here - Ceramic Arts Daily

Transcription

editor Sherman Hall
associate editor Tim Frederich
assistant editor Renee Fairchild
assistant editor Carol Horvath
contributing editor Kim Nagorski
design Paula John
production manager John Wilson
production specialist David Houghton
advertising manager Steve Hecker
advertising assistant Debbie Plummer
circulation manager Cleo Eddie
circulation administrator Mary E. May
publisher Mark Mecklenborg
editorial, advertising and circulation offices
735 Ceramic Place
Westerville, Ohio 43081
USA
telephone
editorial: (614) 895-4212
advertising: (614) 794-5809
classifieds: (614) 895-4212
circulation: (614) 794-5890
fax (614) 891-8960
e-mail
editorial@ceramicsmonthly.org
advertising@ceramicsmonthly.org
classifieds@ceramicsmonthly.org
circulation@ceramicsmonthly.org
website www.ceramicsmonthly.org
Ceramics Monthly (ISSN 0009-0328) is published
monthly, except July and August, by The American Ceramic
Society, 735 Ceramic Place, Westerville, Ohio 43081;
www.ceramics.org. Periodicals postage paid at Westerville,
Ohio, and additional mailing offices.
Opinions expressed are those of the contributors and do
not necessarily represent those of the editors or The Ameri
can Ceramic Society.
subscription rates: One year $32, two years $60,
three years $86. Add $25 per year for subscriptions outside
North America. In Canada, add GST (registration number
R123994618).
change of address: Please give us four weeks
advance notice. Send the magazine address label as well
as your new address to: Ceramics Monthly, Circulation De
partment, PO Box 6136, Westerville, OH 43086-6136.
contributors: Writing and photographic guidelines
are available on request. Send manuscripts and visual sup
port (slides, transparencies, photographs, drawings, etc.) to
Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081.
We
also
accept
unillustrated
texts
e-mailed
to
editorial@ceramicsmonthly.org or faxed to (614) 891-8960.
indexing: An index of each year's feature articles
appears in the December issue. You may also visit the
Ceramics Monthly website at www.ceramicsmonthly.org to
search an index of article titles and artists' names. Feature
articles are also indexed in the Art Index, daai (design and
applied arts index) and other services available through pub
lic and university libraries.
copies: For a fee, photocopies of articles are available
through Customer Service, PO Box 6136, Westerville, OH
43086-6136; e-mail customerservice@ceramicsmonthly.org;
or telephone (614) 794-5890.
Authorization to photocopy items for internal or per
sonal use beyond the limits of Sections 107 or 108 of the U.S.
Copyright Law is granted by The American Ceramic Society,
ISSN 0009-0328, provided that the appropriate fee is
paid directly to Copyright Clearance Center, Inc., 222 Rose
wood Dr., Danvers, MA 01923, USA; (978) 750-8400;
www.copyright.com. Prior to photocopying items for edu
cational classroom use, please contact Copyright Clearance
Center, Inc.
This consent does not extend to copying items for
general distribution, or for advertising or promotional pur
poses, or to republishing items in whole or in part in any work
in any format. Please direct republication or special copying
permission requests to the Senior Director, Publications, The
American Ceramic Society, 735 Ceramic PI., Westerville, OH
43081, USA.
back issues: When available, back issues are $6 each,
plus $3 shipping and handling for first issue and $1 each
additional issue (for international orders, shipping/handling
is $6 for first issue and $2 each additional issue).
postmaster: Please send address changes to Ceramics
Monthly, PO Box 6136, Westerville, OH 43086-6136. Form
3579 requested.
Copyright © 2003
The American Ceramic Society
All rights reserved
Ceramics Monthly October 2003
2
4
OCTOBER 2003 / Volume 51 Number 8
featu res
38 Jennifer Lee
The Circumnavigation of Form by David Whiting
42 Animal Tracks by Anne Macaire
Technical challenges in constructing large slabwork
45 Anagama Firing at Chris Gustin's by Scott Ruescher
Camaraderie and cooperation among ceramists in New England
52 Ceramic Showcase 2003 by Renee Fairchild
Oregon Potters Association’s nonjuried members’ exhibition
56 Ducuale Grande
A Nicaraguan Women's Pottery Cooperative by Peter Chartrand
60 A Taste for C lay by Fred C. Wilson III
Early creative experience fosters lifelong passion
62 Chinese Ceramics Today byjim weaver
Traveling exhibition of works by 22 contemporary ceramics artists
65 Roush's Teapot by David M. Brin
A quest for the perfect pouring vessel
67 Ceramics 2003 by Susan Peterson
Biennial juried competition in Guilford, Connecticut
69 Gallery Guide 2003
Where to see ceramics in the U.S. and abroad
departments
10
14
30
letters
upfront
new
books
88 call for entries
94
suggestions
96
calendar
114
questions
116 classified advertising
118 comment:
That Would Be Just Ridiculous,
Don't You Think?
by Dick Lehman
120 index to advertisers
cover: Vessel, 35 inches
(89 centimeters) in height, wheel-thrown
and coil-built stoneware, fired in reduction
to Cone 11, by Chris Gustin; page 45.
Photo: Dean Powell.
5
upfront
14
Marilyn W. Simon
14
Paul Jackson
Majolica sculpture and tile at ArtForms Gallery in Manayunk, New York
Vessels and sculpture at Alpha House Gallery in Sherborne, England
14
Karen Thuesen Massaro
Receives Award
Ceramist becomes Santa Cruz County Arts Commission’s
2003 Artist of the Year
14
Birgitte Wyller Bernsten
Handbuilt vessels at det Norske Teatret in Oslo, Norway
16
Asian Trade Ceramics at
the
Crocker Art Museum by Paul f. Dauer
Over 400 pieces of production ware from the Takahashi Collection
in Sacramento, California
18
Change is Good by Tim Mosgrove
20
Jean Cappadonna Nichols Receives $5000 Award
20
Midwest Clay in Baltimore
20
Clay Exhibition in Singapore
Stoneware mural at the Mosgrove Gallery in Coeur d’Alene, Idaho
Florida ceramist recognized with State Individual Artist Fellowship
Works by eight artists at Baltimore Clayworks in Maryland
Group show at Utterly Art Exhibition Space in Southeast Asia
20
Tom Hoffman
Wood- and soda-fired pots at KOBO Gallery in Seattle
22
Materials: Hard and Soft by Peggy Heinkel-Wolfe
Works by 13 ceramists included in juried crafts exhibition
Meadows Gallery of the Center for Visual Arts in Denton,
24
at the
Texas
Raymon Elozua
Retrospective exhibition at the Mint Museum of Craft + Design
in Charlotte, North Carolina
24
14th Annual California Clay Competition
Juried exhibition at the Artery in Davis
26
Juried Exhibition of Teapots in Las Vegas
Works by 36 artists at Contemporary Arts Collective in Nevada
26
Helena Starcevic
Sculpture at photo-graphic Gallery in New York City
6
7
letters
Start-Up Frustrations
First of all, I would like to thank you for all
of the articles you publish. To see that some
artists are making a living at making “art”
that I wouldn’t even sell at a garage sale
is inspirational!
It’s clear that some people have had
things handed to them all their lives—house,
education (paid for by their parents), etc. I
still have just under $40,000 left to pay on
my student loans, and haven’t even had the
chance to touch a piece of clay since 1998!
For those people who have to pay for
everything themselves, I just have a few
questions. How do you pay for everything
(e.g., house, education, insurance, bills)
and/or make a living from scratch by your
self? I have everything I need (wheels, kilns,
clay, glaze, materials, etc.), but I’m having a
problem with finding a place to work. If I
do decide to go head first into making
pottery for a living, I would have to make at
least $1500 per month to pay for the above.
I know some potters can, and do, make this
amount and more, but where does it start,
and with how much funding and support?
One day, I know I will be able to walk
into my studio, with coffee in hand, and
make pots all day long with the roar of the
kiln, but when?
Steve Belovich, Washington, PA
Fusion of Form and Surface
The pottery by B. R. and Abhay Pandit is
superb [September CM]. Great glazes that
fit forms perfectly is a wonderful thing to
behold. These very talented artists embody
what high-quality studio ceramics is all
about. They have created the equations
needed to maximize the fusion of form and
surface treatments.
Tom Turnquist, Lakewood, CO
Memories of Greenfield Village
My first memory of ever seeing a pot
thrown on the potter’s wheel was at
Greenfield Village [May 2003 CM]. That
was some 45 years ago. Since my career for
the last 30 years has been pottery, this
image is indelibly imprinted on my mind.
Now, in my pottery shop, I delight in
seeing children’s faces light up when they
see me throwing clay into pots. What a
truly enjoyable and rewarding occupation!
Tim Wierwille, Ruidoso, NM
Equipment Theft
Late one recent Saturday evening or early
Sunday morning, an unknown person or
persons pried open the side door [of Hands
on Clay studio] and stole all of our raku
equipment. Missing are numerous boxes of
soft kiln brick, seven gas burners, three pairs
of long-handled tongs, a custom manifold
that allows three burners to be hooked up
to the same gas source, and a variety of
other firing accessories. The approximate
value of the stolen items is $6000.
We feel the person responsible for this
theft knows us quite well. He or she prob
ably studied with us and, more specifically,
participated in raku firings at Hands on
Clay. This person had knowledge of our
alarm system and knew where we stored
equipment. He or she also knew exactly
what was needed to set up a firing system.
I understand that people who experience
the excitement of raku sometimes develop a
passion for it. This person obviously felt
strongly, but in order to satisfy his or her
own impulse, he or she deprived at least a
dozen people here at the studio of the right
to fire their own pots. We are now, unfortu
nately, in a position of having to cancel our
scheduled demonstrations and workshops.
10
11
letters
Some of us were in the process of making
pots and sculptures to be raku fired for
various shows and exhibitions and will no
longer be able to participate.
We have been practicing raku in this
country since the 1960s. It remains one of
the few truly spontaneous and interactive
methods of firing pottery. There is also a
strong spiritual component surrounding the
practice of raku, which this person seems to
have missed. One cannot begin such a
journey with such a cold heart. I can’t
imagine any good coming from such a
shameful beginning.
We would like to ask this person to give
serious thought to what has been done, the
effects these actions have had on the mem
bers of our studio, and to seriously consider
returning our equipment. It could simply
be left in the backyard and all concerned
would feel a whole lot better.
Peggy Stasi, Program Director, Hands on Clay,
East Setauket, NY
Love the Controversy
I always look forward to the reader com
ments. It is so interesting to see that one
person loves what the other person hates. I
am a longtime subscriber, and it has always
seemed to be that way. You sure are doing
something right. Controversial—Thanks!
Ellen Jones, Bellevue, WA
Annual Review Yields "New" Ideas
I’ve known I would be a potter since I was
six, and made pots out of ditch clay and
water. I’ve subscribed to Ceramics Monthly
since I first saw the magazine in 1972. I’ve
made my living making functional porce
lain since 1976. Once a year, I go through
all my back issues for “new” ideas. Great
magazine—great resource.
Rhoda Fleischman, Brownsville, OR
Educational Value
Both my students and I hungrily await
Ceramics Monthly every month to find the
treasures that inspire and educate us.
Rui Haagen, Colorado Springs, CO
In keeping with our commitment to providing an
open forum for the exchange of ideas and opinions,
the editors welcome letters from all readers; some
editing for clarity or brevity may take place. All
letters must include the writer’s full name and ad
dress, but they will be withheld on request. Mail to
Ceramics Monthly, 735 Ceramic PI., Westerville, OH
43081; e-mail to editorial@ceramicsmonthly.org; or
fax to (614) 891-8960.
12
upfront
earthenware forms, loosely based on French and Italian ceramics. Over
time, Jackson also became influenced by Russian graphics and Islamic
art, then human nudes and painterly abstraction.
Inspired by the garden at his new studio, Jackson recently began
making sculptures for the outdoors. For the most part, these are also
human nudes.
Marilyn W. Simon
“Inside • Outside • Upside Down: Works in Majolica • Figures and
Tiles,” an exhibition of works by Cheltenham, Pennsylvania, ceramist
Marilyn W. Simon, can be seen through October 5 at ArtForms Gallery
in Manayunk, New York. One of Simons latest series—“Floating Free”
Karen Thuesen Massaro Receives Award
Santa Cruz, California, ceramist Karen Thuesen Massaro (see the Sep
tember 2000 CM) was recently named 2003 Artist of the Year by the
Santa Cruz County Arts Commission; she is the 19th artist to be
honored as such. The award is given to an artist who has a national and/
Marilyn W. Simon’s “Floating Free,” 8V2 inches (22 centimeters) square,
earthenware with majolica; at ArtForms Gallery, Manayunk, New York.
(shown here)—consists of floating nudes on tiles. These two-dimen
sional images have recently become three-dimensional as well. For some
reliefs, Simon creates “upside-down pinch pots, forming a leg, thigh,
abdomen, bosom, cloud, etc., attaching them to each other as I go, to
make the completed piece. The reverse side thus becomes a series of
crevices or cavities—another element to consider. I then sculpt tiny
people, animals and objects that are placed into these hollows to finish
the work.”
Paul Jackson
Ceramic vessels and sculpture by British artist Paul Jackson are on view
through October 11 at Alpha House Gallery in Sherborne, England.
After giving up a career in law to become a potter, Jackson opened his
first studio in 1979 in Cornwall. His first pieces were brightly decorated
Karen Thuesen Massaro in her Santa Cruz studio.
or international reputation, as well as having contributed to the cultural
enrichment of the local community. In conjunction with the award
presentation, Thuesen Massaro s sculptures were exhibited at the County
Government Center.
Birgitte Wyller Bernsten
Paul Jackson’s “Rocking Vase,” 10 inches (25 centimeters) in height, earthenware
with sgraffito and brushed slips; at Alpha House Gallery, Sherborne, England.
Ceramics by Norwegian artist Birgitte Wyller Bernsten can be seen
through October 18 at det Norske Teatret in Oslo, Norway. “I bring
what I’ve learned from studying the natural sciences to my work in
ceramics,” she noted. “Clay and glazes are truly organic matter. Its
useful to understand the chemical reactions that occur when clays and
glazes combine. I’m fascinated by the harmonious combination of
technology and the unpredictable forces that act on the clay.”
She has been working on her most recent pieces for the past year.
Beginning with a simple cylindrical form, she manipulates it, then adds
feathers, leather, keys, wire, etc. “There is a bit of my inner being in each
14
not onty serve to explicate but reflect the individuality of the maker. A
signature 15th-century Chinese double-gourd jarlet with two lugs (see
page 18) is perfectly proportioned. The rich, saturated, plum-purple
glaze complements the voluptuously sensual feminine shape and com
mands recognition as something more than another nondescript mem
ber of a production population.
lipffOnt
miniature Diue-ana-wmte ware, to HV2 inches (9 centimeters) in height,
stoneware, 15th- or 16th-century Vietnam.
Birgitte Wyller Bernsten’s “The Day Before” and “The Day After,” approximately
40 centimeters (16 inches) in height, slab-built white stoneware, with engobes
(“The Day Before”), copper carbonate (“The Day After”) and glazes, NOK4800
(approximately US$640); at det Norske Teatret, Oslo, Norway.
piece,” Bernsten commented. “To make them, I call on moods and
memories. I work with different structures and colors to create a con
nection between the traditional and the unknown.”
Asian Trade Ceramics at the Crocker Art Museum
by Paul F. Dauer
Intricate and delicate underglaze brushwork and overglaze enamel
ing mark the indelible identity of unknown potters laboring as a pro
duction resource but expressing a personal manifesto. We may never
know the identities of these individuals, but we cannot ignore their
cultural artistic idiom. They are part of a continuum that marks the
marvel of homo sapiens and the artistic artifacts of our species.
No exhibition of Asian ceramics would be complete without celadonglazed pieces. Unlike the contemporary association of celadons with
porcelain, historically, these glazes were applied over stoneware. The
glazes were wood-ash and iron based, and fired in a reduction atmo
sphere. Depending on the iron content, thickness and the firing tem
perature, the glaze ranges from a pale white with a green tinge to a lush,
rich translucent green or gray-green. The glaze also varies from a soft
matt to a high gloss. The epitome of this glaze is a shallow plate made in
Thailand in the 15th or 16th century. Mold-impressed patterns and a
foliated rim also enhance the surface.
Over 400 pieces of Asian ceramics from the Hiroko Hara and Shigeharu
Takahashi collection were donated to the Crocker Art Museum in
Sacramento. The recent exhibition of these pieces validates a quintes
sential principle of artistry: art is not a contrived or structured expres
sion, but is most often an intuitive articulation. The pots in the exhibition
were not created as an artistic expression. To the contrary, they were a
commercial exercise. That so many of the pieces in the show illustrate
individual artistic talents is a measure of the innate sensitivities in what
is essentially production ware.
The collection encompasses the spectrum of Asian trade ceramics,
except for Korean works, born of the Takahashis’ residency in Indonesia
in the 1970s. What at a superficial level is mundane functional ware, in
a global view is a cross-section of six centuries of Chinese, Thai and
Vietnamese production ware. These are not one-of-a-ldnd works, ex
cept for rarity of survival. Rather, they were mass produced for their
utility in storing and transporting goods and foodstuffs. Some acquired
extrinsic spiritual values among Southeast Asian populations and even
served as a measure of wealth.
Many of the examples are miniatures and jarlets, burial surrogates
for valuable utilitarian wares that were venerable family treasures. Monu
Si Satchanalai foliate plate, approximately 12 inches (30 centimeters) in diameter,
mental dark-brown-glazed stoneware storage jars, covered boxes with
stoneware, 15th- or 16th-century Thailand.
intricate brush decoration, cups, plates and bowls were also exhibited.
The collection documents culturally unique developments and external
White-glazed stoneware with cobalt blue underglaze from all the
influences adapted to the local clays, kilns and aesthetics.
principal countries is well represented in the collection. The supremacy
The Takahashis’ eye for selecting from multiple repetitive examples
of Vietnamese pieces derives from clays that, although not true porce
of trade goods is commendable. Repeatedly, examples in the collection
lain, had the kaolin component that permitted higher firing, greater
16
upfront
vitrification and a whiter body. Proximity to China necessarily reflects
that influence, although the cobalt decoration is not as intensely blue,
but rather more gray and restrained.
tion project began with the idea that some day I would have retail/
studio space there. The demolition work was difficult—39 tons of old
wall, concrete floors, heating system, wire, steel and concrete block were
removed. This part of the project was vastly underestimated and took
much longer than I had expected.
With the help of Coeur d’Alene architect Bill Dahlberg, an old
building that had been an eyesore eventually became a landmark. The
renovated space now houses a retail gallery for my work, as well as the
baskets my wife makes. There is an architect’s office across the hall, and
a Rolfing/massage specialist in another office suite. The back half of the
building, approximately 2400 square feet, is my studio. A downdraft gas
kiln, electric kiln, wheels, slab roller and other supplies fill the space.
The idea for a stoneware mural on the front of the building came
about after a workshop with architectural ceramist Peter King of Florida.
The project started with smaller murals to see whether the freeze/thaw
factor was a concern. Shrinkage rates and durability of the clay also had
to be determined. Adding 30% coarse grog (20/48) to the clay body
provided strength and reduced warpage.
Next, the cedar columns were built and the cultured stone was
mortared into place on the lower half of the facade. Measurements of
the area remaining for tilework were taken, then 8.75% was added to
allow for shrinkage. After building a form representing the building
facade (plus 8.75%) from 2x4s and plywood, I used a slab roller to
transform 3800 pounds of clay into ¾-inch-thick slabs. Two, three, four
Double-gourd jarlet, 3 inches (8 centimeters) in height, stoneware,
15th-century China; at the Crocker Art Museum, Sacramento, California.
Modern archaeological excavations of Southeast Asian shipwrecks
have added significantly to the knowledge of Vietnamese and Chinese
production centers, as well as Asian and European trade ceramics. This
collection provides a complementary context of trade ceramics and the
intrinsic artistry of the producers of trade production ware.
Change Is Good
Tim Mosgrove mural, 55 feet (6¾ meters) in length, stoneware with underglazes,
glazes, iron oxide and stains; at the Mosgrove Gallery, Coeur d’Alene, Idaho.
by Tim Mosgrove
I’ll be the first one to step forward and say that I’m a glutton for
punishment. The idea of putting a 3800-pound, 6x5 5-foot stoneware
mural on a building seemed doable. After nine weeks of work and a
couple trips to the chiropractor, I realized the magnitude of the project.
Over the past 15 years, I have been making a living as a production
potter. Along the way, though, I’ve taken construction work to fill in
some slow periods. I’ve always had an interest in carpentry and masonry,
even spending four years on active duty with the U.S. Army Corp. of
Engineers as a carpenter/mason specialist. The construction-related
work experience has been helpful in making certain decisions.
It was that background that helped me decide to take on a 1940s
building in downtown Coeur d’Alene, Idaho, that had been on the
market for nearly three years. I knew there was potential. The renova
and five layers were scored and slipped into place, and loop tools,
scrapers and ribs were used to create detail. The fish were made large
enough to be seen from the road, yet detailed enough so that closer
study would reveal textures.
Once the design work was complete, the mural was cut into indi
vidual tiles to be fired. Following a bisque firing, the tiles were surfaced
with underglazes, glazes, iron oxide and stains, and fired again.
The day finally came to install the tiles on the wall. Thin-set mortar
was mixed using three parts water to one part acrylic latex additive. This
ratio was also used to mix the colored grout. A moment of hesitation
struck me. What will happen if it doesn’t fit? I had come too far to turn
back, so I set the first rounded tile into place. It fit like a glove. I could be
18
upfront
“The ideas generated through the artwork encompass many points
of view, embracing both the vessel traditions and sculptural aspects of
contemporary ceramics. The work employs freestanding and wall-relief
formats, as both form and content are vigorously explored. A strength of
this group’s work is the range of firing techniques employed, including
raku, wood, salt, stoneware and earthenware.”
heard laughing for blocks away. Installation of all 300-plus tiles took
about three and a half days. Grouting took two days.
Despite all the hard work it took to plan, design, build and install
this mural, it was well worth it. The response from people in the
community has been wonderful, and I was recently presented an Achieve Clay Exhibition in Singapore
ment in the Aits award from the Coeur d’Alene arts commission.
“Life from Earth,” an exhibition of ceramics by seven local artists—Paul
Chay, Alvin Leow, Donald-Eric Lim, Jason Lim, Angie Seah, Shirley
Jean Cappadonna Nichols Receives $5000 Award
Soh and Hong-Ling Wee—was on view recently at Utterly Art ExhibiFt. Myers, Florida, ceramist Jean Cappadonna Nichols was awarded a
$5000 Individual Artist Fellowship by the Florida Department of State
Florida Arts Council, Division of Cultural Affairs, in Tallahassee. The
fellowship is given to professional, practicing artists residing in Florida.
