto Vallarta, Jalisco 34800 Mexico; [email protected]; www.houseofwindandwater.com; 941-312-2234.

Morocco October 13–November 3 “Moroc-can Ceramics and Adobe Architecture,” with Denys James. Fee: $3975. Contact Denys James, Discovery Art Travel, 182 Welbury Dr., Saltspring Island, British Columbia V8K 2L8 Canada; [email protected]; www.denysjames.com; 250-537-4906.











http://www.laceramique.com








http://www.denysjames.com


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http://www.houseofwindandwater.com



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http://www.arrowmont.org/

http://ceramicartsdaily.org/potters-council/

http://www.larkinrefractory.com/

http://www.sheffield-pottery.com/


Chuck Aydlett Curt LaCrossClaudia Alvarez Kristen Kieffer

Emily Schroeder Lisa ReinertsonLiz Quackenbush Pattie Chalmers

Steven Heinemann Charity Davis-Woodard

SANTA FE CLAYSUMMER WORKSHOPS 2011

www.santafec lay.com545 Camino de la Fami l ia , Santa Fe, NM 87501 505.984.1122

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classified advertisingCeramics Monthly welcomes classifieds in the following categories: Buy/Sell, Employment, Events, Opportunities, Personals, Publications/Videos, Real Estate, Rentals, Services, Travel. Accepted advertisements will be inserted into the first available print issue, and posted on our website (www.ceramicsmonthly.org) for 30 days at no additional charge! See www.ceramicsmonthly.org for details.

buy/sell

Olsen 24 car kiln. 12, 18” x 28” x 5/8” silicon carbide shelves, posts. 2600°F brick. Heavy-gauge hood. Fired once to cone 10 with beautiful results. Located in Oklahoma. $12,000. Delivery not included. (405) 537-5389; [email protected].

Your dream come true business for sale. Gal-lery/studio steps from the beach in paradise established 23+ years on busy funky street in the sweetest Florida town. For more info visit www.buybusiness.com/Businesses/18063.

21 used High Alumina Shelves For Sale. 14”x28”x1” good condition, $20 each. [email protected]; (707) 942-0216.

Magazines For Sale. Ceramics Monthly, 2005 through 2010. Pottery Making Illustrated, 2006 through 2010 missing July/Aug 2008. Clay Times 2006 through 2010. $400. [email protected]; (707) 942-0216.

Used Gas Kilns. Contemporary Gas Kiln: 30 cu.ft., natural draft, high limit controller with a kiln sitter. Fired less than 10 times; $9500. Alpine Gas Kiln (HF-30): 30 cu.ft. interior, updraft, bricks are in excellent condition, comes with a dozen kiln shelves, high limit controller, forced air intake; $4999. ClayPeople, Richmond, CA, (888) 236-1492. View kilns at www.claypeople.net. Click on Classifieds.

Hawaiian Paradise Poetic, successful Art Center available on Hawaii Island. Retiring artist has cre-ated a truly unique experience one mile from Hawaii Volcanoes National Park. Includes art gallery, guest cottage, restaurant, & art studio on estate grounds. Asking price $1.97 million. Phone (808) 967-7261; www.volcanogardenartsforsale.com.

employment

Resident Potter. Full time, salary, furnished apartment, established gallery and studio, gas, salt, raku kilns, wheel and slab, use of all facilities. North Georgia Mountains, close to NC, GA pottery centers. Apply at www.hickoryflatpottery.com.

events

Richard Notkin Moldmaking Institute—Inaugural Two Week Workshop. Helena, Montana, July 4–15, 2011. Learn from a master in his own studio: prototype design, plaster mold making, press- and slip-casting, and more. Hands-on, limited to eight participants for maximum interaction. Tuition/materials: $975. Contact: [email protected].

Pottery West Workshops: Terry Shepherd “Raku, Saggar, Salt-Vapor” February 11–13. John W. Hopkins “Alternative Surface Techniques” February 19–20. Amy Kline “Bisque Carving” April 1–3. Tom Turner “Perfection In Porcelain” April 16–17. Tom Coleman “Super-Hot Shinos” June 6–13. Tom Coleman “Hands-on Throw-ing to Soda Firing” August 1–8. Studio space rentals, kiln rentals, and classes. Located in Las Vegas, NV. Visit www.potterywest.com or call Ruth Kline at (702) 685-7573.