Cappadonna Nichols creates figurative sculptures. “I regard my
work as being a combination of personal experiences and eclectic influ
ences arranged in a ‘stream of consciousness’ format,” she commented.
“This approach allows me to juxtapose imagery as the means to the
manifestation of a crossbred reality....I choose to work in series form;
there are many contemporary issues that inform each series as well as my
life. When an issue becomes so important to me that it continues to
linger in my mind, it will find its way into my work.”
Midwest Clay in Baltimore
“Prairie Fire: Hot Midwest Clay,” an exhibition of works by eight
artists, was on view through August 9 at Baltimore Clayworks in
Maryland. Keith Ekstam, Kevin Hughes, Jeff Johnston, Missouri;
Hong-Ling Wee’s “Bird Vase,” 13 inches (33 centimeters) in height,
wheel-thrown and altered stoneware, with temmoku glaze, fired to Cone 10
in reduction; at Utterly Art Exhibition Space, Singapore.
Howard Koerth’s “Teapot Tableau,” 10 inches (25 centimeters) in height,
earthenware; at Baltimore Clayworks, Maryland.
Howard Koerth, Oklahoma; Malcolm Kucharski, Elaine O. Henry,
Kansas; Lisa Lockman, Marcia Polenberg, Michigan, make up Prairie
Fire, a group that exhibits collectively once a year at various venues.
“The individual artists of Prairie Fire are firmly committed to clay as
their principal medium of expression,” they stated. “Almost without
exception, the material quality of clay shows in the finished work; it is
the tie that binds distinctive visions together into a cohesive exhibition.
tion Space in Singapore. The vase shown above is characteristic of
Hong-Ling Wee’s long-necked, birdlike forms. “Each seems to suggest a
unique personality with a different gesture,” Wee noted. “In a group,
these vases appear to be engaged in conversation. Yet, each can stand
alone, much like a person in solitude. Though there is cohesiveness in
the assemblage, no two are identical. Individuality is key.”
Tom Hoffman
Wood- and soda-fired ceramics by Washington potter Tom Hoffman
were exhibited recently at KOBO Gallery in Seattle, Washington. “My
20
19th-century Denton County, an anomaly that fuels a passion today
among some collectors for the old salt- and slip-glazed pottery. The
Texas tradition built from this natural resource makes Denton, other
wise a bookish small town, a logical hamlet for a national juried
exhibition of contemporary craft.
Now in its 16th year, “Materials: Hard and Soft” was presented
recently at the Meadows Gallery of the Center for Visual Arts in
Denton. A project of the Greater Denton Arts Council, the exhibition
attracted 650 submissions by nearly 300 artists from across the country.
Juror Alan DuBois selected 82 pieces by 68 artists, including 15 works
in clay by 13 ceramists. Curator of Decorative Arts at the Arkansas Arts
Center, DuBois made eclectic choices in all media, which ultimately
showed a respect for each artist’s vernacular and values.
DuBois awarded two ceramists—Scott Dooley of Ohio and Mika
Negishi Laidlaw of Kansas—juror’s awards. The slab-built form of
Dooleys “Teapot” (shown below) suggests human gesture but with
fantastic, Dr.-Seusslike overtones. Its proportions are elegantly bal
anced and counterbalanced.
Tom Hoffman teapot, 8 inches (20 centimeters) in height, stoneware, soda fired,
cooled in reduction; at KOBO, Seattle, Washington.
work is a metaphor for my artistic life: cutting, stretching, pulling apart,
and then putting the parts together in a new whole,” Hoffman com
mented. “Recent work strives to blend traditional elements of form with
sculptural elements, such as bold lines, faceted planes, and saturated
surfaces of color and texture. My work attempts to evoke, through
transformation of the traditional forms, a sense of the passage of time.”
Materials: Hard and Soft
by Peggy Heinkel-Wolfe
An outcropping of clay from the Eagle Ford Geological Formation in
northern Texas supported an unusual density of family-run kilns in
Scott Dooley’s “Teapot,” 16 inches (41 centimeters) in height, handbuilt porcelain.
Una Mjurka’s “Carrot Bowl #3,” 17 inches (43 centimeters) in length.
Other clayworks chosen for the exhibition ranged from inventive,
functional forms to purely decorative objects. Nature was a recurring
theme in many of the pieces. “Cream and Sugar Set” by New York artist
Posey Bacopoulos (see page 24), for instance, incorporated botanical
parts fashioned as structural elements, offering fragile flowers, seeds and
leaves as a sturdy bowl and pitcher.
California ceramist Una Mjurka’s “Carrot Bowl #3” (shown at left)
celebrated the earthen quality of clay. Created as an open, basketlike
22
upfront
Raymon Elozua’s “Caboose #2,” 29 inches (74 centimeters) in length,
stoneware, with oils and steel wire, 1982; at the Mint Museum of Craft + Design,
Charlotte, North Carolina.
found in the process of decay, an aesthetic that remains at the heart of
his work today,” states art critic Edward Leffingwell in the accompany
ing catalog.
Posey Bacopoulos’ “Cream and Sugar Set,” 6 inches (15 centimeters)
in height; at the Center for Visual Arts, Denton, Texas.
form, the bowl’s surface was rough and worn. The carrot-shaped handles
were made to appear old and broken.
“The ‘Hard and Soft’ exhibition at its best is a moving target,”
DuBois noted in his juror’s statement. “With each succeeding year, we
see the artist’s vocabulary evolving and expanding. This is what enriches
us and gives meaning to our lives.”
14th Annual California Clay Competition
The 14th annual “California Clay Competition” was on view recently
at the Artery in Davis. From 340 slide entries, juror Richard Shaw
selected 40 works by 37 artists. “Jurying this show was a rather daunting
task,” Shaw commented, “mostly because of the amount of work I had
Raymon Elozua
“Constructing Elozua: A Retrospective” covers the 30-year career of
New York City artist Raymon Elozua. “In his diverse bodies of work
that include photography, ceramic vessels and sculptural landscapes,
there are recurring themes,” noted Melissa G. Post, the exhibition
“Bowl with Posts,” 6 inches (15 centimeters) in diameter,
stoneware with glaze, 1973, by Raymon Elozua, New York City.
curator. “Elozua’s art is a metaphor for mankind in general, and himself
as an artist. It is a reflection of the world around him, a vehicle for
conceptual ideas. In examining Raymon Elozua’s career, we are wit
nesses to a remarkable metamorphosis of the artist along with his art.”
For the most part self-taught, Elozua grew up in south Chicago,
where the decline of industrial manufacturing influenced his ceramic
sculptures. “Elozua has invested his landscapes with the beauty he
Tiffany Schmierer’s “Accumulated View,” 30 inches (76 centimeters) in height,
handbuilt with underglaze, glazes and luster, fired multiple times, $975.
24
25
upfront
to view over and over again. However, it is very rewarding to see the
breadth of ceramic artwork being produced in California today.
“There were both functional and sculptural pieces, and the skill level
of the applicants stretched from the beginner to the focused, involved
artist and craftsperson. I attempted to concentrate on works I felt
Porntip Sangvanich’s “Oval Tea Set 2003,” to 7¾ inches (20 centimeters) in
height, earthenware; at Contemporary Arts Collective, Las Vegas, Nevada.
“Construction and the graphic arts are my main focus,” Porntip
Sangvanich stated. “I have been using geometric shapes and patterns to
integrate techniques and ideas, while focusing on the simplicity of
curved and straight lines, designs and colors.”
Helena Starcevic
Sculptures by New York ceramist Helena Starcevic were exhibited re
cently at photo-graphic Gallery in Soho, New York. Among the works
on view was “Breathing Tubes” (shown here), a grouping of exaggerated,
handbuilt cylinders. “Negative space between the tubes adds a dynamic
tension,” Starcevic explained. “A monochromatic patina keeps the focus
on the forms, creating a subtle rhythm of repeating shapes.
Tom Decker s “Short-Handled Amphora,” 27 inches (69 centimeters) in height,
wood-fired stoneware, $800; at the Artery, Davis, California.
exhibited a personal feeling for the material, ideas that pushed the
material and originality, holding both sculptural and functional works
to this criteria.”
Juried Exhibition of Teapots in Las Vegas
“Jackpot! National Juried Teapot Exhibition” was presented recently at
Contemporary Arts Collective in Las Vegas, Nevada. Juror Mark Burns
selected both functional and nonfunctional forms by 36 artists from
across the United States. From these pieces, he also chose award win
ners. Best of Show went to Los Angeles artist Porntip Sangvanich for
“Oval Tea Set” (shown above right). Merit awards were received by Tom
Binger, Cheyenne, Wyoming; Fong Choo, Louisville, Kentucky; Jason
Huff, Seattle, Washington; Jeremy M. Kane, Athens, Ohio; Ricky
Maldonado, Los Angeles; Adam Posnak, Fayetteville, Arkansas; and
Nicholas Sevigney, Newport, Rhode Island.
Helena Starcevic’s “Breathing Tubes,” to 31 inches (79 centimeters) in height,
stoneware, fired to Cone 10; at photo-graphic Gallery, Soho, New York.
“As a child of the ’60s, retro-futurism, mid-century architecture and
furniture have informed my sensibility,” she added. “I look to African
totems, Mayan glyphs, Calder and Brancusi, where the simplest forms
convey meaning.”
Submissions to the Upfront column are welcome. We would be pleased to
consider press releases, artists’ statements and original (not duplicate) slides or
transparencies in conjunction with exhibitions or other events of interest for
publication. Mail to Ceramics Monthly, 735 Ceramic PI., Westerville, OH 43081.
26
27
new books
Julian Martinez, who by their example became careful forming, smooth and clear finishes, care
the key figures in a pottery revival. Their influ fully applied and well-executed designs, and, in
ence was quickly felt at San Ildefonso and soon the case of black ware, a highly lustrous surface
polish... .Maria was ac
extended to the other pueblos as well, and
The Legacy of Maria Poveka
knowledged by all in
pottery
making
once
again
became
an
impor
Martinez
formed observers as
tant
economic
product.”
by Richard i. Spivey
the master potter of
After a historical overview of San Ildefonso
“Maria’s legacy is a significant one,” states
San Ildefonso.”
the author of this well-illustrated monograph. pueblo, the author discusses the lives and work
The next chapter
“In the first part of the twentieth century, Pueblo of Maria and her husband, Julian. “By 1915
discusses Maria’s col
pottery making was in serious decline and eco Maria had mastered the art of making larger
laborations with her
nomic conditions at the pueblos were at an all- vessels and had attained a sldll that surpassed all
daughter-in-law,
time low. There were many who predicted a other San Ildefonso potters. Her pottery was
Santana, after Julian’s
characterized by relatively thin walls, hard firing,
total demise of the art. Then came Maria and
death in 1943, as well
as the work of Maria’s and Santana’s descen
dants. Next, the book covers the work of Maria
and son Popovi Da; the work of Popovi’s son,
Tony; the various signatures used by Maria
throughout her working career; and honors and
awards she received.
The final chapter consists of excerpts from
interviews with Maria Martinez on her life and
career as a potter. 224 pages, including appen
dixes on Indian values by Popovi Da, Indian
pottery and Indian values by Popovi Da, in
memoriam: Popovi Da of San Ildefonso by
Laura Gilpin, and a letter from Bernard Leach;
bibliography; genealogy; and index. 126 color
and 132 black-and-white photographs. $60.
ISBN 0-89013-419-7. Museum of New Mexico
Press, PO Box 2087, Santa Fe, NM 87504.
Majolica
A Complete History
and
Illustrated
Survey
by Marilyn G. Karmason with Joan B. Stacke
“With its rich colors and eclectic mix of revival
styles, majolica was in harmony with the Victo
rian era,” state the authors of this revised and
updated historical survey. “Majolica artists cel
ebrated Victorian scientific developments in
botany and horticulture, zoology and ornithol
ogy, marine biology and conchology—and also
reflected the culinary
and gastronomic en
thusiasms that inspired
the Victorian cook.
“The philosophy of
Victorian decorative
art was to design a piece
first to attract the eye
and only then to be
acknowledged as useful. It was the antithesis of
the twentieth-century concept ‘form follows
function,’ which would never permit the whim
sical figurative shapes and decoration of much of
Victorian majolica. The design of these ceramics
30
31
new books
often elaborated a message, as an ebullient nar
ration of what a piece was to be used for, and thus
indicated its function by decoration, rather than
by form alone.”
The book first looks at historical ceramics of
early cultures, as well as early English ceramics
and majolica antecedents, and their later influ
ence on majolica ware. Minton, Wedgwood and
other British potteries are discussed in the fol
lowing chapters, then the early history of Ameri
can majolica and American majolica makers are
covered. “The great period of American ma
jolica, from the late 1870s to the late 1880s, was
intense but short-lived. Overproduction of an
easily duplicated commodity diluted the quality
of the wares; recurring strikes made it difficult
for employers to continue; and the public imagi
nation was soon captured by art pottery and
bone china. By 1900, majolica was no longer
produced in any quantity in America.”
Final chapters talk about the clays and glazes
used, collecting majolica, and majolica in the
millennium. 261 pages, including introduction
by David R. McFadden, curator of decorative
arts, Cooper-Hewitt Museum, Smithsonian
Institution; list of marks; glossary; majolica in
museums; bibliography; and index. 179 color
and 70 black-and-white photographs. $75.
ISBN 0-8109-3595-3. Harry N. Abrams, Inc.,
100 Fifth Ave., New York, NY 10011; see website
www. abramsbooks. com.
Big Ware Turners
The History and Manufacture of
Pennsylvania Stoneware
by Phil Schaltenbrand
“Large or small, rich or poor, all stoneware
manufacturers in Pennsylvania made specific
ware pieces. Product lines reflected customer
needs and companies worked hard to accommo
date particular tastes,”
states the author of
this historical guide.
“While most stone
ware products were
variations of earlier
earthenware pieces,
the plastic nature of
good fireclay permit
ted forms of ambi
tious size and configuration to be created.
Changing times also created the need for special
ized wares that required the intense heat of a
stoneware kiln....Each of Pennsylvania’s firms
32
33
new books
including appendix with an interview of Larry
Rumble, references and index. 219 color and 39
black-and-white photographs; 44 sketches.
sold about twelve popular pieces but could make $55.50; Softcover, $35. WesterwaldPress, POBox
many more upon request.”
72, Bentleyville, PA 15314; (724) 945-6000.
Most of the chapters discuss various regions
and their potteries during different periods: the The Subterranean Army of
Philadelphia area from 1690 to 1890, the South Emperor Qin Shi Huang
east corner from 1840 to 1880, Pennsylvania’s The Eighth Wonder of the World
Dutch potters from 1835 to 1900, the Northeast by Wu Xiaocong
potteries from 1849 to 1910, etc. Schaltenbrand
In 1974, farmers digging a well unearthed
also describes the making and firing processes, as part of what has become one of the world’s
well as the variety of wares made. 200 pages, largest archaeological discoveries: the tombs of
Qin Shi Huang, the first emperor of China.
During excavation, three pits were found, mea
suring a total area of 20,000 square meters. Un
earthed were nearly 8000 terra-cotta warriors and
horses and more than 100 wooden war chariots.
“The terra-cotta soldiers, horses and chariots
are on a scale so grand and immense that they
remain unmatched to this day by other relics
from the same period in history,” states the
author. “The three pits include nearly 8000
pottery soldiers and horses, still waiting for the
command to attack. The soldiers are all around
1.8 meters tall, the tallest being 2 meters, and are
all stoutly built....The legions remain the only
discovery of so great a
number of life-sized
horses in the history of
Chinese archaeology.”
The nicely illustrated
book briefly covers Em
peror Qin Shi Huang and
his empire, then discusses
the findings in the tombs,
as well as the actual formations of the soldiers
and horses and the logic behind the groupings.
The sculptures themselves, including dress, weap
onry and facial expressions, are described, as are
the potters who probably made them. Finally,
the bronze statues are detailed. 126 pages. 207
color and 2 black-and-white photographs.
US$25. ISBN 7-5032-1881-9. Distributed in
the United States by Chinese Clay Art, PO Box
1733, Cupertino, CA 95015; telephone (800)
689-2529; see website www.chineseclayart.com.
Pueblo Pottery Families
by Lillian Peaster
“I would encourage the collector not to
become entangled with the word ‘tradition,’”
states the author of this collector’s guide. “Buy
what appeals to you, not for investment but as
something you can look at every day and enjoy.”
First published in 1997, this guide has been
revised to reflect current prices. In the book,
Peaster discusses
the works of individuals/family
members from 17
pueblos, including
the Chino family
of Acoma pueblo, Mary Cain of the Santa Clara
pueblo, Emily Tsosie of Jemez pueblo, etc.
Family lines are provided, as is the revised price
guide. 160 pages, including price guide and
index. 162 color photographs. Softcover, $ 19.95.
ISBN 0-7643-1850-0. Schijfer Publishing Ltd.,
4880 Lower Valley Rd, Atglen, PA 19310.
34
35
Jennifer Lee
The Circumnavigation
of Form by David Whiting
“Speckled Pols,” to 22.9
centimeters (9 inches) in height,
handbuilt colored stoneware.
Jennifer Lee is a potter of silence. She does not issue artist’s
statements and, although naturally interested in ceramics debates,
she does not actively engage in them. She prefers simply to focus
on her work, to make pots that evolve slowly in the small studio at
the rear of her house in London. They are objects of exacting
clarity, vessels that do not appear to have changed that radically
over the years—until you compare what she makes today to those
she made in the mid 1980s. Then, one sees the subtle and gradual
developments. While her palette has deepened and broadened,
there is also an increased discipline and precision. Hers is an art
that is built up and then honed down. Like stones on the beach
that have matured geologically and then been smoothed by the
elements, her pots appear to encompass a great deal about our
world in concentrated form. They have no “message” as such. You
will find no politics or polemicism here. What her work does
express is the continuing renewal of what the late Joanna
Constantinidis called “latent energy,” of a tension built up in the
rising clay through the fingers, a kind of upward movement made
through the symmetry and asymmetry of form and the stratified
layers within. Yet, while these objects are suggestive of many
things, they are also quietly and confidently self-contained.
Jennifer Lee’s creative certainty brought her success at a young
age. Since leaving London’s Royal College of Art in 1983, she has
gone on to exhibit all around the world and is represented now in
over 25 public collections. She has also had two museum
retrospectives. Though long established in Camberwell, just south
of the River Thames, her roots are very different. She was born
into a farming family in Aberdeenshire, Scotland, a landscape to
which she often returns. In the mid 1970s, after a brief flirtation
with physiotherapy, she went to Edinburgh College of Art to
study ceramics and tapestry. She then spent several months on a
traveling scholarship in the United States, where she researched
Southwest Indian prehistoric ceramics and visited West Coast
potters, including Peter Voulkos, Paul Soldner and Ken Price.
Upon returning to Britain, she completed her ceramics studies at
the Royal College of Art.
What is striking about the work is its constancy, the way in
which she has been able to explore and fathom the constitution of
clay and delineation of form through the endless possibilities of
the cylinder and the bowl. Within these self-imposed parameters,
her journey has, in a sense, moved inward, gauging and regauging
the interaction of profile and surface, interior and exterior, vol
ume and lift. Right from the beginning, there was a concern with
poise and balance; the curvature of her pots swelling from a
narrow base that creates a minimal point of contact with the
surface on which they rest. It appears to make them float. But
more than this, her pots often present, as Oliver Watson once
“Pale Pot,” 26.8 centimeters (11 inches) in height, handbuilt stoneware,
with colored stoneware vein and rim.
39
“Dark Pot, Tilted Rim,” 28.7 centimeters (11 inches) in height,
handbuilt colored stoneware.
observed, “an asymmetric disjuncture which disturbs their classi
cal profiles.”
This is found not only in the sedimentary motion of the work,
but in Lee’s approach to contour. Rims often lean or deviate in
other ways. She has made “shelf rims,” which partially close the
opening and naturally transform the nature and light of the
contained space. Lips have been tilted and extended outward.
Some pieces have had softly emerging ridges—interventions that
grow seamlessly from the main body. They clearly relate to some
of the most elemental examples of early pots, from Bronze Age
bowls to Ancient Egyptian wares found on numerous grave sites.
Yet she also achieves a precision that distills and condenses what
she has seen and experienced. They are pots that, singly or in
related sculptural groups, have a very modern intelligence.
The superb vessels made in predynastic Egypt, on the Upper
Nile, certainly have affiliations with Lee’s work. These early pots,
made from red Nile silt or hard, buff marl clay, are among the
most abstract we know. The egyptologist Jaromfr Malek said that
they are remarkable for their “subdued elegance,” surely a descrip
tion we could apply to Lee’s ceramics. She too builds up her
shapes from coils or strips of rolled clay, but whereas the black
crests that characterize those Egyptian pots were achieved through
the firing process, Lee’s color is introduced into the clay by mixing
in metallic oxides. These carefully judged tonal variations create a
symbiosis between inside and outside that avoids the dividing
skin of a covering glaze. Moreover, the horizontal and diagonal
layers and veins of staining add to the sensation that these objects
hover and shift in space. They have a posture and equilibrium
that is far from static. Those Egyptian pots were burnished to
create their glossy surfaces. Lee’s patient abrading and burnishing
completes that sense of wind-polished geology, but to see them
solely as evocations or excavations of landscape is rather limiting.
One critic has recently related her art to color-field painting and
her best work has a comparable geometry of hues. Reminiscent of
Mark Rothko, there is a similar ambiguity of depth and space.
While some pots are more arid, with coarser speckled stains,
others have a more liquid and vaporous quality, like watercolor or
a bank of rain cloud. In fact, Lee is just as much a painter as she is
a potter, but whose abstraction is expressed in the three-dimen
sional terms of enclosed form.
Looking back at the work Lee produced in the early 1980s,
after she left the Royal College, we realize what a different kind of
potter she was in the milieu of that time. Her work did not
exemplify the loud color, glitz and baroque forms of so many of
that generation. Instead, her pots seemed, as they remain, disarmingly simple. They continue to allude to natural and manmade
archetypes, to history and the passage of time. Their broad frame
of reference removes them from any sense of the specific. Today,
40
the pots seem more economic in form, but increasingly complex
and virtuosic in their distribution and densities of color. Some
pieces are best appreciated when placed with near relations, to
fully understand how a formal idea is developed and carried
through before she moves on. Lee’s art is not concerned with
fashion or sudden stylistic changes of gear. It evolves on its own
terms, regardless of the temperature in the outside world.
Jennifer Lee will be exhibiting with Galerie Besson at SOFA
Chicago, October 16-19, and at Galerie Besson in London,
England, November 5-28. She also exhibits regularly at the Frank
Lloyd Gallery in Santa Monica, California.
“Sand-Grained Pot, Smoky Spiral,” 19.2 centimeters
(8 inches) in height, handbuilt colored stoneware.
“Olive Pot, Dark Olive Pot, Dark Pot,” to 24.7 centimeters (10 inches) in height, handbuilt colored stoneware, by Jennifer Lee, London, England.
Animal Tracks
by Anne Macaire
For many years, I lived in the Yukon wilderness (see the February 1993 CM),
where animal tracks were an important part of my world. Although we
actually saw our wild neighbors only occasionally, the tracks they left behind
told us of their comings and goings. They ranged from the cross stitching of a
mouse on winter snow to the ambling of a grizzly along the beach.
One day, I found a particularly magnificent wolf track on the lake shore
and cast it in plaster. I then began collecting tracks of all the other animals in
the area; eventually, my collection grew to over two dozen species. Being a
potter, I (of course) pressed these molds into clay. This led to a Canada
Council grant and a project that spanned many years.
The same year that I received the grant, which allowed me to take a break
from production work and explore the idea of track panels, we decided to
move to town. Our relocation efforts extended over a period of five years and
three towns, as we tried to find a place where our family would be comfort
able. Through all of the upheaval, ideas for the animal-track project simmered
on the back burner. I made 30 panels (each 1x2 feet) that moved around with
us, were packed and unpacked, only to be thrown away when we finally
settled. Eventually, the animal tracks matured into a body of work that was
presented at the Yukon Arts Centre Gallery.
Making large panels presented many challenges in developing a clay body,
glazing, firing and mounting. Each was solved through trial and error. A
rhythm of process evolved that allowed me the freedom to concentrate on
design and glazes. In glazing the pieces, I kept to a palette that alluded to the
natural world: earth tones, moss greens, lichens, stones. Rather than attempt
ing a realistic backdrop to the tracks, I explored texture, pattern and color.
“Moose,” 5 feet (1.5 meters) in height, paper clay
with impressed plaster tracks.
42
This exploration took on a life of its own and led me down many paths I had
not anticipated.
To prepare a paper-clay body, I dumped the dry ingredients in a garbage
can one-third full of water, just enough to make mixing by hand easy—stiffer
than a slip but too wet to wedge. To this mix, I added paper pulp by volume.
(I soaked shredded office paper for a few days or longer, then mixed it in small
batches with an electric kitchen mixer until it was an unrecognizable pulp.)
Paper-Clay Body
Ball Clay................................................... 9%
Fireclay..................................................... 13
Local Clay................................................. 65
Local Sand................................................ 13
100%
Add 3 parts paper pulp to 10 parts clay
by volume.
The paper pulp worked like magic. Large slabs cast from this clay body
were strong, flexible, easy to dry with no warping or cracking. Note: paper
pulp can also be used with a white clay body; the ink on the paper fires out.
To produce a set of panels, I started with three plaster bats a few inches
larger than the desired dimensions of the finished panels. A piece of old
sheeting was laid on top of each bat and a simple frame made from lxl-inch
wood went on top of the sheet. The clay was then spread into the frame. At
this point, I would decide what surface the piece would have. Some were
smoothed flat with a long straight edge; others were stippled or sculpted in
“Moose Calf,” 5 feet (1.5 meters) in height, paper clay
with impressed plaster tracks.
43
wave or folded patterns. For certain sur
faces, it was more effective to wait until the
clay was stiffen Once the clay had set up
enough to handle, I scored the edges around
the frame so that I could remove it, and slid
the slab, along with the cloth, onto a piece
of plasterboard. I then pressed the plaster
molds of the animal tracks into the clay.
When dry, the panels were fired on edge,
with firebrick to support them, in an elec
tric kiln. I also used firebrick to support the
top shelf, which enabled me to fire six pan
els at a time. By firing to Cone 06, I could
do bisque and glaze pieces at the same time.
Some panels were single fired; some only
bisqued. Many were fired six times, but loss
due to cracking was minimal.
To mount the panels, I used clear sili
cone adhesive (which can be found in any
hardware store) to attach ½-inch plywood
to their backs. Silicone adhesive contents
and application recommendations vary
widely. I spread it evenly over the plywood,
then beaded it onto the clay panel. This
may be more than was needed, but I wanted
to feel confident the mounting would hold.
To apply adequate pressure while the
glue dried, I laid the panels face down on a
2-inch-thick foam, then positioned three
heavy firebricks on the plywood (attempt
ing to use clamps resulted in breakage).
The foam allowed even very delicate surfaces
to be glued this way. The plywood, which
was recessed 3 inches on all sides, allowed
the panel to be hung with two “D” rings.
Far left: “Wolf,” 5 feet (1.5 meters) in height,
paper clay, impressed with plaster tracks.
Left: “Fox,” 5 feet (1.5 meters) in height, paper
clay, impressed plaster tracks, fired to Cone 06,
by Ann Macaire, Whitehorse, Yukon, Canada.
44
Anagama Firing
at Chris Gustin’s
by Scott Ruescher
Vase, 25 inches (64 centimeters)
in height, wheel-thrown
and coil-built porcelain,
fired with wood to Cone 11.
Vase, 21 inches (53 centimeters) in height, thrown and altered
porcelain, wood fired to Cone 11.
Vase, 31 inches (79 centimeters) in height, thrown and altered
porcelain, wood fired to Cone 11.
Twice a year, Chris Gustin sends out invitations to potters from
around the country who might be interested in firing their pieces
in the wood kiln outside the converted chicken coop that serves as
his studio in South Dartmouth, Massachusetts. A core group of
students, invited artists and seasoned career potters from the New
England area shows up for the semiannual event, and a few
newcomers from these categories accept the invitation as well, all
promising to participate in each phase of the firing. Two days of
loading, six days of stoking the fire (including a day of salt-andsoda glazing), and a week of kiln cooling later, the long-awaited
unloading begins.
The newcomers aren’t strangers to the core group for long,
because the kiln draws the potters together as surely as the intense
fire inside draws molecules of oxygen to its flames. Under the
corrugated metal roof of Gustin’s open-air shed, the community
of ceramists gathers like jovial pilgrims at a secular shrine. Some
white geese peck the ground in a cage near the kiln shed, a little
pasture on the rise above the shed fades into a tangled under
growth of bushes and saplings, and a small yellow Bobcat rests
from its wood-hauling labors under a big blue tarp.
A muddy lane descends from the kiln down past the studio to
a long, straight road that goes south past dairy farms to Buzzards
Bay in one direction and north toward the old whaling town of
New Bedford in the other. An atmosphere of camaraderie prevails
around the kiln—talk of the practical business at hand leavened
by quips, anecdotes and casual observations. The potters seem
proud to be a part of the scene Gustin has created.
It would be an overly formal misrepresentation of Gustin’s
relaxed but directed style to call him the priest of this shrine,
however. He built the brick kiln with a group of his students in
1995 and 1996 while teaching on the nearby campus of the
University of Massachusetts at Dartmouth. A native of Los Ange
les, he had already been in Massachusetts since 1982, when he
was on the faculty of Boston University in the Program in
Artisanry—a program he followed from Boston to its new home
at the now-defunct Swain School of Design in New Bedford.
After Swain merged with Southeastern Massachusetts University
in 1988, and then became the UMass branch campus in
Dartmouth in 1991, he taught there full time until his early
retirement as professor emeritus in 1998. Throughout these latter
sojourns, Gustin has presided over the firings as much for the
creation of community spirit under the shed as for the creation of
his own vases and cups.
The kiln outside the studio, though, is really two kilns—or
three, if you count the small, “secret” chamber, a sarcophagus
sized air passage between the big anagama kiln in front and the
smaller catenary soda kiln in back. During the two days of load
ing, a dozen or more ceramists work at the openings of the kilns,
helping out in any way they can with the necessary preparations.
Under Gustin’s supervision, and with the assistance of his two
resident interns, Matt Kenyon and Paul Krause, artists who’ve
brought tumblers, teapots, vases and platters to fire, help to
prepare the wood piles, to arrange the pieces on pallets for place-
46
the anagama (“probably Japanese for incred
ibly f-ing hot,” says one of Gustin’s friends)
with one or two of the more experienced pot
ters. He fills the rear of the anagama chamber
with smaller pieces, saving the vaulted middle
portion of the kiln’s concave interior for the
placement of the six or seven large vases that
will be shown at his solo exhibition at John
Elder Gallery in New York. He and a friend
carry up from the long gray studio building
these two- to three-foot-tall pot-bellied vases,
each long irregular throat opening into a small
pouting mouth at the top. To ensure the sta
bility of such large works, Gustin places scal
lop shells (found on nearby Horseneck Beach)
under the base of the vessel, propping the
piece up so that the melted ash won’t fuse with
the clay to stick the piece to the shelf, with a
mind toward leaving some ridged impressions
of the shell underneath the base. Between
breaks for meals and snacks, Gustin and the
crew—usually one of his apprentices, often a
fellow veteran, such as Hollis Engley, Steve
Murphy or Joe McCaffery, and sometimes a
student, such as Angela Rose—will spend long
contemplative stretches of daylight time pa
Oval platter, 25 inches (64 centimeters) in width, wheel-thrown stoneware, reduction fired to Cone 11.
tiently arranging and rearranging the pots.
Seeking quantity as well as quality, they strive
ment in the kilns, and to wad the bottoms of the pots in prepara
at once to fire as much pottery as possible and to satisfy their
tion for stacking all of the work.
fellow potters’ desired aesthetic results.
In the catenary soda chamber—catenary being the parabolic
It isn’t just a matter of randomly cramming meticulously
arc of a string hung between two static points, like that of a jump
crafted vessels onto the shelves and letting the heat do the rest. To
rope at rest, but in this case describing the solid arch over the
achieve those desired aesthetic results in the trainlike kiln, each
entrance, like that of a jump rope on the upswing—this means
chamber of which must reach Cone 11 before the wood ash melts
setting pieces upright, almost but not quite shoulder-to-shoulder
or the soda ash is sprayed in through the stoking holes, Gustin
on the brick floor, on cushions of putty-colored wadding that will
and his comrades must set the pieces at specific angles to the
not fuse to the clay vessel or the brick floor. When the floor level
source of heat. Unlike a reduction firing that’s done in a downdraft
is full, the loader places a few tall posts on the brick floor and sets
gas-fired kiln, a wood firing, whether in an anagama or catenary,
a silicon carbide shelf on top. That shelf fills with a motley
relies on a cross draft that is, by definition, directional. The flame
selection of mugs, vases and teapots.
and heat in the firebox at the very front of the kiln, drawn toward
Slowly and surely, the loaders fill several tiers of shelving with
the rear chambers by the draft from the chimney, reach the pots
pieces that have been bisque fired in gas kilns at separate loca
from that one inevitable direction, leaving the residual wood ash
tions—some of the pots glazed, some of them raw, dependent on
traveling through the kiln to surround and adhere to the clay
the melting of the wood ash and the air-injected spray of soda ash
vessels on its own. Though the intense fire of pine and oak
that is mixed with water to form chemical bonds with the clay for
scraps—pine for the length of flame it produces, oak for its BTU
coloration. Up, eventually, go six to eight tiers of smallish pieces
rating in the form of heat—is fed around the clock for six days by
of pottery in this smaller catenary chamber, each tier arranged
potters working in eight-hour shifts, the flames do not lick and
carefully with as many as two or three dozen pieces. Gustin’s
the heat does not necessarily reach all parts of each vessel or the
powder-toned cups (dimpled, deceptively heavy-looking creations,
kiln equally. Rather, the flames spurt and flare and jet around the
without handles, that will go for $50 each on gallery pedestals)
chambers with the irregular intensity they’re known for, as they
mix with the works of his potter friends and apprentices.
would in a house fire.
During the two days of loading, while three or four potters at a
Every surface eventually gets transformed, and the surface
time are stacking the catenary chamber, Gustin is usually inside
decorations emerge more or less unexpected, often with grada
48
tions of color, one relatively more polished than another. The side
of a vessel facing the flame and wood ash will assume a different
coloration. For example, one of Gustin’s large vases will get a
burnished, deeper chocolate tone to the side facing the source of
heat, its shadow side remaining a powdered orange brown. By the
same token, a dimpled, goose-necked vase glazed with a Shino
slip will go deep green on the side that faces the howling storm of
fire and wood ash.
Gustin has always made artfully unfinished-looking cups—
perfectly irregular, monochromatic, dimpled forms unique in
their meticulous simplicity, with tones counterbalancing the heft
of their appearance—but he has not always made the large, pot
bellied, goose-necked vases. Those he has been making for only
the past five years. And they, too, start out on the wheel as clay
cylinders, only much larger. Only in recent years has he made
platters that also start out as cylinders—large cylinders, like steep
bowls, with low walls that he lays down to form the sidewall of
the platter, later decorating their surfaces with overlapping geo
metric and organic shapes, each glaze covered by wax to make way
for the next color before the firing.
The pastel, larger-scaled sculptures that Gustin has been pro
ducing for the past two or three years also start out as clay
cylinders on the wheel, though it would be hard to guess that on
first glance. Technically functional as plant pots but really orna
mental, each sculpture resembles a monumental assemblage of
futurist sculptures by Jean Arp or Constantin Brancusi, a compos
ite construction of ovals, cubes, bars and spheres that gyrates
vertically from a relatively small base to a dramatically fuller brim.
Smoky shades of green, gray, red or blue, they’re hollow inside like
any ordinary vase, and open at the top (unlike any ordinary
sculpture), but perforated with drainage holes at the base for
outdoor placement on patios and in gardens.
Teapot, V/2 inches (19 centimeters) in height, thrown and altered stoneware, fired to Cone 12 in a wood kiln.
Cups, to 5 inches (13 centimeters) in height, thrown and altered porcelain,
wood and soda fired to Cone 11.
Vase, 30 inches (76 centimeters) in height, thrown and altered stoneware,
fired to Cone 11 in reduction.
Gustin constructs these vertically, from the bottom up,
coil on top of coil, like a simple coiled bowl, improvising the
rolled coil into curvaceous forms that are punctuated by
cubes, spheres and diamonds as he raises the form in physical
height and suggested meaning. None of the recognizable
geometric shapes is given full form, however; one significant
side of each remains buried in the body of the vessel, leaving
three-quarters of the shape exposed to the world, as if to
evoke the specific actions of a person trying to put a public
face on his private struggle. The sculptures might put some
one in mind of the legendary definition of architecture as
frozen music—only this would be jazz rather than the classi
cal stuff the speaker of the epigram may have had in mind.
Folk or blues, not classical or jazz, would seem to be the
musical genres most suited to the atmosphere around the
kilns during the ceremonial firings. After a few days of stok
ing, with the participating potters throwing five to ten logs
into the front firebox and stuffing as many as 25 or 30 sticks
of wood into each of the side stoking holes every 10 to 20
minutes, the fire is able to maintain the 2300°F (1260°C)
temperature that’s not only hot enough to bake the clay
thoroughly but powerful enough to hold that high tempera
ture for an extended period of time to melt the wood ash.
The flames have been flaring from the stoke holes day and
night, and the potters have spent their promised and paid-for
time at the kiln. After the main anagama chamber has fired
off and the soda chamber is at its final temperature, Gustin
emerges from the studio, relaxed and optimistic that the
firing will turn out fine. He carries in a bag the two pounds
of soda ash that he will stir into a couple of gallons of water
and spray into the catenary chamber. Blown about the inte
rior of the kiln by the raging flames, the saline solution will
react with the slips and glazes to create the surface coloration.
The all-consuming, labor-intensive process of loading
and stoking the kiln exhausts everyone, Gustin included.
Like any group effort, a sense of community develops along
the way, and can be appreciated in full only in retrospect,
after the collective goal has been attained. For the potters
participating in a wood firing in Gustin’s shed, that cathartic
moment can’t happen until the kiln has cooled for a week.
Then, finally, comes the anticipated unloading. After a week
of rest and recovery, the whole crowd meets early on the
designated day to begin the unloading.
With a sense of anticipation and excitement, and with
one final burst of collective physical energy, they take the
doors off the kiln, brick by brick, and get their first look at
the shapely and subtly colorful results of their hard work.
This is when aesthetic possibility and community spirit con
verge in the shed at Gustin’s studio—when the wonder of it
all becomes clear.
50
Bowl, 16 inches (41 centimeters) in height, thrown and altered porcelain, fired to Cone 11 in reduction, by Chris Gustin, Dartmouth, Massachusetts.
Shino Slip
Gustin Shino
(Cone 11)
Soda Ash................................................... 4.0 %
Kona F-4 Feldspar..................................... 10.8
Nepheline Syenite..................................... 45.0
Spodumene............................................... 15.2
EPK (Edgar Plastic Kaolin)....................... 10.0
Kentucky Ball Clay (0M 4)......................... 15.0
(Cone 11)
Soda Ash................................................. 3.20%
Kona F-4 Feldspar.................................... 8.64
Nepheline Syenite...................................36.00
Spodumene............................................. 12.16
EPK (Edgar Plastic Kaolin)..................... 28.00
Kentucky Ball Clay (OM 4).................... . 12.00
100.0%
100.00%
Bauer Slip
(Cone 11)
Borax......................................................... 5.7 %
EPK (Edgar Plastic Kaolin)....................... 41.9
Kentucky Ball Clay (0M 4).........................41.9
Zircopax..................................................... 10.5
Blair's Red Slip
(Cone 11)
Nepheline Syenite........................................ 15 %
Grolleg Kaolin..................................................... 20
Helmar Kaolin..................................................... 65
100.0%
51
100%
by Renee Fairchild
“Flower Holder with Tray,” 15 inches (38 centimeters) in length, slab-built terra cotta, with white slip, by Kathryn Finnerty, Pleasant Hill, Oregon;
Best in Show award winner. “Of the honors and awards that one can receive, the acknowledgement by a peer-based jury is particularly gratifying.
I was honored to receive ‘Best in Show’ at this year’s ‘Showcase’ event. It is a wonderful feeling to have the support of the community where I have
chosen to live and work.”
With over 200 participating ceramists, the 21st
annual Oregon Potters Association (OPA) “Ce
ramic Showcase” was one of the largest nonjuried
all-clay shows in the United States. More than
10,000 visitors attended this year’s show, held at
the Oregon Convention Center in Portland, al
lowing exhibitors to realize almost ½ million dol
lars in combined sales. In addition to booth spaces
and the Showcase gallery, there were also demon
strations by over 15 ceramists, as well as a children’s
clay activity center.
All exhibitors must be OPA members. Consist
ing of over 400 artists from Oregon and Washing
ton, OPA awards points to its members based on
services provided to the association. The points are
cumulative and are totaled once a year. If a mem
ber does not yet have enough points for an indi
vidual booth, he or she can participate in the group
booth. All members, regardless of points, are eli
gible to display work in the Showcase gallery.
“Deep Connection,” 20 inches
(51 centimeters) in height, carved
stoneware with stains, $165, by Babette
Harvey, Portland, Oregon; second-place
award winner. “I remember my first
year at ‘Showcase.’ I met artists whose
work I had been admiring for years.
I guess I was in awe of some of them,
but I discovered that they were pretty
much human and friendly, and not all
that different from me. They also have a
lot to offer, in the form of advice and
encouragement. For new artists,
rubbing elbows (literally, at times) with
people who have been showing their art
for 20 or 30 years is invaluable. I think
everyone can walk away from the show
having gained something good from
interacting with people at all different
stages of artistic development.”
52
“Totem at Sunset,” 331/2 inches (85 centimeters) in height, terra sigillata with
iron and stain, fired to Cone 03 and smoked in a sawdust pit kiln, by Victoria
Shaw, Portland, Oregon; third-place award winner. A potter with 30 years
experience in ceramics, Shaw has found that ‘“Ceramic Showcase’ has become
an important factor in my annual sales. However, more than the financial reward
and recognition, the camaraderie and support from my peers is the reward for
me. I can count on honest feedback on the progress of my work, and it is always
a learning experience. OPA was just a small group of energetic potters when it
was first formed. Today, it has national recognition for the professional level of
work exhibited and I am honored to be counted among its number.”
“After 9/11,” 16 inches (41 centimeters) in height, porcelain, gold leaf, wood,
fired to Cone 6, by Gyllian Davies, Portland, Oregon; third-place award winner.
“I love being a part of ‘Showcase,’ working with other ceramics artists to bring
off this amazing event. I put a piece in the gallery and I do not have a booth,
so before and after I do my work shifts, I help my friends with their booths.
Working in my studio can be very isolating and this is the time when I get to be
around other clay folk, catching up on news, seeing people’s new work, getting
inspiration when someone really pushes their own edge and creates something
exciting. Everyone helps everyone. Everyone applauds everyone’s successes.
It’s a very respectful environment.”
Platter, 25 inches (64 centimeters) in diameter, stoneware, by Wally Schwab,
Aloha, Oregon; Bennett Welsh Award recipient. “I’ve been involved with OPA
since its beginning in 1980. When OPA ‘Showcase’ comes around in May,
I often stop and reflect on what a huge event it has become, how the
community has supported the Oregon potters in such a positive way and that
I have been fortunate enough to be part of such an event. Our efforts over time
have certainly been rewarded—financially, professionally and socially. It’s a
time to renew old acquaintances, make new friends and gain new customers.
As the years roll by, the social aspect becomes more important than ever to
me, especially since I’ve been a teacher for nearly all my working life. The
success of my students is very gratifying, watching them develop and getting
involved, helping to make Showcase what it is today. I’m proud to be a part of
OPA Showcase. It is like nothing else that I have ever been involved with.”
53
Booth display by David Fitzpatrick, Portland,
Oregon; Best Booth award. “All these
potters working together is a great
opportunity for seeing each other’s work,
exchanging ideas and information about
techniques, glazing, etc. For the most part,
potters are happy to talk shop, though there
never seems to be enough time. I am
always energized (and exhausted) by
‘Showcase.’ One of the best aspects for me
is the direct contact with my patrons.
I love to explain the building and firing
techniques, tell them the story of their new
piece. I always like to meet the ‘family’ as
I send my ‘babies’ off to their new home.”
“Tinman Teapot,” 8 inches (20 centimeters)
in height, stoneware, salt fired to Cone 10,
by Larry Nelson, Hillsboro, Oregon. “This was my
fifth year at ‘Showcase’ and the second year I was
able to produce enough work for a spot in the
group booth. Or so I thought. During the last year,
I had really focused on improving just two
(dramatically different) styles of work. With
practice and innovation, I had improved the
quality through better glazes and more refined
forms. I experimented with some variations on the
themes. The result was that, even though
I displayed more work, most pieces were
purchased by the afternoon on the first day of the
show and I was left with an embarrassingly empty
display for the next two days. Lesson learned.