Tom Turner’s Pottery School. For details, see www.tomturnerporcelain.com; or call (828) 689-9430.

Lana Wilson at 3 Days of Clay. March 18-20. Information at (517) 782-7898. Visit www.jacksonpotteryguild.com to register and for brochure. Includes lunches, tool workshop, glaze exchange, and more.

Juried Exhibition, “From the Ground Up XXV”;Las Cruces Museum of Art. Eligibility- Mountain Time Zone Region; deadline April 8, 2011; juror: Kurt Weiser. Cash awards; Best of Show $750; prospectus: www.las-cruces.org/museums. (575) 541-2221.

opportunities

WAYNE ART CENTER CALL FOR ENTRIES “Craft Forms 2011” 17th International Juried Exhibition Contemporary Craft. December 2, 2011 – January 21, 2012. $4000 + Awards. Digital Entry Fee: $40. Deadline: September 15, 2011; www.craftforms.com.

Art New England Workshops, a MassArt Program.One-week intensives held at Bennington College in VT. Superb ceramics studios, 24 hour access. Faculty: Bob Green, Ben Ryterband. For full details: www.nmassart.edu/ane or call for a catalog (617) 879-7175.

products

FULL MOON RIBS. Beautiful hardwood ribs. Perfect for throwing bowls. Hand made in Kerrville, Texas. See demo. www.fullmoonribs.dudleyharris.com.

pubs/videos

PotteryVideos.com—DVD’s with Robin Hopper, Gordon Hutchens, and Graham Sheehan. Video Workshops for Potters at all levels of experience. Choose from 21 titles. (800) 668-8040; [email protected].

Tom Turner’s 2-day workshop, 4-disc DVD set. To order, see www.tomturnerporcelain.com; or call (828) 689-9430.

Tom & Elaine Coleman: Books, video, work-shops, new work for sale, artist information, visit www.tomandelainecolemangallery.com.

Kristen Kieffer’s DVD Surface Decoration: Suede to Leatherhard. Demonstrations on eleven decoration techniques. Great for teachers, potters, and sculptors. Complete information, purchasing link and viewer com-ments at www.KiefferCeramics.com/DVD.

real estate

3 Bedroom Contemporary Home + 2,000 sq.ft. studio on five acres. River front, 3 miles from Penland School. For photos & further information P.O. Box 41, Penland, NC 28765 or call (828) 765-6539.

Classic 1930’s bungalow in college town near Ashe-ville and Penland. 3 bedrooms, 2 baths, dining room, sun room, stunning new kitchen, large studio space. One acre land with gardens and mountain views. $209,000. [email protected]; (828) 680-9506.

1850 sq.ft., 3 bedroom/ 2 bath. This home has a fully functioning detached studio with a total work area of 1300 sq.ft. The studio includes a potters wheel, gas kiln, work prep area and 220 power. You can create pottery, bronze casting, metal working and painting. Conve-niently located near I-4, accessible for delivers and has street traffic. Only 30 miles from Daytona Beach and Orlando. Sturdy block construction with 2-car garage. The Florida climate is suited for year round productiv-ity. $149,500. Please email [email protected] for more information.

services

Ceramics Consulting Services offers technical infor-mation and practical advice on clay/glaze/kiln faults and corrections, slip casting, clay body/glaze formulas, salt glazing, product design. Call or write for details. Jeff Zamek, 6 Glendale Woods Dr., Southampton, MA 01073; (413) 527-7337; email [email protected]; or www.jeffzamek.com.

Master Kiln Builders. 26+ years experience designing and building beautiful, safe, custom kilns for universi-ties, colleges, high schools, art centers, and private clients. Soda/salt kilns, wood kilns, raku kilns, stoneware kilns, sculpture burnout kilns, car kilns, and specialty electric kilns. Competitive prices. Donovan. Phone/fax (612) 250-6208.

Custom Mold Making—Increase your productivity and profits with quality slip-casting molds of your popular designs! Petro Mold Co. offers a complete range of mold-making services, including sculpting and 3-D models, master and case molds, and production mold manufacturing to thousands of satisfied customers. Visit www.custommolds.net; or call (800) 404-5521 to get started.