I’ll be better prepared for Showcase 2004.”
54
“The Ears of Corn Go to Sea,” 8 inches
(20 centimeters) in length, handbuilt porcelain
salt-and-pepper set, soda fired, by Janet
Buskirk, Portland, Oregon. “One of the things
I always admired about ‘Ceramic Showcase’ is
that the potters in the show have a one-for-alland-all-for-one spirit,” states Buskirk, an
18-year participant. “If a customer walks into
someone’s booth and asks for a specific type of
work, the potter may send him or her to a
competitor who makes a better version of that
type of work. Everyone in the show wants to do
well and wants the customer to be happy and
return next year. Showcase is the most fun show
I do. Two hundred potters are in the show and
most of us know each other pretty well. It makes
the show feel like a family reunion, with all the
good and bad things that are associated with
a reunion of 200 family members.”
“Wooly Worm Vase,” 15 inches (38 centimeters) in height, porcelain, fired
to Cone 6, by Sam Sloan, Ridgefield, Washington. “An artist can take advantage
of the presentation at ‘Showcase’ by carefully assessing his/her work with the
work of others. Sharing techniques or ideas can be extremely valuable in
developing your own style and direction of your work. Showcase is an anomaly
inasmuch as the best and the worst of an entire single medium of art (ceramics)
come together in one location to present the full range of the medium’s work to
the public. In that regard, it is an educational experience, both for the public
and for the artists and craftspeople who attend and take part.”
Participating members are responsible for run
ning all aspects of Showcase. “The organization of
it is very complex and completely relies on every
one doing their part, from booking the space years
in advance to the bookkeeping at the end of the
show. All the work is done by teams or commit
tees, with the more experienced taking the lead
and teaching the novices what to do,” states OPA
member Gyllian Davies.
Best in Show awards, chosen by member votes,
were as follows: first place, Kathryn Finnerty, Pleas
ant Hill, Oregon; second place, Babette Harvey,
Portland; third place, tie between Victoria Shaw
and Gyllian Davies, Portland. The Bennett Walsh
Award for decoration went to Wally Schwab, Aloha,
Oregon, and the award for best booth went to
David Fitzpatrick, Portland. For more informa
tion, see website www.oregonpotters.org.
Ducuale Grande
A Nicaraguan ¥omens Pottery Cooperative
By Peter Chartrand
Plate, 10 inches (25 centimeters)
in diameter, burnished, with chrome
oxide and resist decoration.
It is said that the name Condega
comes from the indigenous
Chorotega word conthecatl, mean
ing land of potters. Three-and-a-half
kilometers north of Condega, the pot
ter community of Ducuale Grande main
tains this heritage. The people of Ducuale
Grande like to call it capital de la artesania,
translated as “capital of crafts.” Dona Asuncion
Cordoba, 64, who has worked in clay all her life, says, “In Ducuale
Grande, every house is a workshop of the crafts we have inherited
from our ancestors.”
Condega is 185 kilometers north of Managua on the Pan
American highway. At 1800-feet altitude, the area has a somewhat
cooler, drier climate than the capitol. The small town of almost
9000 has been a crossroads of commercial activity since colonial
times, witnessing the transport of the conquistadors’ pillage as
well as production of the campo (field). Coffee, tobacco, hand
made cigars and basic grains constitute the small-scale agricul
tural industry of the area’s economy.
In 1986, the Museo Precolombino “Julio Salgado” was founded
in Condega. A collection of some 3000 complete ceramic pieces
and countless shards exhibit a range of early local production,
from polychrome ceremonial wares to everyday utensils. Ceramist
Gregoria Martinez says, “Our duty is to keep alive the art of our
ancestors. Our roots are deep in the land where we live. We feel a
great love for our community, because we were born here. Most
campesino (farmer) women are capable of making whatever rustic
household ceramics their families require, comales (griddle plates)
to cook tortillas, or tinacas (pitchers) to hold water, for example.
In October of 1989, nine
women formed the Taller
Comunal de Ceramica (Commu
nal Factory of Ceramics) with the
intention of earning their living
working full time in pottery. Their
work is now sold internationally and other
pottery-making cooperatives have formed in
Ducuale. Elma Santander, coordinator of the Casa
de la Cultura Condega at the time, helped with organization and
a Spanish potter, Paulo Valverde, spent 20 months with the women,
teaching use of the potter’s wheel, burnishing techniques and the
smoking process for which the cooperative is renowned. The
women helped build the workshop complex and now share all
tasks involved in production, in addition to their household
responsibilities. Nearly all pieces are collectively made.
Marketing was another skill to be learned. Valverde intro
duced them to Ron Rivera, Nicaragua coordinator for the U.S.
group Potters for Peace, and they began to make the rounds to
possible outlets. The majority of the women are widowed or
single, and the pottery has permitted them to attain indepen
dence, even power, in their family and community life.
The nine founders remain in the co-op, whose membership
now stands at thirteen. Once a month, and upon receipt of a
significant order, a meeting is held to come up with a work plan.
Ultimately, it is the responsibility of the president, or, as she
prefers to be called, coordinator, to guide the process and assure
that the schedule and quality of the work is kept up. A committee
of five runs the organization, including a president, vice presi
dent, secretary, treasurer and fiscal officer. Members receive a
56
weekly salary and will be paid in situations where they may not be
actively working, such as medical or family emergencies, deliver
ing a baby, etc. About the only time one would not be paid is if
she is taking time off to fill an order placed with her personally.
Though at times business may be brisk, the women earn little
more than a subsistence wage. As with any business, a good
portion of the income must go to overhead.
Basics, such as clays used for the body, sand and colorants are
bought yearly. Firewood may be purchased periodically as ven
dors appear. When business is slow, the women spend time pre
paring materials.
The pottery of Ducuale has an easily recognizable style, start
ing with a body of part locally dug clay and part clay from the
town of Santa Clara. Decorative clay slips include a white from
the Nicaraguan stoneware source of Cinco Pinos, yellow from
Santa Clara, red from Yalagiiina and imported chrome oxide for
green. The heart of the Ducuale style is based on multiple applica
tions of slip, or tague, and a clay/sand resist combined with smoke
firing. As soon as the ware can be handled after forming, it is
covered with a red slip and the entire undecorated piece is bur
nished with a piece of plastic. It may be mounted
in a chuck on one of the wheels for this step. Some
effects require a second slip application before wares
reach the bone-dry stage. Notable among these is a
toothbrush spatter pattern of multicolored slips.
The droplets will be quite thick. Pieces receive
another burnishing, resulting in a marbelized ef
fect with the colors seemingly suspended beneath
the shiny surface.
When bone dry, all pieces are again burnished
with a smooth stone. All pots are then fired to
about 800°C (1472°F). Much of the work is then
resist decorated with a slip composed of fine sandy
clay and wood ash. Application is done with vari
ous improvised brushes. A feather is often used,
and experiments have been done with trailing from
a discarded popsicle bag. The slip adheres easily to
the still-porous ware. Patterns are usually varia
tions on traditional spiral or other elementary em
bellishments of the form, but buyers regularly introduce new
ideas. The pieces are placed in one of the two smoking ovens. One
of these closely resembles a domed bread oven, and pots are deftly
placed and removed using long, forked sticks. The other oven is
rectangular, about 96 cubic feet, covered with a sheet-metal roof.
Pots are placed on a grate and very smoky fires of wood and
Pots are burnished with a piece of plastic,
with the help of a chuck on a kickwheel.
Burnished pieces are loaded into an updraft kiln
and fired to 800°C (1472°F).
57
After the initial firing, clay-and-sand resist
is applied, and the pieces are smoke fired.
sometimes sawdust are maintained in several fireboxes. The smok
ing only lasts about 20 minutes. Upon removal, the pots are
cleaned in water, revealing a rich red design, sometimes empha
sized with sgraffito, against a dark brown to black background.
With many hands taking part, the group is nonetheless very
successful in maintaining the quality and style upon which their
reputation rests.
Most Ducuale pots are formed on kick wheels. Seven of the
women are torneras, or throwers. Large thrown forms are made in
the shop by men on a piecework basis. There are a number of
small, hand-formed sculptural pieces, such as fruits, birds, veg
etables and earrings. A full range of ware—cups, saucers, plates,
bowls, teapots, coffee pots and cooking pots—is a staple of their
production. In addition, vases and thrown forms altered to look
like owls are very popular.
The cooperative has spacious and well-organized work areas.
Hand-lettered signs encourage proper procedures and use of ma
terials. Burnishing is a labor-intensive group activity, with the
women sitting in an airy space and easily chatting as work
progresses. Clay mixing is done in a roofed area with several brick
and concrete tanks for mixing and drying. With Central America’s
often extreme natural events, outdoor structures such as kilns
come and go. At present, the cooperative has a traditional cubical
updraft and two Mani kilns, the latter developed by Potters for
Peace technician Manny Hernandez. They are about 1 cubic
meter in capacity and something of an Olsen Fast-Fire/Minnesota
Flat Top hybrid. They are fuel efficient, even firing and con
structed of locally fired bricks.
After Hurricane Mitch, Hernandez trained a Nicaraguan
kilnbuilding team and, in two months, built some 15 kilns around
58
the country. Attached to one side of the updraft kiln is a tradi
tional hand-formed adobe cooking stove, where a cauldron may
be bubbling away with the communal lunch. Children are seen
and heard around the workshop, helping out or just hanging out.
Pottery can be a means to earn a living in rural Nicaragua,
where even secondary school is out of the question for most
children, and agriculture is a high-risk activity, thanks to droughts,
floods and volatile international markets. An apprenticeship can
be arranged for a young woman, perhaps in partnership with
another organization, to pay her living expenses.
Ducuale Grande receives a steady trickle of Nicaraguan and
foreign tourists, but most of the production is for wholesale
export and several outlets around the country. Several years ago,
the cooperative had an 18,000-piece order for Pier 1 Imports.
Though successfully completed, it is not an experience they are
eager to repeat. Seventy people had to be temporarily hired,
housed and fed in the cooperative’s courtyard. The normally The
friendly, relaxed atmosphere became frantic. Nevertheless, it was a
maturing experience for the group. Production problems arose
and had to be resolved quickly. Breakage was a problem, contrib
uting to a high loss rate. To increase production, men were hired
to throw for the first time. They came from the pottery communi
ties of San Juan de Oriente, Ocotal and Mozonte. Some formerly
handbuilt pieces became wheel thrown. Young men from the
community have since been trained to throw—to be called upon
when needed.
The Ducuale potters place a high value on interacting with
other potters and, to this end, participate in visits to other Nicara
guan potters, usually with financing from Potters for Peace. Sev
eral of the women have been to Honduras to conduct a workshop
on their techniques for a Honduran women’s cooperative. Mexico
and the United States have also been on their agenda, with a
workshop for indigenous women in Sonora, Mexico; a National
Council on Education for the Ceramic Arts conference; and a
month-long session at El Colegio Charter School in Minnesota.
These experiences, as well as their ongoing relationship with
Potters for Peace, keep the women open to developments adapt
able to their situation. One change in the works is a burner
capable of using corn husks for fuel, economizing on wood.
Improvising tools from whatever comes to hand and using local
raw materials, as well as international marketing, determine the
end product.
Nicaragua is the second poorest country in the Western Hemi
sphere and seemingly just recovers from one manmade or natural
disaster when another appears. Working in the crafts field is only
relatively stable. The in-country market is small, and quality must
be very high for export. By Nicaraguan standards, the Taller
Comunal de Ceramica of Ducuale Grande is successful. What at
first glance might be called a traditional pottery is, in reality, a
blend of many influences.
ware is smoke fired in a dome-shaped updraft kiln (foreground),
The resist material is cleaned off after smoke firing to reveal the design
59
A Taste for Clay by Fred C. Wilson
I would say that my life in pottery began when I was about five—
way back in the Stone Age. There was this girl I had met at a little
storefront church next to our home. The girl must have been
about six or seven. My parents had a small mom-and-pop pie
bakery next to the church, and you could smell those empanadashaped apple, peach, pumpkin, you-name-it pies for miles around.
And the taste! Lord have mercy! But getting back to the subject,
this little girl made the cutest little mud pie I’d ever seen, then
coaxed me to eat it. Ever
since that first taste, I
have been hooked on clay.
At the age of seven, I
was given my first pack of
Crayola modeling clay. It’s
not the kind of clay that
potters normally as
sociate with
“Cartoon Vase,” 17 inches
(43 centimeters) in height, $200.
our craft, but I didn’t know
it, and it was fun just the
same. As I remember, the
stuff came as four colored
sticks of clay that never
hardened, so you could
reshape it as many times
as you wanted to. For
old times’ sake, I still
keep a box of it
among my ceramic
supplies and tools.
“Macho Man,” 7 inches
I was in a world
(18 centimeters) in height, $100.
of my own work
ing with clay. To me, clay had (and still has) a very magical
element associated with it. In those days, the outside world was
grim, bleak and chaotic. I had to manufacture my happiness
from within. Clay was my vehicle of expression. I lived
through my “daymen,” as I called the figurines that I
made, imagining traveling to places that I can
only recently afford.
It was only when my family and I left
Chicago’s rather infamous Robert R. Taylor
Projects, and moved to fashionable Hyde
Park that I discovered what “real” clay
was. At Hyde Park Art Center, I took two
classes in handbuilding, the method that I
use today. Making the transition from
“fake” clay to real clay wasn’t that big of a
deal. Learning that clay could be worked
wet, dried and fired threw me for a loop. I
was amazed that clay could be permanently
hardened, but I got used to it. I started to mass
produce all sorts of vases, figures, you name it. It
was really great cranking out all that stuff. I only
settled down when, on my first firing, I took out an
entire kiln load of my works, along with that of the entire
class. They almost strung me up for that.
After I finished high school, I left clay. I needed money, so I
went to trade school to study industrial design. It was a good
“The Idea,” 46 inches (117 centimeters) in height, $1000.
Fred Wilson decorating a figure sculpture in his Chicago studio.
move moneywise. I put my love for clay on a ten-year hold. My
industrial design job paid well, but I was bored out of my mind,
so after four years I decided to leave the state of Illinois to go back
to school. After four years at various colleges and universities, I
graduated with a teaching degree from Loyola University. Since
1974, I’ve worked as a teacher for the Chicago Public Schools.
Only one of the schools that I’ve taught art at had a kiln, and it
was broken.
In the early 1980s, I went back to City College for a degree in
fine arts, with an emphasis on ceramic sculpture. Then I decided
to study at the Lillstreet Art Center. It has to be one of the best
places on the planet to learn ceramics. Ceramic knowledge per
meates the very air at that place. Why, at times, I could swear I
learned about various ceramics techniques by osmosis. And no
one minds sharing what he or she knows with other artists.
For the most part, I did all right, but I did manage to bomb
out in the two wheel-throwing classes that I took. My problem is
that my hands shake, so I now stick mainly to handbuilding. To
make my “clay folk” appear real, I first mold them into shape,
then individualize them later.
When working, I take what I like to refer to as the “kitchen
sink” approach to tools—anything from used toothbrushes and
dental tools to drill bits. I almost never buy art supplies from art
stores. Too expensive. Hardware stores are much better.
When I glaze, I prefer majolica. I like loud colors. Depending
on the effect that I want to produce, sometimes I may partially
glaze the piece, leaving certain portions unfinished, only to be
painted later on. It’s not uncommon for some works to be glazed,
washed with an oxide or two, or painted with acrylics to achieve a
certain quality or texture. I like to experiment, and clay gives me
plenty of opportunity to give free reign to my imagination.
Besides giving me personal satisfaction, daywork can even
serve the greater good. Let me explain. My wife and I maintain a
charity website (www.harmony-international.org); it’s our small
way of giving back to the world. Half of the proceeds from art
sold through this site goes toward housing, feeding and educating
children in the Philippines and Africa. If making daywork can
help poor kids, as someone who was once one himself, I’m all for
it. It’s been a long time since that first taste of clay. It’s time to pay
the check.
61
Chinese Ceramics Today
by Jim Weaver
“Memory Dishes,” each 24.5 centimeters (10 inches) in diameter, by Bei Li, Shenzhen, Guangdong.
The word China is synonymous with ceramics, and for good reason. “No other nation in this
world can boast of an older, richer and more brilliant ceramics culture than China,” accord
ing to Roland Blaettler, curator of Musee Ariana in Geneva, Switzerland. Blaettler and I-Chi
Hsu, a ceramist and founder of Le Pottery HAP (studio) and “Chinese Potters Newsletter” in
Beijing, were responsible for organizing the first major exhibition of contemporary Chinese
ceramics to be shown in the West. Titled “Chinese Ceramics Today: Between Tradition and
Contemporary Expression,” the exhibition was initially shown at Musee Ariana this past
spring, then traveled to the Clay Studio in Philadelphia, Pennsylvania, where it was on view
June 6-July 26. Further venues include the University of Washington in St. Louis, Missouri;
Orange County Center for Contemporary Arts in Santa Ana, California; and the University
of Hawai‘i in Honolulu. The show includes works by 22 independent ceramists from China
and Hong Kong.
While China’s ceramics tradition has been thousands of years in the making, the concept
of the individual was largely absent in the past. In a society where individuality was discour
aged, ceramics were factory made by persons trained to perform a specific task in the
production process. This collective effort is why few Chinese ceramics ever bore the name of
the maker. It has been only in the past 15 years that ceramics artists, as we know them in the
West, have emerged.
62
“Vacuum,” 37 centimeters (15 inches)
in height, by Dewu Xia, Beijing.
Temple,” 80 centimeters (31 inches) in width, terra cotta, by Fiona Wong, Hong Kong
In his catalog essay, Hsu points out that China spent
much of the 20th century cut off from developments
taking place in the outside world in both technology and
the arts. “The situation has changed in the past 20 years
with China’s reform and opening up,” he says. “In the late
1980s, most government-run ceramics factories were closed
down or reorganized to suit the new economic environ
ment. At the same time, private factories, including family
run ceramics businesses, began to flourish.” These changes
continue today.
The concept of the studio artist was introduced by the
Western world, and today’s market economy in China has
enabled the rise of independent ceramics artists. Hsu esti
mates that, in the past three years, over 100 influential
ceramists have established their own studios. Exhibitions
of contemporary ceramics have become more frequent as
well, and include a biennial at Guangdong Museum of Art
in Canton (founded in 1998) and the “Biennial of Young
Chinese Ceramics.”
“Traditionally, Chinese artists are not accustomed to
expressing their own point of view in their work,” says
Hsu. “The new generation, however, has moved beyond
“Lovers,” 60 centimeters (24 inches) in height, terra cotta
with enamel, by Zheng Liu, Hangzhou, Zhejiang.
63
functionality toward introspection of self and a critique of the
living environment.”
Fifteen of the exhibiting artists were born in the 1960s. The
youngest participant was born in 1975 and the oldest in 1934.
Nearly all have earned an art degree in ceramics from a major
Chinese university or ceramics institute. Several have earned
master’s degrees. Three earned ceramic art degrees in the United
States. Only two were trained in the traditional Chinese manner
of working with a master artist. One of these later earned an art
degree. Nearly all have pursued careers in ceramic art education.
Three have had other careers—as an independent artist, a potter
and business owner, and a writer/editor and gallery owner.
China has taken a new direction, and will not return to the
past. According to Hsu, independent Chinese ceramics artists
have made significant progress in a short time, but there must be
a “great leap forward” (an expression used during the Chinese
Cultural Revolution) if they are to achieve their potential. “There
is need for greater originality, more experimentation with materi
als and techniques, and expanded markets,” he says.
“Blue and White Porcelain,” 45 centimeters (18 inches) in height,
porcelain, by Xueli Pei, Suzhou, Jiangsu.
“Fossil 2000 III,” 180 centimeters
(71 inches) in length, terra cotta,
by Bin Lu, Shenzhen, Guangdong.
64
Roush's Teapot
by David M. Brin
Some time ago, when I went to housesit in a small town on
Northern California’s coast, I found myself in charming sur
roundings. The house was full of books, music and original
paintings, and was situated only half a block from the Pacific. The
kitchen was small, but it contained a treasure that immediately
caught my eye—a beautifully crafted teapot. The spout was merely
an extension of the cylindrically shaped body, the handle was on
the side and the lid was simply a saucer that fit the opening at the
top of the cylinder. The glaze was reddish brown, and on one side
a star-shaped pattern had been stamped into the wet clay.
I soon discovered that this teapot was a joy to use. It was the
perfect size for one person, making about two mugfuls of tea. It
poured without spilling (a test that too few teapots pass). It was
delightful to hold and to look at.
The teapot soon became part of my morning ritual. Still
groggy from sleep, I would boil water and make a pot of black tea,
thoroughly enjoying every step that involved the teapot—warm
ing it with hot water, scooping in two teaspoons of tea, adding the
water, and ultimately pouring out the tea and drinking it.
Who had made it? Its owner was in Bulgaria, so that question
was not easily answered. But the mystery was solved by accident.
While driving to the nearby town of Stinson Beach, I spotted a
sign that read “Roush Pottery.” I pulled into the driveway, not
knowing what to expect. The studio was a few steps away; outside
were pots in various states of manufacture. The showroom was
attached to the house, and as I walked in, I began to feel upbeat.
Within a few moments, I realized that I had discovered
the origin of the teapot I liked so much.
The potter, Dale Roush, appeared and we had a
nice conversation. Since I didn’t need a teapot, I bought
a candelabra and several planters. Roush’s planters had
rough textures and attractive glazes, and were reasonably
priced. I later gave some to friends. (They were delighted and
later reported that they had gone back and bought several more
for themselves. I was almost embarrassed that they had found out
how little I had paid for the pots.)
Meanwhile, I enjoyed the teapot for the considerable time I
stayed in that lovely house by the ocean. When it came time to
leave, I went back to Roush Pottery to buy a teapot of my own. I
found one that I liked, but of course, it wasn’t exactly like the one
I was so fond of. The shape was similar, but the glaze was a
greenish-beige. It would serve as the centerpiece of my morning
tea ritual for many years.
It happened that, several years later, a houseguest broke the
lid. I was crestfallen, but one day when I was driving by Stinson
Beach, I stopped in to see Roush. I asked him if he could make a
new lid for the pot I liked so much. He said he could, and
suggested I come back with the teapot. Since I was living in
Berkeley, about an hour’s drive away, I didn’t get back to Stinson
Beach for several months. In the meantime, I was using a saucer
on top of the otherwise-intact teapot, but it wasn’t the same. The
centerpiece of my daily tea ceremony felt incomplete without its
proper top.
Perhaps five or six months later, I decided to travel up the
coast to see some friends and bring back the teapot. I drove along
the familiar road, watching for the “Roush Pottery” sign to pop up,
but it had vanished. I turned around (not that easy on California’s
twisty Highway 1) and drove by again. No sign in the other
direction. I turned around again, found what I was pretty sure
was the driveway, drove in and parked. I got out and began to
walk up to the studio, but something had changed. It didn’t have
the feel of an artist’s workshop. Perhaps they had moved away. Not
being the outgoing type, I got back in my car and drove off,
wondering about the turn of events that had changed the life of
someone I barely knew.
I needed an
unbroken
teapot for
Teapot, 7 inches (18 centimeters) in height, wheel-thrown stoneware,
with incised lines, glazed and fired to Cone 10.
65
Teapot, 41/2 inches (12 centimeters) in height, stoneware with pulled
spout and handle, with Shaner Red glaze, fired to Cone 10 in reduction
Teapot, 6 inches (15 centimeters) in height, stoneware,
incised with bamboo and stamped with a poppy pod,
fired to Cone 10, by Dale Roush, Stinson Beach, California.
my morning ritual, and bought another. It had a nice round shape
and a ceramic handle above the lid. When I got it home, I
discovered that the handle’s position made the teapot itself almost
inaccessible. The spout also tended to dribble when tea was
poured from it. I put it on a shelf and placed Roush’s teapot next
to it. From below, one couldn’t tell that the lid was missing.
I
then bought a factory-made teapot that functioned well. A
gust of wind broke the lid to that teapot, too, but I didn’t seem to
mind substituting a saucer for the lid of the factory-made pot.
Many years later, I was at a crafts fair and bought another
hand-thrown teapot, this one with a wicker handle and a crackle
glaze. The factory-made pot went on the shelf with the other two.
I practically had a collection. I then added an abstraction of a
teapot by Nancy Selvin, a ceramics artist from Berkeley, whose
teapots can’t hold water, but convey the idea of the form.
Just over a year ago, I was driving along Highway 1 after
having enjoyed a hike in Point Reyes National Seashore. For
several miles, the road follows Bolinas Lagoon, one of the best
locations for bird watching in Northern California. On the right,
kingfishers were sitting on the phone wires looking into the
lagoon, and on the left the majestic egrets were nesting at Audubon
Canyon Ranch. I could see them clearly from the road as I drove
toward Stinson Beach. A few more turns of the road and suddenly
I saw the Roush Pottery sign. It may have even been the same sign
I had first seen 25 years ago. Before I had even found a place to
turn around, I was thinking of replacing my beloved teapot.
The small parking lot, the studio, the showroom were all the
same as before. Outside were some planters, still reasonably
priced, although inflation had been accounted for.
Eventually I learned the rest of the story. Dale Roush had
been afflicted by the burnout that most artists experience at some
time or other. After sitting at his wheel for three months without
throwing a pot, he decided to take a job in construction and
closed down the showroom.
Years later, through his daughter, he met Susan Vickery, an
artist and teacher. After they married, Susan convinced him to
return to pottery. Their showroom is now filled with a variety of
pots that look much like those I remember from before; there are
also photographs and pots made by Susan, and some new pottery
forms they have created together.
Their collaboration is a happy one, and I, for one, am glad
that Roush Pottery is back in business. I’m planning to bring my
teapot back for that new lid.
The author David M. Brin is editor of the Mills Quarterly, the
alumni magazine for Mills College in Oakland, California.
66
CERAMICS
2003
by Susan Peterson
The Guilford Handcraft Center in Guilford, Connecticut, recently presented “Ceramics
2003,” a biennial competition of clayworks from the United States, Canada and Mexico,
through August 23. Now in its fourth showing, the exhibition is one of the few remaining
wide-open opportunities for clay artists. Lack of suitable exhibition space for major competi
tions, as well as the daunting costs of shipping and returning works to a gallery or museum
(the responsibility of the artist), have made national juried shows mostly a thing of the past.
After several previous jury obligations in which I worked with only slides, I had vowed to
never do that again. I succumbed to Lisa Wolkow’s insistence, however, and agreed to jury
this year’s competition. My former student at Hunter College in New York City, Wolkow has
been the ceramics instructor at the Guilford Handcraft Center since 1986. She has also
acquired the titles of studio manager, registrar and education associate. The ceramics depart-
First place: “Out of Alignment,” 24 inches (61 centimeters) in length, earthenware, $2400, by Robert Wood, Kenmore, New York.
ment has over 100 students per semester, from ages four to adult, and the apprentice program
currently has six artists working two- to five-year terms. Visiting artists present workshops
and lectures as well.
The number of slides was awesome—jurying more than 800 entries from 225 artists was a
heady problem. The goal was to choose 65-85 works for the exhibition. I was also responsible
for selecing the first-, second- and third-place award winners. I spent five days looking at the
slides. As I looked at all of them over and over again with a projector, I made mental notes to
myself about the futility of jurying by slide. I tried to choose an interesting, diverse group of
ceramics that would be applicable to pedestal, floor and wall exhibition space. Even now, as I
look at the color prints that the center has sent me of several of the selected pieces, I see the
work very differently on the flat plane than I did even in the slides.
A few remarks to artists who are considering submitting to a slide-juried exhibition:
remember that the juror sees only the slide, not the actual piece; look at the object in the slide
frame as if it were a two-dimensional painting; photograph the object from the view that best
expresses its three-dimensionality; two views may be needed.
I
agonized over the three awards, choosing them based on originality, imagination, interest,
craftsmanship and uniqueness. There were many that could have qualified. In the end, I
awarded Robert Wood’s “Out of Alignment” first place, because it epitomized history, pottery,
good design, good craftsmanship and oneness in storytelling empathy. Second place went to
Todd Shanafelt’s “Industrie Sterile,” and third place was awarded to Barbara Katz for “Warrior.
Second place: “Industrie Sterile,” 8 inches (20 centimeters)
in height, thrown and assembled stoneware, with mixed media,
$400, by Todd Shanafelt, Mankato, Minnesota.
Third place: “Warrior,” 30 inches (76 centimeters)
in height, clay and wood, $1050, by Barbara Katz,
Mansfield Center, Connecticut.
68
Gallery Materia, 4222 N. Marshall Way, Scottsdale AZ 85251; e-mail
gallery@gallerymateria.com; website www.gallerymateria.com; telephone (480)
949-1262; fax (480) 949-6050. Contemporary ceramics; 6-8 exhibitions per year.
Udinotti Gallery, 4215 N. Marshall Way, Scottsdale AZ 85251; telephone
(480) 946-7056. Contemporary ceramics, including works by Carl Dahl,
Stephen DeStaebler, Gary Grooters, Brian Harper, Nobuhito Nishigawara,
Don Reitz, Patricia Sannit, John Toki and Agnese Udinotti.
ASU Art Museum Ceramics Research Center, Arizona State University, Mill
Ave. and Tenth St., Tempe AZ 85287-2911; e-mail asuartmuseum@asu.edu;
website
http://asuartmuseum.asu.edu/home.html;
telephone
(480)
965-2787;
fax (480) 965-5254. Permanent collection of over 3000 pieces of British and
American ceramics, including works by Linda Arbuckle, Robert Arneson, Bill
Brouillard, Chris Gustin, Jun Kaneko, Maria Martinez, Daniel Rhodes, Adrian
Saxe, Toshiko Takaezu and Peter Voulkos; 4-6 exhibitions per year.
Obsidian Gallery, 4340 N. Campbell Ave., #90, Tucson AZ 85718; e-mail
obsidiangal@earthlink.net;
website
www.obsidian-gallery.com;
telephone
(520) 577-3598; fax (520) 577-9018. Contemporary ceramics, including
works by over 10 artists; 3-4 exhibitions per year.
Arkansas
Arkansas Arts Center, 501 E. 9th St., Little Rock AR 72202; e-mail
info@arkarts.com; website www.arkarts.com; telephone (501) 372-4000;
fax (501) 375-8053. Contemporary ceramics; 1-3 exhibitions per year.
California
TRAX Gallery, 1812 Fifth St., Berkeley CA 94710; e-mail
sandy@traxgallery.com; website www.traxgallery.com; telephone (510)
540-8729; fax (510) 540-0430. Functional ceramics, including works by
over 12 artists; 4 exhibitions per year.
Winfield Gallery, Dolores between Ocean and Seventh, PO Box 7393,
Carmel CA 93921; e-mail chris@winfieldgallery.com; website
www.winfieldgallery.com; telephone (800) 289-1950 or (831) 624-3369; fax
(831) 624-5618. Contemporary ceramics, including works by Jillian Banks,
Annette Corcoran, Don Fritz, David Furman, David Gilhooly, Beau Kvenild,
Roberta Laidman, James Lovera, Karen Shapiro and Betty Spindler.
“Water Dog,” 19¾ inches (50 centimeters) in height, by Gary
Dinnen; at Solomon Dubnick Gallery, Sacramento, California.
This marks the fifth year for CM’s guide to galleries. The intent is to
provide an annually updated list of galleries that typically exhibit
ceramics, as well as museums with significant ceramics collections.
Only venues that have verified the information in their listings have been
included. To help us make the guide more comprehensive in the future,
please send information about any omissions to Ceramics Monthly,
Gallery Guide, 735 Ceramic PL, Westerville OH 43081, USA.
United States listings are alphabetical by state, district or common
wealth, then cities within the state. International listings are by country
and city. Contact information has been included to allow you to check
current offerings and hours before visiting.
Arizona
Bisbee Clay, 30 Main St., PO Box 1043, Bisbee AZ 85603; e-mail
ppotter@sigmathree.com; telephone (520) 432-1916. Functional ceramics
by over 12 Southern Arizona artists; 4 exhibitions per year.
Andora Gallery, 7202 E. Carefree Dr., PO Box 5488, Carefree AZ 85377;
e-mail info@andoragallery.com; website www.andoragallery.com; telephone
works by Jane Blackman, Fong Choo, Lisa Henriques, James Lovera,
Donald Penny, Mary Roehm and Kaiser Suidan; 2-4 exhibitions per year.
Ruth Chandler Williamson Gallery, Scripps College, 1030 Columbia Ave.,
CA 91711-3948; e-mail kdelman@scrippscol.edu; website
www.scrippscol.edu/~dept/gallery/index.html;
telephone
(909)
607-3397;
fax (909) 607-4691. Marer collection of over 1500 contemporary ceramics
pieces, including works by Jun Kaneko, John Mason, Paul Soldner and
Peter Voulkos; 1-3 exhibitions per year.
Claremont
The Artery, 207 G St., Davis CA 95616; e-mail artery@davis.com; website
www.artery.coop; telephone (530) 758-8330; fax (530) 758-8509.
Contemporary ceramics; 2-3 exhibitions per year, including the annual
“California Clay Competition.”
John Natsoulas Gallery, 521 First St., Davis CA 95616; e-mail
art@natsoulas.com; website www.natsoulas.com; telephone (530) 756-3938;
fax (530) 756-3961. Contemporary ceramics; 12 exhibitions per year.
Gallery Alexander, 7925a Girard Ave., La Jolla CA 92037; e-mail
galalex1@aol.com; telephone (858) 459-9433; fax (858) 459-0080.
Contemporary ceramics; 2-3 exhibitions per year.
Gallery Eight, 7464 Girard Ave., La Jolla CA 92037; e-mail
rnewmark@san.rr.com; telephone (858) 454-9781; fax (858) 454-0804.
Contemporary ceramics; 1-2 exhibitions per year.
The Figurative, Gallery of Contemporary Art, 78225 Calle Fortuna,
La Quinta CA 92253; e-mail michael@thefigurative.com; website
www.thefigurative.com; telephone (760) 564-6060; fax (760) 564-0012.
Contemporary ceramics by over 30 artists.
69
gallery guide 2003
Mesa Contemporary Arts, PO Box 1466, 155 N. Center St., Mesa AZ
85211-1466; e-mail patty.haberman@cityofmesa.org; website
www.mesaarts.com; telephone (480) 644-2056; fax (480) 644-2901.
Contemporary ceramics; 3 exhibitions per year, including juried nationals.
Freya Gallery, 3215 Highland Ave., Manhattan Beach CA 90266; e-mail
freya@timecrystal.com; website www.freyaartgallery.timecrystal.com;
telephone (310) 545-1849; fax (310) 546-7455. Contemporary ceramics;
6 exhibitions per year.
gallery guide 2003
Mendocino Arts Center, Box 765, 45200 Little Lake St., Mendocino CA
95460; e-mail mendoart@mcn.org; website www.mendocinoartcenter.org;
telephone (707) 937-5818 or (800) 653-3328; fax (707) 937-1764. Contemp
orary ceramics; several multimedia shows including ceramics.
Palo Alto Art Center, 1313 Newell Rd., Palo Alto CA 94303; e-mail
artcenter@cityofpaloalto.org; website www.cityofpaloalto.org/artcenter;
telephone (650) 329-2366; fax (650) 326-6165. Contemporary ceramics,
including works by Robert Arneson and Robert Brady, plus historical Asian
and European ceramics; 1-2 exhibitions per year.
Crocker Art Museum, 216 0 St., Sacramento CA 95814; e-mail
cam@cityofsacramento.org; website www.crockerartmuseum.org; telephone
(916) 264-5423; fax (916) 264-7372. Permanent collection, including Asian,
contemporary and Northern California ceramics; 2-5 exhibitions per year.
exploding head gallery, 924 12th St., Sacramento CA 95814; e-mail
explodinghead1@aol.com;
website
www.explodingheadgallery.com;
Solomon Dubnick Gallery, 2131 Northrop Ave., Sacramento CA 95825;
e-mail press@sdgallery.com; website www.sdgallery.com; telephone (916)
920-4547; fax (916) 923-6356. Contemporary ceramics, including works by
Eric Dahlon, Gary Dinnen, Fred Gordon, Melinda Johnson and Tom Rippon;
2-4 exhibitions per year.
Mingei International Museum, 1439 El Prado, Balboa Park, San Diego CA
92101; e-mail mingei@mingei.org; websitewww.mingei.org; telephone
(619) 239-0003; fax (619) 239-0605. Arts of the people; ongoing multimedia
exhibitions including clay.
San Diego Museum of Man, 1350 El Prado, Balboa Park, San Diego CA
92101; e-mail sphillips@museumofman.org; website www.museumofman.org;
telephone (619) 269-2001; fax (619) 269-2749. Permanent display of ancient
Egyptian and Kumeyaay ceramics; 1-3 exhibitions per year.
Asian Art Museum, 200 Larkin St., San Francisco CA 94102; e-mail
pr@asianart.org; website www.asianart.org; telephone (415) 581-3500;
fax (415) 581-4700. Permanent collection of Chinese, Himalayan, Indian,
Japanese, Korean, Southeast Asian and West Asian ceramics.
Vases, to 49 centimeters (19 inches) in height, handbuilt colored
earthenware, by Christine Jones: at the Gallery, Ruthin Craft Centre,
Ruthin, Denbighshire, Wales.
Lincoln Arts Center, 540 F St., Lincoln CA 95648-1166; e-mail
lincarts@psyber.com; website www.lincolnarts.org; telephone (916) 645-9713;
fax (916) 645-3945. Contemporary ceramics; 2-3 exhibitions per year,
including “Feats of Clay.”
Del Mano Gallery, 11981 San Vicente Blvd., Los Angeles CA 90049;
e-mail gallery@delmano.com; website www.delmano.com; telephone
works by James Aarons, Susan Beiner, Donald Frith, Steve Hansen, Carianne
Hendrickson, Ricky Maldonado, Noi Volkov, Gerry Wallace, Laura Wilensky
and Russell Wrankle.
Freehand Gallery, 8413 W. Third St., Los Angeles CA 90048; e-mail
email@freehand.com; website www.freehand.com; telephone (323) 6552607; fax (323) 655-7241. Contemporary ceramics, including works by Stuart
Compton, Romulus Craft, Susan Garson, David Gurney, John Leach, Nikki
Lewis, Kazuko Matthews, Nicholas Seidner, Kevin Stafford and Sara Jaeger.
J. Paul Getty Museum, 1200 Getty Center Dr., Los Angeles CA 90049;
website www.getty.edu; telephone (310) 440-7360; fax (310) 440-7722.
Permanent collection of ceramics from Austria, China, England, Germany,
Italy, Japan and Spain, plus Greek and Roman terra-cotta vases.
Los Angeles County Museum of Art, 5905 Wilshire Blvd., Los Angeles CA
90036; e-mail publicinfo@lacma.org; website www.lacma.org; telephone
(323) 857-6000. Permanent collections, including French Limoges, Italian
majolica, English porcelain and pottery, Islamic, Southeast Asia, Japanese
porcelain and tea-ceremony ware.
Braunstein/Quay Gallery, 430 Clementina St., San Francisco CA 94103;
e-mail bquayg@pacbell.net; website www.bquayartgallery.com; telephone
works by Robert Brady, Bean Finneran, Richard Shaw and Peter Voulkos;
Legion of Honor, Lincoln Park, 100 34th Ave., San Francisco CA 94121;
website www.thinker.org/legion; telephone (415) 750-3600; fax (415) 7503656. Permanent collection, including 18th-century English and continental
porcelain, and ancient pottery.
Mexican Museum, Ft. Mason Center, Bldg. D, San Francisco CA 84123;
e-mail info@mexicanmuseum.org; website www.mexicanmuseum.org;
telephone (415) 202-9700; fax (415) 441-7683. Permanent collection,
including contemporary and preconquest ceramics.
Museum of Craft & Folk Art, Landmark Bldg. A, Ft. Mason, San Francisco
CA 94123-1382; e-mail info@mocfa.org; website www.mocfa.org; telephone
(415) 775-0991; fax (415) 775-1861. Contemporary, traditional and culturespecific ceramics.
Rena Bransten Gallery, 77 Geary St., San Francisco CA 94108; e-mail
info@renabranstengallery.com;
website
www.renabranstengallery.com;
including works by Ann Agee, Viola Frey, Dennis Gallagher and Ron Nagle.
V. Breier Contemporary and Traditional Craft, 3091 Sacramento St.,
San Francisco CA 94115; e-mail vbreier@earthlink.net; website
www.vbreier.com; telephone/fax (415) 929-7173. Contemporary ceramics,
including works by Christa Assad, Jillian Banks, Jennifer Kenworth, Kazuko
Matthews, Tony Natsoulas, Patricia Sannit, Karen Shapiro and Farraday Ayne
Newsome; 2-3 exhibitions per year.
70
Clay and Paper, Inc., 350 Main St., Dunedin FL 34698; e-mail
claypaper@aol.com; website www.claypaper.com; telephone (727)
736-0934; fax (727) 772-9570. Contemporary ceramics, including works
by over 15 artists; 3-4 exhibitions per year.
Verdigris Clay Studio + Gallery, the Cannery, 2801 Leavenworth St.,
San Francisco CA 94133; e-mail thegallery@verdigrisgallery.com; website
www.verdigrisgallery.com; telephone (415) 440-2898; fax (415) 674-8443.
Contemporary ceramics by over 35 Bay Area artists.
Tierra Solida: a clay art gallery, 1221 State St., #8, Santa Barbara CA 93101;
e-mail gallery@tierrasolida.com; website www.tierrasolida.com; telephone (805)
884-8224. Contemporary ceramics by over 12 artists; 8 exhibitions per year.
Frank Lloyd Gallery, 2525 Michigan Ave., Bldg. B5b, Santa Monica CA
90404; e-mail flloydgall@aol.com; website www.franklloyd.com; telephone
(310) 264-3866; fax (310) 264-3868. Contemporary ceramics by 30 artists
from England, Japan, Mexico, the Netherlands and the United States;
Colorado
Hibberd McGrath Gallery, 101 N. Main St., Box 7638, Breckenridge CO
80424; e-mail terry@hibberdmcgrath.com; website www.hibberdmcgrath.com;
telephone/fax (970) 453-6391. Contemporary ceramics; 2-3 exhibitions per year.
CLAYSPACE Gallery, Carbondale Art Center, 135 Main St., Carbondale CO
81623; e-mail info@carbondaleclay.org; website www.carbondaleclay.org;
telephone (970) 963-2529; fax (970) 963-4492. Contemporary ceramics with
emphasis on functional work by over 10 artists and a permanent collection
including Charity Davis, Josh DeWeese, Ron Meyers, Jeff Oestreich and Lynn
Smiser Bowers; 2 exhibitions per year.
Florida Craftsmen Gallery, 501 Central Ave., St. Petersburg FL 33701; e-mail
kharaminic@earthlink.net; website www.floridacraftsmen.net; telephone (727)
821-7391; fax (727) 822-4294. Contemporary ceramics by regional and
national artists; 2-4 exhibitions per year.
Georgia
MudFire Gallery, 1441 Dresden Dr., Ste. 250, Atlanta GA 30319; e-mail
info@mudfire.com; website www.mudfire.com; telephone (404) 969-3260;
fax (404) 969-3259. Contemporary ceramics, including works by Gayle Bair,
Kyle Carpenter, Jim Connell, Craig Edwards, Dave Finkelnburg, Marta Matray
Gloviczki, Ken Horvath, Mark Issenberg, Jerry Maschinot and Gay Smith;
Signature Shop & Gallery, 3267 Roswell Rd., NW, Atlanta GA 30305; e-mail
sigshop@thesignatureshop.com; website www.thesignatureshop.com;
telephone (404) 237-4426; fax (404) 237-2382. Contemporary American
ceramics, including works by Mark Burleson, Andy Nasisse, Brad Schwieger,
Michael Simon and Michaelene Walsh; 3-6 exhibitions per year.
Hawaii
Honolulu Academy of Arts, 900 S. Beretania St., Honolulu HI 96814; e-mail
academy@honoluluacademy.org; website www.honoluluacademy.org;
telephone (808) 532-8700; fax (808) 532-8787. Permanent collection of
ceramics from the Americas and Asia, including works by Richard DeVore,
Wayne Higby, Jun Kaneko, Gertrud and Otto Natzler, Henry Varnum Poor,
Rudolf Staffel, Toshiko Takaezu, and Robert Turner.
Illinois
Artists on Santa Fe, 747 Santa Fe Dr., Denver CO 80204; e-mail
macy80204@msn.com; website www.artistsonsantafe.com; telephone
works by Connie Christensen, Macy Dorf, James Garnett, Adrienne Johnson
and Janey Skeer.
Denver Art Museum, 100 W. 14 Ave. Pkwy., Denver CO 80204-2788; e-mail
web-mail@denverartmuseum.org; website www.denverartmuseum.org;
telephone (720) 865-5000; fax (720) 913-0001. Pre-Columbian, Native
American and Asian ceramics; 3 exhibitions per year, plus multimedia
shows including ceramics.