Accept credit cards in your ceramics retail/wholesale/home-based/Internet and craft-show business. No application fee. No monthly minimum. No lease require-ment. Retriever/First of Omaha Merchant Processing. Please call (888) 549-6424.

travel

CRAFT & FOLK ART TOURS. Romania, Bhutan, Christ-mas in Oaxaca, Southern India. Small, personalized groups. Craft World Tours, 6776CM Warboys, Byron, NY 14422; (585) 548-2667; www.craftworldtours.com.

Discovery Art Travel Overseas Ceramic Workshops & Tours Small (Max. 12) culturally sensitive groups using local interpreters and experts. Denys James, Canada; (250) 537-4906; www.denysjames.com; [email protected].

Morocco 2011 Ceramics Excursion, October 13–November 3, NEW ITINERARY, including Fez, Chef-chaouen, Essaouira, Volubilis, Marrakech, Zagora, Meknes, Rabat, Casablanca. Studio visitations, tile art, mosaics, fabrics, clay architecture, Roman ruins, a camel ride in the desert, and much more. Denys James, www.discoveryarttravel.com.




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index to advertisers

Aardvark Clay & Supplies ................. 64

ACerS Books ................... 25, 27, 63, 76

Amaco and Brent .......... Cover 2, 60, 61

American Museum

of Ceramic Art (AMOCA) .............. 13

Anderson Ranch Arts Center ............ 71

Archie Bray Foundation ..................... 69

Arrowmont School of Arts & Crafts .... 75

Art New England/MA College of Art .. 77

Bailey Pottery........................... 1, 11, 17

Bennett Pottery .................................... 7

BigCeramicStore.com ....................... 76

Bracker’s Good Earth Clays .............. 68

Carolina Clay Connection .................. 74

Ceramic Art London ............................ 9

CeramicArtsDaily.org .................. 23, 25

Chinese Clay Art................................ 71

Clay Art Center/Scott Creek .............. 12

Classifieds ......................................... 78

Continental Clay ................................ 67

Cress Mfg .......................................... 65

Davens Ceramic Center .................... 67

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

Georgies Ceramic & Clay .................. 65

Giffin Tec .............................................. 2

Great Lakes Clay ............................... 69

Haystack Mountain School of Crafts . 74

Herring Designs/SlabMat .................. 77

Idyllwild Arts ...................................... 64

Kentucky Mudworks .......................... 77

L & L Kiln Mfg .................................... 62

La Meridiana ...................................... 76

Larkin Refractory Solutions................ 75

Master Kiln Builders .......................... 77

Mendocino Art Center ....................... 76

Metchosin Intl School of the Arts ....... 77

MKM Pottery Tools ............................. 77

Mudtools ............................................ 65

NCECA .............................................. 19

North Star Equipment .......................... 3

Odyssey Center ................................. 73

Olympic Kilns .................................... 21

Ox-Bow Summer School of Art .......... 70

PCF Studios ....................................... 77

Penland School of Crafts ................... 71

Peter Pugger ....................................... 4

Portion Master ................................... 74

Potters Council ................ 67, 74, 75, 79

Santa Fe Clay .................................... 76

Sheffield Pottery ................................ 75

Shimpo ...................................... Cover 3

Sierra Nevada College ...................... 77

Skutt Ceramic Products ............. Cover 4

Smith-Sharpe Fire Brick ..................... 71

Socwell .............................................. 77

Spectrum Glazes ............................... 66

Trinity Ceramic Supply....................... 69

Truro Center for Arts .......................... 74

Tucker’s Pottery ................................. 72

Ward Burner Systems ........................ 69

Xiem Gallery ...................................... 70

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• 20% Discount on Magazines, Art Books and DVDs

• Affordable Health Insurance

• Member-Only Yearly Calendars

• Member-Only Juried Show

Potters Council — Celebrating 10 Years

2011 NEW Member Benefits

• Online Member Directory

• Online Mentoring Program

• Online Juried Student Member Show

• International Potters Council Conference

NOW is the time to join an organization that works for you. Our member benefits touch every aspect of your life — from money saving discounts, and eligibility for group health insurance, to learning new techniques at conferences. Visit www.potterscouncil.org or call 800.424.8698 to join and celebrate our 10th Birthday with us.

{Est.2001}

http://www.potterscouncil.org



comment the other option: post-baccalaureate certificate by David Katz

As the pursuit of a bachelor of fine arts degree nears completion, a student cannot help but be overwhelmed by the consequential linger-ing question of “What comes next?” As an undergraduate student at the University of Wisconsin, Madison, I was determined to go directly to graduate school after earning my degree. It seemed to be the obvious next step, which I would proudly announce to any-one who inquired as to my post-graduation plans. As far as I knew, graduate school was the logical progression and I had not really considered another option. However, much to my surprise, I was encouraged by a multitude of established artists to take my time instead, and pursue other, potentially more fruitful opportunities before grad school.

“Look for a residency, an artist to mentor with, or work as a studio assistant.” “Get to know yourself and develop your work,” they would suggest. So this is what I did, and it was valuable advice that I will echo to anyone who finds themselves in the same position. There was, however, an additional and equally valuable opportunity that I later discovered, to which I would like to sing my praise: a post-baccalaureate certificate program.

After graduation, my first move was to New York City for a two-year studio assistant resi-dency at Greenwich House Pottery in the West Village of Manhattan. This experience was quite satisfying to me as it fulfilled the goals that had been impressed upon me. I was able to get to know myself better as a maker and focus on my work, while simultaneously learning priceless lessons through my responsibilities as a studio assistant. I developed a distinctive style, technical prowess, and a tight portfolio of elegant, large scale, abstract sculptures. Upon completion of my two years, I felt that it was now time for me to pursue graduate school and sent out numerous applications, only to receive a stack of “We regret to inform you…” rejection letters in return.

Faculty at the various universities offered me feedback, with a consistent response, saying “Beautiful, tight work, good enough for graduate school, but where is it going and what is the investigation?” It became apparent to me that, although I had made commend-able technical advances, the isolation of my studio was not ideal for the development of content in the way that the critical dialog of academia demands. In order to take my portfolio to a higher level of maturity neces-sary for graduate school, I needed to be in an environment that would not only allow more time to focus on producing work, but also

provide critical feedback to support thought-ful development of content.

Among the faculty feedback I received was a crucial suggestion encouraging me to pursue a post-baccalaureate certificate program. It amazed me to learn that there are institu-tions that offer a formalized curriculum for individuals in between undergraduate and graduate school, specifically designed to help students make that next step. I applied and

was accepted to the program at University of Massachusetts, Dartmouth and gratefully found myself in the intense and nurturing environment that I needed.

Upon arriving at UMass, my new profes-sors assured me that if I dedicated myself to developing my work and responded to the gaps they perceived in my portfolio that I would indeed get accepted into graduate programs the following year. They made it clear that my

sole responsibility for the year was to be in the studio 100 percent of the time, seven days a week- morning until night. My life drastically shifted, from working 60 hours a week before having the time to get into the studio in New York, to spending over 100 hours a week in the studio, focusing all of my energy on furthering my artistic development. Weekly one-on-one faculty meetings to discuss the development of work, formal group critiques with faculty and students, and a weekly seminar that focused on topics pertinent to my artistic develop-ment complimented the studio time. Seminar topics included art theory, artist statement and resume development, and how to make thoughtful decisions about which graduate programs would be a good fit for each indi-vidual. Post-baccalaureate students are also required to take a supplementary course each semester to enhance studio practice such as clay formulation, glaze calculation, kiln building, mold-making, or art history, as well as assisting one of the associate professors in teaching an undergraduate course.

The program also surrounded me with three other post-baccalaureate certificate students, working with the same level of intensive devotion to personal development, striving to reach a similar goal. The four of us were constantly involved in informal critique of each other’s work and provided a healthy competitive desire to be in the studio 24/7. Not only our work but our general approach to art making developed a great deal; each of us were accepted into multiple programs, and are now attending graduate schools that suit our individual needs. We came out of the program with not only acceptance letters, but also nine transferable graduate credits, a mature body of work, and a prevailing drive to continue making.

As a second year graduate student at Indiana University, I feel that I ended up at the right school for me and arrived prepared and confident.

I owe both my preparedness and the op-portunities that became available to me to the post-baccalaureate certificate program I attended. So, to any undergraduate ceramic students thinking about what to do after graduation I say, look for a residency, an art-ist to mentor with, work as a studio assistant, or better yet, apply to a post-baccalaureate certificate program, you’ll be happy you did.

the author David Katz lives in Bloomington Indiana, where he is working towards his MFA at Indiana University.

David Katz’ In Relation to Another, 48 in. (1.2 m) in height, stoneware, slip, terra sigillata, and glaze, fired to cone 6, 2009.


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