Connecticut
Antioch Pottery Works, 25942 Heart-O-Lakes Blvd., Antioch IL 60002;
e-mail
potteryart@aol.com; website www.antiochpottery.com; telephone
works by Susie Goldstein, Matt Johnson, Ted Novey, Nancy Stueben and
Jill Tortorella; 4 exhibitions per year.
Parkland Art Gallery, College Ctr., 2400 W. Bradley Ave., Champaign IL
61821; e-mail
dseif@parkland.edu;
website
www.parkland.edu/gallery;
3 exhibitions per year, including a biennial ceramics invitational.
Ann Nathan Gallery, 218 W. Superior St., Chicago IL 60610; telephone
(312) 664-6622; fax (312) 664-9392. Permanent collection, including works
by Pavel Amromin, Ji Man Choi, Kim Dickey, Krista Grecco, Michael Gross,
Annabeth Rosen, Esther Shimazu and Bela Silva; 2 exhibitions per year.
Brookfield Craft Center, P0 Box 122, Rte. 25, Brookfield CT 06804; e-mail
brkfldcrft@charterinternet.com; website www.brookfieldcraftcenter.org;
telephone (203) 775-4526; fax (203) 740-7815. Works by more than 100
ceramists; 1-2 exhibitions per year.
Creamery Gallery, Canton Clay Works lie, 150 Cherry Brook Rd., Canton
CT 00019; e-mail cantonclayworks@yahoo.com; website
www.cantonclayworks.com; telephone/fax (860) 693-1000. Contemporary
ceramics, representing over 20 artists; 4 exhibitions per year.
Mill Gallery, Guilford Handcraft Center, P0 Box 589, 411 Church St., Guilford
CT 06437; e-mail info@handcraftcenter.org; website www.handcraftcenter.org;
4-5 exhibitions per year, plus juried ceramics biennial.
District of Columbia
Arthur M. Sackler Gallery, Smithsonian Institution, 1050 Independence Ave.,
SW, Washington DC 20560-0707; mailing address: P0 Box 37012, MRC
707, Washington DC 20013-7012; website www.asia.si.edu; telephone
(202) 357-4880; fax (202) 357-4911. Permanent collection includes
Japanese porcelain, plus Near Eastern and Southeast Asian ceramics.
Freer Gallery of Art, Smithsonian Institution, Jefferson Dr. at 12th St., SW,
Washington DC 20560; website www.asia.si.edu; telephone (202) 357-4880;
fax (202) 357-4911. Permanent collection of ceramics from Asia, Iran, Iraq,
Japan, Korea, Syria and Turkey.
Vessels, to 22 centimeters (9 inches) in height, slip-cast porcelain,
with inlaid slip, by Emily Burton; at Blaze, Bristol, Avon, England.
Renwick Gallery of the Smithsonian American Art Museum, Pennsylvania
Ave. at 17th St., NW, Washington DC 20006; telephone (202) 357-2700.
Permanent collection of 20th- and 21st-century ceramics.
71
gallery guide 2003
Florida
gallery guide 2003
New Orleans Museum of Art, 1 Collins Diboll Cir., New Orleans LA 70179;
e-mail awilliams@noma.org; website www.noma.org; telephone (504) 4882631; fax (504) 484-6662. Permanent collections, including Meissen
porcelain, French ceramics from 1770-1870 and American art pottery
from 1880-1960; 4 exhibitions per year.
The William and Joseph Gallery, 713 Royal St., New Orleans LA 80226;
e-mail mary@thewilliamandjosephgallery.com; website
www.thewilliamandjosephgallery.com; telephone (504) 566-7009; fax
(504) 566-0607. Contemporary ceramics, including works by John Bailey,
Kate Dunn and Garson Pakele.
Function + Art, 1046 W. Fulton Market, Chicago IL 60601; e-mail
director@functionart.com; website www.functionart.com; telephone (312)
243-2780. Contemporary ceramics, including works by Patrick Dragon, Chris
Gryder, Joe Klinger, Stephen Merritt, Bob Pulley, James Spiroff and Kathy
Triplett; 2 exhibitions per year.
Maine
Watershed Center for Ceramic Arts, 19 Brick Hill Rd., Newcastle ME 04553;
e-mail
h2oshed@midcoast.com;
website
www.watershedcenterceramicarts.org;
telephone (207) 882-6075; fax (207) 882-6045. One-three exhibitions per year.
Lillstreet Art Center, 4401 N. Ravenswood Ave., Chicago IL 60640; e-mail
gallery@lillstreet.com; website www.lillstreet.com; telephone (773) 7694226. Contemporary ceramics, including works by over 10 artists;
Maryland
Perimeter Gallery, 210 W. Superior St., Chicago IL 60610; e-mail
perimeterchicago@perimetergallery.com; website
www.perimetergallery.com; telephone (312) 266-9473; fax (312) 266-7984.
Contemporary ceramics; 6 exhibitions per year.
Baltimore Clayworks, 5707 Smith Ave., Baltimore MD 21209;
e-mail leigh.mickelson@baltimoreclayworks.org; website
www.baltimoreclayworks.org; telephone (410) 578-1919; fax (410)
578-0058. Contemporary ceramics; 12 exhibitions per year.
Down to Earth Pottery, 217½ S. Third St., Geneva IL 60134; e-mail
down2earthpottery@yahoo.com; telephone (630) 208-7807. Contemporary
ceramics with emphasis on functional work by over 16 artists; 12 exhibitions
per year.
The Potters Guild of Baltimore, 3600 Clipper Mill Rd., Baltimore MD 21211;
e-mail info@pottersguild.org; website www.pottersguild.org; telephone (410)
235-4884. Contemporary ceramics by Maryland artists; 4 exhibitions per year.
Clay Orbit, 10918 York Rd., Cockeysville MD 21030; e-mail
maryellen@clayorbit.com; website www.clayorbit.com; telephone (410)
329-1440. Contemporary ceramics with emphasis on functional work;
4-6 exhibitions per year, plus multimedia shows including ceramics.
Terra Incognito Studios and Gallery, 246 Chicago Ave., Oak Park IL 60302;
e-mail dtoan@ameritech.net; website www.terraincognitostudios.com;
telephone (708) 383-6228; fax (708) 383-6355. Contemporary ceramics
with emphasis on functional work by over 30 artists; 10 exhibitions per year.
Massachusetts
Indiana
Museum of Overbeck Art Pottery, 33 W. Main St., Cambridge City IN 47327;
e-mail cambridgepubliclibrary@yahoo.com; website www.cclib.lib.in.us;
telephone (765) 478-3335; fax (765) 478-6144. Permanent collection of over
200 pieces of pottery by the Overbeck sisters.
Charlie Cummings Gallery, 4130 S. Clinton St., Ft. Wayne IN 46806; e-mail
charlie@claylink.com; website www.claylink.com; telephone (260) 458-9160.
Iowa
AKAR, 4 S. Linn St., Iowa City IA 52240; e-mail gallery@akardesign.com;
website www.akardesign.com; telephone (319) 351-1227; fax (319) 887-2614.
Contemporary ceramics, representing over 12 artists; 12 exhibitions per year.
Iowa Artisans Gallery, 207 E. Washington St., Iowa City IA 52240; e-mail
artisans@avalon.net;
website
www.iowa-artisans-gallery.com;
telephone
(319) 351-8686 or (877) 439-6554. Permanent display of ceramics;
2 invitational exhibitions per year.
Campbell Steele Gallery, 1064 Seventh Ave., Marion IA 52302; e-mail
maggie@campbellsteele.com; website www.campbellsteele.com; telephone
(319) 373-9211; fax (319) 377-8581. Contemporary ceramics, including works
by John Beckelman, Pam Dennis, James Kasper, George Lowe, Ray Mullen,
Marck Nystrom, Kathy Thor and Mary Weisgram; 4 exhibitions per year.
Charles H. Macnider Museum, 303 Second St., SE, Mason City IA 504013988;
e-mail
macnider@macniderart.org;
website
www.macniderart.org;
telephone (641) 421-3666. Permanent collection of 19th- and 20th-century
American ceramics.
Kentucky
Contemporary Artifacts Gallery, 325 Chestnut St., Berea KY 40403; telephone/
Kentucky Museum of Arts + Design, 715 W. Main St., Louisville KY 40202;
e-mail
admin@kentuckyarts.org;
website
www.kentuckyarts.org;
telephone
(502) 589-0102; fax (502) 589-0154. Contemporary ceramics by over 10
artists; 2-3 exhibitions per year.
Louisiana
Alianza, 154 Newbury St., Boston MA 02116; website www.alianza.com;
including works by Nancy Adams, Katya Apekina, Jerry Berta, Gary
DiPasquale, Ed Risak and Jill Solomon; 3 exhibitions per year.
Genovese/Sullivan Gallery, 47 Thayer St., Boston MA 02118; e-mail
genovesesullivan@yahoo.com; telephone (617) 426-9738; fax (617) 4511108. Contemporary ceramics, including works by Rob Barnard, Hanako
Nakazato, Mary Roehm and Malcolm Wright; 2 exhibitions per year.
Pucker Gallery, 171 Newbury St., Boston MA 02116-2897; e-mail
contactus@puckergallery.com; website www.puckergallery.com; telephone
works by over 10 artists, and Southern African pots; 3-4 exhibitions per year.
Society of Arts and Crafts Gallery, 175 Newbury St., Boston MA 02116;
e-mail exhibitiongallery@societyofcrafts.org; website www.societyofcrafts.org;
Fresh Pond Clay Works, 368 Huron Ave., Cambridge MA 02138; telephone
works by Mary Barringer, Chris Carter, Karen Futral, Donna Polseno and
Pao-Fei Yang; 3-4 exhibitions per year.
Mudflat Gallery, Porter Square Shopping Center, Cambridge MA 02140;
e-mail lynn@mudflat.org; website www.mudflat.org; telephone (617) 4917976; fax (617) 628-2082. Works by 46 ceramists on permanent display
with artists featured monthly.
Lacoste Gallery, 25 Main St., Concord MA 01742; e-mail lacoste@gis.net;
website www.lacostegallery.com; telephone (978) 369-0278; fax (978) 3693375. Contemporary ceramics, including works by Susan Beiner, Michelle
Erickson, Randy Johnston, Warren MacKenzie, Mark Pharis, Mark Shapiro,
Michael Simon, Diana Thomas, Jack Troy and Maryann Webster; 6-9
exhibitions per year.
Designs Gallery, 3 S. Water St., Edgartown, Martha’s Vineyard MA 02539;
e-mail designsgal@designsgallerycollection.com; website
www.designsgallerycollection.com; telephone (508) 627-7200; fax (617) 9161281. Contemporary ceramics with an emphasis on nonfunctional, including
works by Richard Aerni, Daisy Brand, Rick Foris, Judith Motzkin, Jeanette
Rakowski, Ed Risak, David and Laura Rossinow, and Susan and Jim Whalen.
Carol Robinson Gallery, 840 Napolean Ave., New Orleans LA 70115;
e-mail info@carolrobinsongallery.com; website www.carolrobinsongallery.com;
telephone/fax (504) 895-6130. Contemporary ceramics; 1-2 exhibitions per year.
72
Mackerel Sky Gallery, 217 Ann St., East Lansing Ml 48823; e-mail
info@mackerelsky.com; website www.mackerelsky.com; telephone (517) 351 2211; fax (517) 351-5751. Contemporary ceramics; 3-6 exhibitions per year.
Revolution Gallery, 23257 Woodward Ave., Ferndale Ml 48220-1361; e-mail
gallery@revolutn.com; website www.revolutn.com; telephone (248) 541-3444;
fax (248) 541-1914. Contemporary ceramics, including works by John Gill,
Tony Hepburn, Jean-Pierre Larocque, Jae Won Lee, Jim Melchert, Ron
Nagle, James Shrosbree and Robert Turner; 6-8 exhibitions per year.
Ariana Gallery, 119 S. Main St., Royal Oak Ml 48067; telephone (248) 546-8810;
fax (248) 546-6194. Contemporary ceramics, including works by over 50 artists;
Minnesota
Tweed Museum of Art, University of Minnesota, Duluth, 10 University Dr.,
Duluth MN 55812-2496; e-mail tma@d.umn.edu; website
www.d.umn.edu/tma; telephone (218) 726-8222; fax (218) 726-8503.
Permanent collections, including works by over 12 artists and the
Glenn C. Nelson Collection of ceramics.
Fired Up, Inc., 1701 E. Hennepin Ave., #255, Minneapolis MN 55414;
e-mail firedupinc@attglobal.net; website www.firedupstudios.com; telephone
(612) 852-2787. Works by over 40 ceramists on permanent display;
Northern Clay Center, 2424 Franklin Ave., E, Minneapolis MN 55406;
e-mail nccinfo@northernclaycenter.org; website www.northernclaycenter.org;
telephone (612) 339-8007; fax (612) 339-0592. Works by over 50 ceramists;
Mississippi
Ohr-O’Keefe Museum of Art, 136 G. E. Ohr St., Biloxi MS 39530; e-mail
marjie@georgeohr.org; website www.georgeohr.org; telephone (228)
374-5547; fax (228) 436-3641. Contemporary ceramics by emerging artists
and over 450 pots by George Ohr; 11-13 exhibitions per year.
“Tall Vessel,” 191/2 inches (50 centimeters)
in height, earthenware, by Mark Pharis;
at Lacoste Gallery, Concord, Massachusetts.
Clay and Canvas Gallery, 109 Town Creek Dr., Ste. A, Saltillo MS 38866;
e-mail art@clayandcanvas.com; website www.clayandcanvas.com; telephone/
fax (662) 869-1651. Contemporary ceramics; 4 exhibitions per year.
Missouri
Red Star Studios Ceramic Center and Gallery, 821 W. 17th St., Kansas City
MO 64108; e-mail redstarstudio@aol.com; website www.redstarstudios.org;
telephone/fax (816) 474-7316. Contemporary ceramics with emphasis on
functional work; 6-10 exhibitions per year.
Ocmulgee Pottery & Gallery, 317 High St., Ipswich MA 01938; e-mail
info@ocmulgeepottery.com; website www.ocmulgeepottery.com; telephone
(978) 356-0636; fax (978) 356-3465. Stoneware and porcelain collection;
Ocmulgee Pottery and Fine Crafts Gallery, 26 Market St., Ipswich MA 01938;
e-mail info@ocmulgeepottery.com; website www.ocmulgeepottery.com;
telephone (978) 356-1298. Contemporary ceramics; 3 exhibitions per year.
Ferrin Gallery, 69 Church St., Lenox MA 01241; e-mail info@ferringallery.com;
website www.ferringallery.com; telephone (914) 271-9362 or (413) 637-4414;
fax (914) 271-0047. Contemporary ceramic art, sculpture and studio pottery;
Pinch, 179 Main St., Northampton MA 01060; e-mail store@epinch.com;
website www.epinch.com; telephone/fax (413) 586-4509. Studio pottery
from the U.S., including works by Angela Fina, Donna McGee, Mark Shapiro,
Linda Sikora and Michael Simon.
George & Anna Krikorian Gallery, Worcester Center for Crafts, 25 Sagamore
Rd., Worcester MA 01605; e-mail wcc@worcestercraftcenter.org; website
www.worcestercraftcenter.org; telephone (508) 753-8183; fax (508) 797-5626.
Contemporary ceramics; 9-10 exhibitions per year, including annual Karen
Karnes pottery invitational.
Michigan
Cranbrook Art Museum, 39221 Woodward Ave., PO Box 801, Bloomfield
Hills Ml 48303-0801; e-mail artmuseum@cranbrook.edu; website
www.cranbrook.edu/art/museum; telephone (877) 462-7262; fax (248) 6433324. Permanent collection of contemporary ceramics by over 20 artists.
Sherry Leedy Contemporary Art, 2004 Baltimore Ave., Kansas City MO
64108; e-mail sherryleedy@sherryleedy.com; website www.sherryleedy.com;
including works by Rudy Autio, John Balistreri, Bede Clarke, Cary Esser,
Anne Hirondelle, Jun Kaneko, Karen Karnes, Bobby Silverman, Charles
Timm-Ballard and Peter Voulkos; 6 exhibitions per year.
Craft Alliance Gallery, 6640 Delmar Blvd., St. Louis MO 63130; e-mail
gallery@craftalliance.org; website www.craftalliance.org; telephone (314)
725-1177; fax (314) 725-2068. Contemporary ceramics by emerging,
mid-career and established artists; 6-10 exhibitions per year.
Daum Museum of Contemporary Art, State Fair Community College,
3201 W. 16th St., Sedalia MO 65301; e-mail info@daummuseum.org;
website www.daummuseum.org; telephone (660) 530-5888; fax (660)
530-5890. Contemporary ceramics, including works by Rudy Autio, John
Balistreri, Anne Currier, Jun Kaneko, Karen Karnes, Jim Leedy, Ole Lislerud,
Don Reitz, George Timock and Peter Voulkos.
Montana
Artifacts Gallery, 308 E. Main St., Bozeman MT 59715; e-mail
contemporaryart@imt.net; website www.artifacts-bzn.com; telephone
(406) 586-3755. Contemporary ceramics, including works by over 12 artists;
73
gallery guide 2003
Pewabic Pottery, 10125 E. Jefferson, Detroit Ml 48214; e-mail
pewabic@pewabic.com; website www.pewabic.com; telephone (313)
822-0954; fax (313) 822-6266. Contemporary ceramics by over 60 artists.
Running Ridge Gallery, 640 Canyon Rd., Santa Fe NM 87501; e-mail
running@nets.com;
website
www.runningridgegallery.com;
telephone
(505) 988-2515; fax (505) 988-7692. Contemporary ceramics by over
15 artists; 2 exhibitions per year.
gallery guide 2003
Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe NM 87501; e-mail
sfc@santafeclay.com; website www.santafeclay.com; telephone
(505) 984-1122; fax (505) 984-1706. Contemporary American ceramics;
Artworks Gallery, 123 W. Main St., Bozeman MT 59715; e-mail
info@artworksmontana.com; website artworksmontana.com; telephone
(406) 585-8465. Contemporary ceramics, including works by over
10 artists; 6 exhibitions per year.
Touching Stone Gallery, 539 Old Santa Fe Trail, Santa Fe NM 87505;
e-mail
director@touchingstone.com;
website
www.touchingstone.com;
telephone/fax (505) 988-8072. Contemporary and traditional Japanese
ceramics, representing works by Moriyuki Ando, Nobuhiko Fukushima,
Kiyoharu Ichino, Shukai Kagami, Reiko Kakiuchi-Cohen, Yuho Kaneshige,
Jun Murashima, Tadashi Nishibata, Hiroyuki Wakimoto and Kazu Yamada;
Archie Bray Foundation for the Ceramic Arts, 2915 Country Club Ave.,
Helena MT 59602; e-mail archiebray@archiebray.org; website
www.archiebray.org; telephone (406) 443-3502; fax (406) 443-0934.
Contemporary ceramics by over 10 artists; 7-9 exhibitions per year.
Blue Dome Gallery, 307 N. Texas St., Silver City NM 88061; e-mail
bluedome@zianet.com; website www.zianet.com/bluedome; telephone/fax
(505) 534-8671. Contemporary ceramics, including works by over 10 artists;
Holter Museum of Art, 12 E. Lawrence St., Helena MT 59601; e-mail
holter@mt.net; website www.holtermuseum.org; telephone (406) 442-6400;
fax (406) 442-2404. Permanent collection; 4-6 exhibitions per year.
Clay & Fiber Gallery, 201 Paseo del Pueblo Sur, Taos NM 87571; e-mail
claynfiber@newmex.com; website www.collectorsguide.com/clayfiber;
including works by Rob Drexel, Carolyn Dulin, Barbara Harnack, Sheila
Hrasky, Jim Kempes, Patricia Naylor, Stephen Schrepferman, J. Randall
Smith, Jarrett West and Carl Whitkop; 8-10 exhibitions per year.
The Clay Studio, 910 Dickens St., Missoula MT 59802; e-mail
jaylawfer@hotmail.com; telephone (406) 543-0509. Contemporary ceramics,
including works by over 10 artists; 12 exhibitions per year.
New Jersey
Lafayette Clayworks, 22 Wantage Ave., P0 Box 289, Branchville NJ 07826;
e-mail clayworksjoy@tellurian.net; website www.lafayetteclayworks.com;
by emerging artists with emphasis on functional stoneware; 3-4 exhibitions
per year.
Old Church Cultural Center, 561 Piermont Rd., Demarest NJ 07627;
e-mail
gallery@occcartschool.org;
website
www.occcartschool.org;
telephone (201) 767-7160; fax (201) 767-0497. Works by emerging
ceramics artists; 2-3 exhibitions per year.
New York
The Schein-Joseph International Museum of Ceramic Art, NY State
College of Ceramics at Alfred University, Alfred NY 14802; e-mail
ceramicsmuseum@alfred.edu; website www.ceramicsmuseum.alfred.edu;
telephone (607) 871-2421; fax (607) 871-2615. Contemporary and historical
ceramics; 4 exhibitions per year.
m. t. burton gallery, 1819 Long Beach Blvd., Surf City NJ 08008; e-mail
mtbgallery@yahoo.com;
website
www.mtburtongallery.com;
telephone
(609)
494-0006 or (877) 530-0988; fax (609) 494-0105. Contemporary ceramic
sculpture and pottery; 7 exhibitions per year.
New Jersey State Museum, 205 W. State St., P0 Box 530, Trenton
NJ 08625-0530; e-mail feedback@sos.state.nj.us; website
www.state.nj.us/state/museum/index.html; telephone (609)
292-6464; fax (609) 599-4098. Collection of 18th- to
20th-century ceramics.
The Trenton City Museum, Ellarslie Mansion, Cadwalader Park,
Parkside Ave., Trenton NJ 08618; e-mail tms@ellarslie.org;
website www.ellarslie.org; telephone (609) 989-3632; fax (609)
989-3624. Commercial pottery collection, including Belleek,
Boehm, Cybis, Lenox, Mercer Pottery, Ott & Brewer, Scammel,
and Willets.
New Mexico
The Fisher Gallery, 1620 Central Ave., SE, Albuquerque NM
87106; e-mail fishergallery@mac.com; telephone (505) 2471529; fax (505) 243-6701. Contemporary ceramics, including
works by Jennifer Lucht, Beth Sailer, Jason Sailer and
Marilyn Schultz; 6 exhibitions per year.
Bellas Artes, 653 Canyon Rd.. Santa Fe NM 87501;
e-mail bc@bellasartesgallery.com; website
www.bellasartesgallery.com; telephone (505) 983-2745.
Contemporary ceramics, including works by Richard DeVore,
Ruth Duckworth, Shoichi Ida and Brad Miller.
“Oribe Plate,” 11 inches (28 centimeters) in width, glazed stoneware,
by Shigemasa Higashida; at Dai Ichi Gallery, New York City.
LewAllen Contemporary, 129 W. Palace Ave., Santa Fe NM 87501; e-mail
gallery@lewallenart.com; website www.lewallenart.com; telephone (505) 9888997; fax (505) 989-8702. Contemporary ceramics, including works by Liz
Anderson, Robert Brady, David Joy, Jun Kaneko and Gretchen Wachs.
Robert F. Nichols Gallery, 419 Canyon Rd., Santa Fe NM 87501; e-mail
gallery@robertnicholsgallery.com;
website
www.robertnicholsgallery.com;
specializing in Native American potters of the Southwest, including works
by Nathan Begaye, Pascal Chmelar, Virginia Garcia, Bill Gilbert, Bill Glass,
Les Namingha, Kathleen Nez, Virgil Ortiz and family, Diego Romero, and
Jacobo de la Serno; 6-10 exhibitions per year.
74
Max Protetch Gallery, 511 W. 22nd St., New York NY 10011-1109; e-mail
info@maxprotetch.com;
website
www.maxprotetch.com;
telephone
(212)
by Richard DeVore and Betty Woodman.
65 Hope Street Gallery, 65 Hope St., 2nd FI., Brooklyn NY 11211;
e-mail hopestreetceramics@yahoo.com; website www.tigerblue.com/65hope;
including works by Irina Davidovich, Kathleen Moroney, Mitzi Morris, Rina
Peleg and Chris Russell; 7 exhibitions per year.
Gallery of Fine Crafts at Hands on Clay, Inc., 128 Old Town Rd., E. Setauket
NY 11733; e-mail info@handsonclay.com; website www.handsonclay.com;
Garth Clark Gallery’s Project Space, 45-46 21st St., Long Island City NY
11101; e-mail info@garthclark.com; website www.garthclark.com; telephone
works by Philip Eglin, Ken Ferguson, Babs Haenen, Anne Kraus, Ah Leon,
Richard Notkin, Lawson Oyekan and Nicholas Rena; 6 exhibitions per year.
Museum of Arts and Design, 40 W. 53rd St., New York NY 10019; website
www.madmuseum.org; telephone (212) 956-3535; fax (212) 459-0926.
Contemporary international ceramics; 7-10 exhibitions per year.
Nancy Margolis Gallery, 531 W. 25th St., ground fl., New York NY 10001;
e-mail margolisny@aol.com; website www.nancymargolisgallery.com;
telephone (212) 343-9523. Contemporary American, European and Asian
ceramics; 8-9 exhibitions per year.
Tong-in Gallery New York, 16W. 32nd St., Ste. 503, New York NY 10001;
e-mail tongin@att.net; website www.tonginstore.com; telephone (212) 5642020; fax (212) 564-1180.
The Klay Gallery, 65 S. Broadway, Nyack NY 10960; e-mail
info@klaygallery.com; website www.klaygallery.com; telephone (845)
348-6306. Contemporary American ceramics; 1-2 exhibitions per year.
Antik, 104 Franklin St., New York NY 10013; e-mail antik@antik-nyc.net;
telephone (212) 343-0471; fax (212) 343-0472. Twentieth-century
Scandinavian ceramics, including works by Berndt Friberg, Gunnar
Nylund, Axel Salto and Harry Stalhane.
Clay Art Center, 40 Beech St., Port Chester NY 10573; e-mail
mail@clayartcenter.org; website www.clayartcenter.org; telephone
(914) 937-2047; fax (914) 935-1205. Contemporary ceramics; 8 solo
and 3 group exhibitions per year.
The Asia Society, 502 Park Ave., New York NY 10022; e-mail
info@asiasociety.org; website www.asiasociety.org; telephone (212)
288-6400; fax (212) 517-8315. Ceramics from East and Southeast Asia.
Everson Museum of Art, 401 Harrison St., Syracuse NY 13202; e-mail
everson@everson.org; website www.everson.org; telephone (315) 474-6064;
fax (315) 474-6943. Permanent collection in the Center for the Study of
American Ceramics; 2-3 exhibitions per year.
Bodanna Gallery, 125 E. Seventh St., New York NY 10009; e-mail
margo@bodanna.org; website www.bodanna.org; telephone (212) 388-0078;
Celadon, A Clay Art Gallery, 41 Old Mill Rd., PO Box 564, Water Mill NY
11976; e-mail clayart@optionline.net; telephone (631) 726-2547; fax (631)
725-4605. Contemporary ceramics; 6 exhibitions per year.
Capeluto Arts, 147 Reade Rd., New York NY 10013; e-mail
capelutoarts@aol.com; website www.capelutoarts.com; telephone
works by Frank Boyden, Nobuhiro Mizuma, Jissei Omine, Reinaldo Sanguino,
Takemi Shima and Shinman Yamada.
Charles Cowles Gallery, 537 W. 24th St., New York NY 10011; e-mail
info@cowlesgallery.com; website www.cowlesgallery.com; telephone
works by Toshiko Takaezu and Peter Voulkos.
North Carolina
Asheville Art Museum, 2 S. Pack Sq., Asheville NC 28802-1717; e-mail
mailbox@ashevilleart.org; website www.ashevilleart.org; telephone (828)
253-3227; fax (828) 257-4503. Permanent collection; 2 exhibitions per year,
plus multimedia shows including ceramics.
Blue Spiral 1, 38 Biltmore Ave., Asheville NC 28801; e-mail
info@bluespiral1.com; website www.bluespiral1.com; telephone (828)
251-0202; fax (828) 251-0884. Southeastern contemporary ceramics;
Dai Ichi Gallery, 24 W. 57th St., 6th FI., New York NY 10019; e-mail
daiichiarts@yahoo.com; website www.daiichiarts.com; telephone (212)
262-0239; fax (212) 262-2330. Contemporary American and Japanese
Odyssey Gallery, 242 Clingman Ave., Asheville NC 28801; e-mail
gallery@highwaterclays.com; website www.highwaterclays.com; telephone
(828) 285-9700; fax (828) 253-3853. American contemporary ceramics;
Franklin Parrasch Gallery, Inc., 20 W. 57th St., New York NY 10019;
e-mail franklin@franklinparrasch.com; website www.franklinparrasch.com;
including works by Stephen DeStaebler, Beverly Mayeri, Ken Price and Carlo
Sammarco; 12 exhibitions per year.
Garth Clark Gallery, 24 W. 57th St., New York NY 10019; e-mail
info@garthclark.com; website www.garthclark.com; telephone (212) 2462205; fax (212) 489-5168. Contemporary ceramics, including works by Ralph
Bacerra, Wouter Dam, Ruth Duckworth, Leopold Foulem, David Packer, Gwyn
Hanssen Pigott, Martin Smith and Kurt Weiser; 11 + exhibitions per year.
Green Tara Gallery, 1800 E. Franklin St., #18b Eastgate, Chapel Hill NC
27514; e-mail greentaragallery@mindspring.com; website
www.greentaragallery.com; telephone (919) 932-6400; fax (919) 918-7542.
Contemporary ceramics, including works by over 20 artists, plus potters of
Mata Ortiz; 10-12 exhibitions per year.
Somerhill Gallery, 3 Eastgate, E. Franklin St., Chapel Hill NC 27514; e-mail
somerhill@mindspring.com; website www.somerhill.com; telephone (919)
968-8868; (919) 967-1879. Contemporary ceramics; 2 exhibitions per year.
Tyndall Galleries, University Mall, 201 S. Estes Dr., Chapel Hill NC 27514;
e-mail info@tyndallgalleries.com; website www.tyndallgalleries.com; telephone
(919) 942-2290; fax (919) 942-2294. Contemporary ceramics, including works
by Colleen Black-Semelka, Cathy Kiffney, Ellen Kong, Julie Olson, Sally Bowen
Prange, Siglinda Scarpa and Conrad Weiser; 3 exhibitions per year.
James Graham & Sons, 1014 Madison Ave., New York NY 10021; e-mail
info@jamesgrahamandsons.com; website www.jamesgrahamandsons.com;
telephone (212) 535-5767; fax (212) 794-2454. Contemporary British
ceramics, including works by Vivienne Foley, Peter Hayes, Jennifer Lee,
Ursula Morley Price, Lucie Rie, Geoffrey Swindell, Angela Verdon, Tina
Vlassopulos and John Ward.
Jane Hartsook Gallery, Greenwich House Pottery, 16 Jones St., New York
NY 10014; e-mail pottery@greenwichhouse.org; website
www.greenwichhousepottery.org; telephone (212) 242-4106; fax (212)
645-5486. Contemporary and historical ceramics; 6-7 exhibitions per year.
John Elder Gallery, 529 W. 20th St., 7W, New York NY 10011; e-mail
mail@johnelder.com; website www.johnelder.com; telephone (212) 462-2600;
fax (212) 462-2510. Contemporary ceramics, including sculpture by Robert
75
gallery guide 2003
Brady, Lisa Clague, Cynthia Consentino, Andrea Gill, Arthur Gonzalez, Chris
Gustin, Pamela Earnshaw Kelly, Justin Novak, Kukuli Velarde and Janis Mars
Wunderlich; 10-12 exhibitions per year.
National Ceramic Museum and Heritage Center, PO Box 200, Crooksville
OH 43731; website www.geocities.com/ceramiccenter; telephone (740)
697-7021 or (800) 752-2604; fax (740) 697-0171. Art pottery, early stoneware,
bricks and contemporary ceramics.
gallery guide 2003
The East Liverpool Museum of Ceramics, 400 E. Fifth St., East Liverpool OH
43920; e-mail ceramics@clover.net; website www.themuseumofceramics.org;
telephone (330) 386-6001 or (800) 600-7180; fax (330) 386-0488.
Mint Museum of Art, 2730 Randolph Rd., Charlotte NC 28207; e-mail
pbusher@mintmuseum.org; website www.mintmuseum.org; telephone (704)
337-2000; fax (704) 337-2101. Permanent collections, including English creamware, Chinese porcelain, American art pottery and North Carolina folkware.
Gallery 138, 138 Main St., Kent OH 44240; e-mail gallery138@kent.edu;
website
http://dept.kent.edu/art/gallery138;
telephone
(330)
672-9772;
fax (330) 672-9773. Contemporary ceramics; 3-4 exhibitions per year,
plus a national juried cup show.
Mint Museum of Craft + Design, 220 N. Tryon St., Charlotte NC 28202;
e-mail mleach@mintmuseum.org; website www.mintmuseum.org; telephone
(704) 337-2000; fax (704) 337-2101. Permanent collections, including
contemporary teapots, vessels and ceramic sculpture.
Rosewood Gallery, 2655 Olson Dr., Kettering OH 45420; e-mail
chris.klinger@ketteringoh.org; wesbite www.ketteringoh.org/gallery;
telephone (937) 296-0294; fax (937) 296-3289. Several multimedia exhi
bitions including clay, plus 1 juried regional ceramics exhibition per year.
W.D.O., 214 N. Tryon St., Hearst Plaza, Ste. 1, Charlotte NC 28202; e-mail
info@gallerywdo.com; website www.gallerywdo.com; telephone (704) 3339123; fax (704) 335-0310. Contemporary ceramics; 5-6 exhibitions per year.
Cowan Pottery Museum at Rocky River Public Library, 1600 Hampton Rd.,
Rocky River OH 44116-2699; e-mail s.brown@rrpl.org; website
www.rrpl.org/rrpl_cowan.stm; telephone (440) 333-7610; fax (440) 333-4184.
Permanent collection of over 1100 pieces, including works by Russell Aitken,
Elizabeth Anderson, Arthur Baggs, Paul Bogatay, R. Guy Cowan, Edris
Eckhardt, Waylande Gregory, Margaret Postgate, Viktor Schreckengost
and Elsa Shaw; 2 exhibitions per year.
Pocosin Arts, 201 Main St., PO Box 690, Columbia NC 27925; e-mail
info@pocosinarts.org; website www.pocosinarts.org; telephone (252)
796- 2787; fax (525) 796-1685. Traditional and contemporary ceramics;
Cedar Creek Gallery, 1150 Fleming Rd., Creedmoor NC 27522; e-mail
info@cedarcreekgallery.com; website www.cedarcreekgallery.com; telephone
(919) 528-1041; fax (919) 528-1120. Collection of historical American pottery
and representing over 200 contemporary ceramists; 5-6 exhibitions of
contemporary work per year.
Franklin Square Gallery, 130 E. West St., Southport NC 28461; e-mail
artslave@nuvox.net; website www.arts-capefear.com/fsgallery; telephone
(910) 457-5450. Regional ceramics by over 20 artists; 7 exhibitions, including
1 juried national, per year.
Twigs & Leaves, 98 N. Main St., Waynesville NC 28786; e-mail
info@twigsandleaves.com; website www.twigsandleaves.com; telephone
works by Brandon Dodson, Jon Ellenbogen, Maggi Fuhriman, Sarah House,
Leigh Houston, Rebecca Plummer, Alan and Nancy Stegall, and Kaaren
Stoner; up to 5 exhibitions per year.
Freed Gallery, 6119 S.W. Hwy. 101, Lincoln City OR 97367; e-mail
info@freedgallery.com; website www.freedgallery.com; telephone (541)
by over 12 artists; 7 exhibitions per year.
Fire’s Eye Gallery, 19915 S.W. Muddy Valley Rd., McMinnville OR 97128;
e-mail fireseyegallery@onlinemac.com; website www.fireseyegallery.com;
telephone/fax (503) 843-9797. Contemporary ceramics, including works
Contemporary Crafts Museum & Gallery, 3934 S.W. Corbett Ave., Portland
OR 97239; e-mail dcohen@contemporarycrafts.org; website
www.contemporarycrafts.org; telephone (503) 223-2654; fax (503) 223-0190.
Permanent collection from the Oregon Potters Association; 3-4 exhibitions
per year, plus multimedia shows including ceramics.
New Elements Gallery, 216 N. Front St., Wilmington NC 28401; e-mail
contact@newelementsgallery.com; website www.newelementsgallery.com;
telephone (910) 343-8997. Contemporary ceramics, including works by Jen
Bireline, Sally Bowen Prange, Hiroshi Sueyoshi, Cindy Weaver and Dina
Wilde-Ramsing; 2-3 exhibitions per year.
Fifth Element Gallery, 404 N.W. Tenth Ave., Portland OR 97209; e-mail
mail@fifthelement.org; website www.fifthelement.org; telephone (503)
279-9042. Functional ware and sculpture; 12 exhibitions per year.
Piedmont Craftsmen Gallery, 601 N. Trade St., Winston-Salem NC 27101;
e-mail pci@bellsouth.net; website www.piedmontcraftsmen.org; telephone
(336) 725-1516; fax (336) 722-6038. Works by over 100 members of the
Piedmont Craftsmen Guild.
The Real Mother Goose, 901 S.W. Yamhill St., Portland OR 97205; e-mail
info@therealmothergoose.com; website www.therealmothergoose.com;
telephone (503) 223-9510. Contemporary ceramics by over 100 artists.
Pennsylvania
Ohio
Chester Springs Studio, 1671 Art School Rd., Chester Springs PA 19425;
e-mail csstudio@chesterspringsstudio.org; website
www.chesterspringsstudio.org; telephone (610) 827-7277; fax (610)
827-7157. Contemporary ceramics; 2-3 exhibitions per year.
Throwing Clay Pottery, 4719 Vine St., Cincinnati OH 45217; e-mail
tmfeldhake@yahoo.com; telephone (513) 424-7687. Functional ceramics
by regional artists; 4 exhibitions per year.
American Crafts Gallery, 13010 Larchmere Blvd., Cleveland OH 44120;
telephone (216) 231-2008; fax (216) 231-2009. Permanent display of
Cleveland Museum of Art, 11150 East Blvd., Cleveland OH 44106-1797;
e-mail info@clevelandart.org; website www.clevelandart.org; telephone
(888) 262-0033. Permanent collection of ceramics, including works
by Robert Arneson, Hector Guimard, Auguste Rodin and Viktor
Schreckengost, plus19th-century European, precolumbian, Native
American and Asian ceramics.
Oregon
Gallery at Salishan, 7755 N. Coast Hwy. Gleneden Beach OR 97388;
e-mail gallery@salishan.com; telephone (800) 764-2318. Contemporary
ceramics, including works by Daphne Gillen, Michael Gustavson, Kyle
Knipe, Michele Rigert, Wally Schwab, Don Sprague and Lloyd Walker;
North Carolina Pottery Center, 250 East Ave., Seagrove NC 27341;
e-mail ncpc@atomic.net; website www.ncpotterycenter.com; telephone (336)
873-8430; fax (336) 873-8530. Permanent collection detailing the history
of pottery in North Carolina, from Native American pots to utilitarian earthen
wares and stonewares of the 18th and 19th centuries to contemporary;
ceramics; 1 exhibition per year.
Toledo Museum of Art, 2445 Monroe St., Toledo OH 43620; e-mail
information@toledomuseum.org;
website
www.toledomuseum.org;
telephone (419) 255-8000 or (800) 644-6862; fax (419) 255-5638.
Erie Art Museum, 411 State St., Erie PA 16501; e-mail
contact@erieartmuseum.org; website www.erieartmuseum.org;
telephone (814) 459-5477; fax (814) 452-1744. American ceramics
and Chinese porcelains collections; 2-3 exhibitions per year.
The Clay Studio, 139 N. Second St., Philadelphia PA 19106; e-mail
info@theclaystudio.org; website www.theclaystudio.org; telephone (215)
925-3453; fax (215) 925-7774. National and international ceramics;
Ohio Craft Museum, 1665 W. Fifth Ave., Columbus OH 43212; e-mail
info@ohiocraft.org; website www.ohiocraft.org; telephone (614) 486-4402;
fax (614) 486-7119. Studio ceramics collection; several multimedia
exhibitions including ceramics.
76
Appalachian Center for Crafts Gallery, 1550 Craft Center Dr., Smithville TN
37166;
e-mail
craftcenter@tntech.edu;
website
www.craftcenter.tntech.edu;
Texas
Art Corridor I, Tarrant County College Southeast Campus, 2100 Southeast
Pkwy., Arlington TX 76018-3144; e-mail rafael.molina@tccd.edu; telephone
(817) 515-3711; fax (817) 515-3189. Contemporary ceramics; 4-6 exhibitions
per year.
Craighead-Green Gallery, 2404 Cedar Springs, Ste. 700, Dallas TX 75201;
e-mail
sgreen1007@aol.com;
website
www.craigheadgreen.com;
telephone
(214) 855-0779; fax (214) 855-5966. Regional and international ceramics;
1 exhibition per year, plus multimedia shows including ceramics.
Foelber Gallery, 706 Richmond Ave., Houston TX 77006; e-mail
foelberpottery@cs.com; telephone (713) 524-7211. Contemporary ceramics,
including works by Judy M. Adams, Andy Carroll, John Foelber, Dr. Henry F.
Gamble III, Darryl McCracken and Bob Riddell; 5-6 exhibitions per year.
Tray, 17 Inches (43 centimeters) in width, porcelain, by Connie Christensen;
at Artists on Sante Fe, Denver, Colorado.
Goldesberry Gallery, 2625 Colquitt St., Houston TX 77098-2117; e-mail
nancy@goldesberrygallery.com; website www.goldesberrygallery.com;
telephone (713) 528-0405; fax (713) 528-0418. Contemporary ceramics by
over 15 artists; 5-7 exhibitions per year.
Houston Potters’ Guild Shop and Gallery, 2433 Rice Blvd., Houston TX 77005;
e-mail maunger@mail.esc4.com; website www.houstonpottersguild.com;
telephone (713) 528-7687. Contemporary ceramics; 10 solo shows per year.
San Angelo Museum of Fine Arts, 1 Love St., San Angelo TX 76903-3092;
e-mail museum@samfa.org; website www.samfa.org; telephone (325) 6533333; fax (325) 658-6800. Contemporary ceramics collection;
Works Gallery, 303 Cherry St., Philadelphia PA 19106-1803; e-mail
ruth@snyderman-works.com; website www.snyderman-works.com;
including works by over 12 artists; 10 exhibitions per year.
Southwest School of Art and Craft, 300 Augusta, San Antonio TX 78505;
e-mail info@swschool.org; website www.swschool.org; telephone (210) 2241848; fax (210) 224-9337. Contemporary ceramics; 2 exhibitions per year.
The Clay Place, 5416 Walnut St., Pittsburgh PA 15232-2222; e-mail
clayplace1@aol.com; website www.clayplace.com; telephone (412) 6823737; fax (412) 682-3239. Contemporary ceramics; 8 exhibitions per year.
Vermont
Society for Contemporary Craft, 2100 Smallman St., Pittsburgh PA
15222; e-mail marketing@contemporarycraft.org; website
www.contemporarycraft.org; telephone (412) 261-7003; fax (412)
261-1941. Contemporary ceramics collection, including works by
Marek Cecula, Harris Deller, Martha Holt, Nancy Jurs, Gail Kendall,
Howard Kottler and Michael Lamar.
Bennington Museum Pottery Gallery, 75 Main St., Bennington VT 05201;
e-mail mstjohn@benningtonmuseum.org; website
www.benningtonmuseum.com/potterygallery.html; telephone (802) 447-1571;
fax (802) 442-8305. Permanent collection of pottery made in Bennington,
including Norton Pottery and the United States Pottery Company.
Ethel Sergeant Clark Smith Gallery, Wayne Art Center, 413 Maplewood Ave.,
Wayne PA 19087; e-mail info@wayneart.org; website www.wayneart.org;
Puerto Rico
Galena Botello, 314 F. D. Roosevelt Ave., Hato Rey 00918 Puerto Rico; mailing
address: P0 Box 360463, San Juan 00936-0463; e-mail botello@botello.com;
website www.botello.com; telephone (787) 754-7430; fax (787) 250-8274.
Contemporary ceramics, including works by Jorge Cancio, Aileen Castaneda,
Susana Espinosa, Gretchen Haeussler, Toni Hambleton, Bernardo Hogan and
Jaime Suarez; 3-4 exhibitions per year.
South Carolina
Charleston ClayWorks Studio & Gallery, 285 Meeting St., Charleston SC
29401; e-mail sfilley@comcast.net; telephone (843) 853-3345; fax (843)
971-9105. Contemporary ceramics, including works by Tom Coleman,
Jim Connell, Susan Filley, Matt Long and Lana Wilson; exhibitions concurrent
with workshops.
Tennessee
Sandra J. Blain Gallery, Arrowmont School of Arts and Crafts, 556 Parkway,
Gatlinburg TN 37738; e-mail info@arrowmont.org; website
www.arrowmont.org; telephone (865) 436-5860; fax (865) 430-4101.
Contemporary ceramics, including works by over 25 artists;
Frog Hollow Vermont State Craft Center, 85 Church St., Burlington VT 05401;
e-mail kwark@froghollow.org; website www.froghollow.org; telephone (802)
863-6458; fax (802) 863-6506. Contemporary ceramics by Vermont artists;
multimedia shows including ceramics.
Frog Hollow Vermont State Craft Center, Historic Rte. 7A, P0 Box 816,
Manchester VT 05254; e-mail dmacksoud@froghollow.org; website
www.froghollow.org; telephone (802) 362-3321; fax (802) 362-5295.
Contemporary ceramics; several multimedia shows including ceramics.
Frog Hollow Vermont State Craft Center, 1 Mill St., Middlebury VT 05753;
e-mail kwark@froghollow.org; website www.froghollow.org; telephone (802)
388-3177; fax (802) 388-5020. Contemporary and traditional ceramics by
Vermont artists; multimedia shows including ceramics.
Vermont Clay Studio, 2802 Waterbury-Stowe Rd., Waterbury Center VT
05677; e-mail info@vermontclaystudio.org; website
www.vermontclaystudio.org; telephone (802) 244-1126; fax (802) 244-8760.
Works by 18 ceramists; 4-6 exhibitions per year.
Virginia
Scope Gallery at the Torpedo Factory, 105 N. Union St., Alexandria VA
22314; website www.torpedofactory.org/galleries/scope.htm; telephone
(703) 548-6288. Works by members of the Ceramic Guild and the Kiln Club;
77
gallery guide 2003
Bennett Galleries, 5308 Kingston Pike, Knoxville TN 37919; e-mail
marym@bennettgalleries.com;
website
www.bennettgalleries.com;
Racine Art Museum, 441 Main St., Racine Wl 53401-0187; e-mail
info@ramart.org; website www.ramart.org; telephone (262) 638-8300; fax
(262) 898-1045. Contemporary ceramics collection; 4-6 exhibitions per year.
gallery guide 2003
Earth and Fire Pottery, 144 Church St., NW, Herndon VA 22180; e-mail
earthandfire1@aol.com;
website
www.earthandfiregallery.com;
telephone
(703) 255-3107; fax (703) 255-3108. Contemporary functional ceramics,
including works by over 15 artists; 6-8 exhibitions per year.
Rendezvous Gallery, 5 Loudoun St., SE, Leesburg VA 20175; e-mail
info@rendezvousstyle.com; website www.rendezvousstyle.com; telephone
works by over 15 artists; 2 exhibitions per year.
John Michael Kohler Arts Center, 608 New York Ave., Sheboygan Wl 530820489; e-mail kkath@jmkac.org; website www.jmkac.org; telephone (920) 4586144; fax (920) 458-4473. Contemporary ceramics, including works by Ann
Agee, Jill Bonovitz, Judy Fox, Sarah Lindley, Alex Schweder and Kukuli
Velarde; 3 exhibitions per year.
Wyoming
Margo’s Pottery & Fine Crafts, 1 N. Main, Buffalo WY 82834; e-mail
margospottery@wyoming.com; website www.margospottery.com; telephone
(307) 684-9406; fax (307) 684-7715. Functional ware; 1-3 exhibitions per year.
INTERNATIONAL
Artisans Center of Virginia, 601 Shenandoah Village Dr., Waynesboro VA
22980; e-mail ACV@nexet.net; website www.artisanscenterofvirginia.org;
by Virginia artists; 3 exhibitions per year, plus multimedia shows including
ceramics.
Australia
Washington
JamFactory Contemporary Craft and Design, 19 Morphett St., Adelaide,
South Australia 5000 Australia; e-mail gallery@jamfactory.com.au; website
www.jamfactory.com.au; telephone 61 8 8410 0727; fax 61 8 8231 0434.
Contemporary ceramics by over 12 artists; 4 exhibitions per year.
Penn Cove Pottery, 26184 State Rte. 20, Coupeville WA 98239; e-mail
ap@pugetsound.net; telephone/fax (360) 678-6464. Contemporary ceramics
with emphasis on functional, including works by Kathryn Berd, James Brooke
Ginny Conrow, Loren Lukens, Matthew Patton and Rick Stafford;
Beaver Galleries, 81 Denison St., Deakin, Canberra, Australian Capital
Territory 2600 Australia; e-mail mail@beavergalleries.com.au; telephone
61 2 6282 5294; fax 61 2 6281 1315. Contemporary ceramics, including
works by Sandra Black, Les Blakebrough, Pippin Drysdale, Jeff Mincham,
Peter Rushforth and Kevin White; 3-4 exhibitions per year.
Foster/White Gallery-Kirkland, 126 Central Way, Kirkland WA 98033;
e-mail kirkland@fosterwhite.com; website www.fosterwhite.com; telephone
(425) 822-2305; fax (425) 828-2270. Regional contemporary ceramics
by established and emerging artists; 4-6 exhibitions per year.
Foster/White Gallery-Pioneer Square, 123 S. Jackson St., Seattle WA 98104;
e-mail seattle@fosterwhite.com; website www.fosterwhite.com; telephone
works by Margaret Ford, Carol Gouthro, Jim Kraft and Jeanne Quinn;
Foster/White Gallery-Rainier Square, 1331 Fifth Ave.. Seattle WA 98101;
e-mail
rainier@fosterwhite.com;
website
www.fosterwhite.com;
telephone
(206) 583-0100; fax (206) 583-7188. Regional contemporary ceramics
by established and emerging artists; 4-6 exhibitions per year.
KOBO Gallery, 814 E. Roy St., Seattle WA 98102; e-mail
kobo@koboseattle.com; website www.koboseattle.com; telephone
works by over 15 artists; 6 exhibitions per year.
Phoenix Rising Gallery, 2030 Western Ave., Seattle WA 98121; e-mail
info@prgallery.com; website www.prgallery.com; telephone (206) 728-2332;
fax (206) 365-0162. Contemporary ceramics by over 10 artists; 2 exhibitions
per year.
The Creighton Gallery, 714 E. Sprague Ave., Spokane WA 99202; e-mail
northstarceramic@qwest.net; telephone (509) 747-6174; fax (509) 747-6177.
Contemporary ceramics, including works by Daryl Baird, Christopher Kelsey
and Mark Moore; 8 exhibitions per year.
Wisconsin
Higher Fire Clay Studio, 2132 Regent St., Madison Wl 53726; e-mail
l2leighton@charter.net; telephone (608) 233-3050; fax (608) 255-6549.
Contemporary ceramics, including works by over 15 artists; 10 exhibitions
per year.
Lincoln Art Pottery, 636 N. Lincoln Ave., Milwaukee Wl 53215; e-mail
john_bailey@ameritech.net; telephone (414) 643-9398; fax (414) 643-1158.
Works by 25 ceramists.
Vase, 7½ inches (19 centimeters) in height, wood-fired stoneware,
by Hiroyuki Wakimoto; at Touching Stone Gallery, Santa Fe, New Mexico.
Murray Hill Pottery Works, 2458 N. Murray Ave., Milwaukee Wl 53211;
website www.murrayhillpottery.com; telephone (414) 332-8828.
Charles A. Wustum Museum of Fine Art, 2519 Northwestern Ave., Racine Wl
53404-2299; e-mail info@ramart.org; website www.ramart.org; telephone
(262) 636-9177; fax (262) 636-9231. Contemporary ceramics collection;
78
Skepsi on Swanston, 670 Swanston St., Carlton, Victoria 3053 Australia;
e-mail
skepsi@iprimus.com.au;
website
www.skepsionswanston.com.au;
telephone 61 3 9348 2002; fax 61 3 9348 1877. Contemporary Australian
ceramics by up to 80 artists; 11 exhibitions per year.
Gallery of BC Ceramics, 1359 Cartwright St., Vancouver, Granville Island, British
Columbia V6H 3R7 Canada; e-mail galleryofbcceramics@bcpotters.com;
website www.bcpotters.com; telephone (604) 669-5645; fax (604) 669-5627.
Works by over 100 ceramists on permanent display; 10 exhibitions per year.
The Museum of Anthropology, the University of British Columbia, 6393 N.W.
Marine Dr., Vancouver, British Columbia V6T 1Z2 Canada; e-mail
mayer@interchange.ubc.ca; website www.moa.ubc.ca; telephone (604)
822-5087; fax (604) 822-2974. Permanent worldwide collection of over 2000
pieces, including European ceramics from the 15th to the 19th centuries;
Fusions: Australian Network of Clay and Glass Artists, corner of Malt and
Brunswick sts.. Fortitude Valley, Queensland 4006 Australia; e-mail
fusions@gii.com.au; telephone 61 7 3358 5122; fax 61 7 3358 4540.
National and international ceramics; 12 exhibitions per year.
Guildford Village Potters, 22 Meadow St., Guildford, Western Australia
6055 Australia; telephone 61 8 9279 9859; fax 61 8 9279 2931.
Contemporary ceramics by over 24 artists; 6 exhibitions per year.
Portfolio Gallery, 863 W. Hastings St., Vancouver, British Columbia V6C 3N9
Canada; e-mail info@portfoliogallery.ca; website www.portfoliogallery.ca;
telephone (604) 801-6928; fax (604) 801-6860. Contemporary Canadian
ceramics, including works by Rachelle Chinnery, Walter Dexter, Mary Fox,
Simon Ho, Denys James, Laura Wee Lay Laq, Jeannie Mah, Sally Michener,
Laurie Rolland and Kathryn Youngs; 6 exhibitions per year.
Gallows Gallery, 53 Glyde St., Mosman Park, Perth, Western Australia
6012 Australia; e-mail diane_mccusker@bigpond.com; website
www.gallowsgallery.com; telephone/fax 61 8 9286 4730. Permanent
collection of Australian ceramics by over 20 artists; 2-3 exhibitions per year.
Canadian Clay and Glass Gallery, 25 N. Caroline St., Waterloo, Ontario
N2L 2Y5 Canada; e-mail info@canadianclayandglass.ca; website
www.canadianclayandglass.ca; telephone (519) 746-1882; fax (519)
746-6396. Contemporary ceramics; 6-8 exhibitions per year.
Shepparton Art Gallery, Eastbank Centre, 70 Welsford St., Shepparton,
Victoria 3632 Australia; e-mail art.gallery@shepparton.vic.gov.au; website
www.shepparton.vic.gov.au/gallery; telephone 61 3 5832 9861; fax 61 3 5831
8480. Historical and contemporary Australian ceramics, and home of the
“Sidney Myer Fund International Ceramics Award”; 2-3 exhibitions per year.
Czech Republic
Ceramic Art Gallery, 120 Glenmore Rd., Paddington, Sydney, New South
Wales 2021 Australia; e-mail ceramics@ceramicart.com.au; website
www.ceramicart.com.au/gallery.htm; telephone 61 2 9361 5286; fax 61 2
9361 5402. International contemporary ceramics; 8 exhibitions per year.
Inner City Clayworkers Gallery, corner St. Johns Rd. and Darghan St., Glebe,
International Gallery of Ceramic Art and Gallery of Czech Culture, the Agency
of Czech Ceramic Design, Prikra 246, Cesky' Krumlov 381 01 Czech
Republic; e-mail paral@virtual-gallery.cz; website www.virtual-gallery.cz;
telephone/fax 42 380 715 753. Contemporary ceramics;
Sydney, New South Wales 2037 Australia; e-mail info@clayworkers.com.au;
website www.clayworkers.com.au;
telephone/fax
61
2
9692
9717.
Australian
Quadrivium Gallery, 2-50 Gallery Level 2, South Queen Victoria Bldg., George
St., Sydney, New South Wales 2000 Australia; e-mail
quadrivium@bigpond.com.au; website www.quadrivium.com.au; telephone
works by Sandra Black, Greg Daly, Pippin Drysdale, Neville French, Sony
Manning, Ruth McMillan and Jeff Mincham; 1-2 exhibitions per year.
Denmark
Galleri Norby, Vestergade 8, Copenhagen DK-1456 Denmark; e-mail
info@galleri-noerby.dk; website www.galleri-noerby.dk; telephone 45 3315
1920; fax 45 3315 1963. Contemporary Danish ceramics, including works by
Karen Bennicke, Gutte Eriksen, Michael Geertsen, Bente Hansen, Nina Hole,
Steen Ipsen, Martin Bodilsen Kaldahl, Bodil Manz and Malene Mullertz;
Kunstindustimusset, the Danish Museum of Decorative Art, Bredgade 68,
Copenhagen DK-1260 Denmark; e-mail info@kunstindustrimuseet.dk;
Belgium
Goed Werk, Moerbeekstraat 86, Zulte B-9870 Belgium; e-mail
tania.de.bruycker@pandora.be; website www.centrumgoedwerk.be; telephone
32 56 60 98 05. Permanent collection, including works by over 15 ceramists.
Canada
Burlington Art Centre, 1333 Lakeshore Rd., Burlington, Ontario L7S 1A9
Canada; e-mail info@burlingtonartcentre.on.ca; website
www.burlingtonartcentre.on.ca; telephone (905) 632-7796; fax (905) 6320278. Contemporary Canadian ceramics; 7 exhibitions per year.
website www.kunstindustrimuseet.dk; telephone 45 3318 5660; fax 45 3318
5666. Permanent collections of Chinese, Danish, Italian, Japanese and
Scandinavian ceramics; 3-4 exhibitions per year.
Keramikmuseet Grimmerhus, Kongebrovej 42, Middlefart DK-5500 Denmark;
e-mail museet@grimmerhus.dk; website www.grimmerhus.dk; telephone
45 6441 4798; fax 45 6441 4796. Scandinavian and international ceramics;
England
Shire Pottery Gallery and Studios, Millers’ Yard, Prudhoe St., Alnwick,
Northumberland NE66 1UW England; e-mail ivar.porcelain@btconnect.com;
website www.porcelain-shirepottery.co.uk; telephone/fax 44 16 6560 2277.
Contemporary ceramics, including studio porcelain by Ivar Mackay;
Gardiner Museum of Ceramic Art, 111 Queen’s Park, Toronto, Ontario
M5S 2C7 Canada; e-mail mail@gardinermuseum.on.ca; website
www.gardinermuseum.on.ca; telephone (416) 586-8080; fax (416) 586-8085.
Permanent collections, including ceramics from Europe and the Americas,
15th- and 16th-century Italian maiolica, 17th-century delftware, 18th-century
Meissen, blue-and-white Chinese porcelain, and English, French, German
and Viennese porcelain, plus contemporary work; 2-3 exhibitions per year.
The Candover Gallery, 22 West St., Alresford, Hampshire S024 9AE
England; e-mail candovergallery1@aol.com; telephone 44 19 6273 3200.
Contemporary ceramics, including works by Michael Casson, Gordon Cooke,
Paul Jackson, Walter Keeler, Peter Lane, David Leach, John Maltby, Duncan
Ross and Antonia Salmon; 3 exhibitions per year.
The Guild Shop, 118 Cumberland St., Toronto, Ontario M5R 1A6 Canada;
e-mail theguildshop@craft.on.ca; website www.craft.com.ca; telephone
(416) 921-1721; fax (416) 921-3688. Works by over 40 ceramists on
permanent display, plus an annual invitational.
Prime Gallery, 52 McCaul St., Toronto, Ontario M5T 1V9 Canada; e-mail
info@primegallery.ca; website www.primegallery.ca; telephone (416) 5935750; fax (416) 593-0942. Contemporary Canadian ceramics;
79
gallery guide 2003
Royal Ontario Museum, 100 Queen’s Park, Toronto, Ontario M5S 2C6
Canada; e-mail info@rom.on.ca; website www.rom.on.ca; telephone (416)
586-8000; fax (416) 586-5863. Permanent collections of German stoneware,
English, Dutch and French tin-glazed ware, slipware, Chinese export
porcelain and Yixing ware, early European and English porcelain,
and 20th-century studio pottery, including work by Hans Coper,
W. Staite Murray and Lucie Rie.
Bluestone Gallery, 8 Old Swan Yard, Devizes, Wiltshire SN10 1 AT England;
e-mail guy@bluestonegallery.com; website www.bluestonegallery.com; tele
phone 44 13 8072 9589; fax 44 13 8072 8568. Contemporary British ceramics.
gallery guide 2003
Stokoe House Ceramics Gallery, Market PI., Alston, Cumbria CA9 3HS
England; e-mail sylmacro@supanet.com; telephone 44 14 3438 2137.
Contemporary ceramics, including works by Syl and Ray Macro;
The Allen Gallery, 10-12 Church St., Alton, Hampshire GU34 2BW England;
e-mail musmtc@hants.gov.uk; website www.hants.gov.uk/museum/allen;
telephone 44 14 2082 802; fax 44 14 2082 227. National and international
Beatrice Royal Gallery, Nightingale Ave., Eastleigh, Hampshire S050 9JJ
England; e-mail info@beatriceroyal.com; website www.beatriceroyal.com;
telephone 44 23 8061 0592; fax 44 23 8065 0566. Contemporary ceramics,
including works by Lorraine Ditchburn, Jo-Anna Duncalf, Penny Fowler,
Sally Hodkinson, Taves Jorgenson, Laurel Keeley and Rosalind Rosenblatt;
Oakwood Gallery, 4 Church St., Edwinstowe, Nottinghamshire NG21 9QA
England; e-mail oakwood.gallery@virgin.net; website
www.oakwoodceramics.co.uk; telephone 44 16 2382 3665. Contemporary
ceramics, including works by Richard Batterham, Chris Carter, Joanna
Howells, Edward Hughes, Chris Keenan, Bruce Martin, Tony Moore, Nic Rees
and Phil Rogers; 4 exhibitions per year.
Woodbury Studio/Gallery, Greenway, Woodbury, Exeter, Devon EX5 1LW
England; e-mail su4137@eclipse3Oo.uk; telephone/fax 44 13 9523 3475.
Contemporary ceramics, including works by Tim Andrews, Svend Bayer, Ian
Gregory, Peter Hayes, Roger Lewis, Will Levi Marshall, David Miller, Jeremy
Steward and Sasha Wardell; 2 exhibitions per year.
Beaux Arts Bath, 12/13 York St., Bath BA1 1NG England; e-mail
info@beauxartsbath.co.uk; website www.beauxartsbath.co.uk; telephone
44 12 2546 4850; fax 44 12 2542 2256. Contemporary ceramics;
St. James’s Gallery, 9B Margarets Buildings, Bath BA1 2LP England; website
www.bathshopping.co.uk/stjamessgallery.htm; telephone 44 12 2531 9197.
Contemporary British ceramics, including works by Richard Batterham, John
Dunn, David Frith, Tobias Harrison, Walter Keeler, Nigel Lambert, John Leach,
Elspeth Owen, John Pollex and David White; 2-3 exhibitions per year.
Devon Guild of Craftsmen, Riverside Mill, Bovey Tracey, Devon TQ13 9AF
England; e-mail devonguild@crafts.org.uk; website www.crafts.org.uk;
telephone 44 16 2683 2223; fax 44 16 2683 4220. Permanent collection
representing nearly 70 ceramics artists; 6 exhibitions per year.
The Old Bakehouse Contemporary Ceramics & Craft Gallery, Main Rd.
(A259), Fishbourne, nr. Chichester, West Sussex P018 8BD England;
e-mail ceramics@oldbakehouse.co.uk; website www.oldbakehouse.co.uk;
telephone/fax 44 12 4357 3263. Contemporary British ceramics, including
Blandine Anderson, Peter Beard, David Frith, Carolyn Genders, Peter Hayes,
Jane Hollidge, Peter Lane, Nick Mackman, Elaine Peto and Alan Wallwork;
The Potteries Museum & Art Gallery, Bethesda St., Hanley, Stoke-on-Trent
ST1 3DW England; e-mail museums@stoke.gov.uk; website
www.stoke.gov.uk/museums; telephone 44 17 8223 2323; fax 44 17 8223
2500. Historical and contemporary ceramics, including permanent collection
of over 5000 pieces.
Blaze, 84 Colston St., Bristol, Avon BS1 5AZ England; website
www.blazestudio.co.uk; telephone 44 11 7904 7067. Contemporary British
ceramics, including works by Emily Burton, Mo Jupp, Walter Keeler, Belinda
Lawson, Carol Reynolds, Hanne Rysgaard, Paul Sandammeer, Asne
Solheim and Ros Wilton; 4 exhibitions per year.
Made, Contemporary Crafts & Interiors, Clifton Arcade, 1A Boyces Ave.,
Clifton, Bristol, Avon BS8 4AA England; telephone 44 11 7973 9448.
Contemporary British ceramics, including works by Duncan Ayscough,
Sue Binns, Victoria and Michael Eden, Virginia Graham, Catrin Howell and
Daniel Smith; 3-4 exhibitions per year.
Derby Museum & Art Gallery, The Strand, Derby, Derbyshire DE1 1BS
England; e-mail anneke.bambery@derby.gov.uk; website
www.derby.gov.uk/museums; telephone 44 13 3271 6659; fax 44 13 3271
6670. Collections of Derby porcelain from 1750 to present, plus Derbyshire
pottery from Langley Mill, Woodville, Denby and the Chesterfield area,
including 20th-century studio pottery.
Bowie & Hulbert, 5 Market St., Hay-on-Wye, Hereford HR3 5BQ England;
e-mail info@hayclay.co.uk; website www.hayclay.co.uk; telephone 44 14 9782
1026; fax 44 14 9782 1801. Contemporary British ceramics, including works
by Jane Hamlyn, Kerry Jameson, Walter Keeler and David Miller;
Brook Street Pottery, Brook St., Hay-on-Wye, Hereford HR3 5BQ England;
e-mail info@hayclay.co.uk; website www.hayclay.co.uk; telephone 44 14 9782
1070; fax 44 14 9782 1801. Contemporary British terra cotta for home and
garden, including works by Clive Bowen, Simon Hulbert and Phil Rogers;
Castle Barn Gallery, Paradise Ln., Hazlewood nr. Tadcaster, North Yorkshire
LS24 9NJ England; e-mail art@castlebarn.com; website
www.castlebarn.com; telephone 44 79 6808 9122; fax 44 19 3753 0421.
Contemporary ceramics by over 20 artists.
Peter Scott Gallery, Lancaster University, Lancaster, Lancashire LA1 4YW
England; e-mail m.p.gavagan@lancaster.ac.uk; website
www.peterscottgallery.com; telephone 44 15 2459 3057; fax 44 15 2459
2603. Collection of over 160 pieces of Royal Lancastrian Pottery, including
lusterware, produced by Pilkingtons Tile and Pottery Company 1891-1938.
The Craft Centre & Design Gallery, City Art Gallery, The Headrow, Leeds, West
Yorkshire LS1 3AB England; e-mail ccdg-art-leeds@pop2.poptel.org.uk;
website www.craftcentreleeds.co.uk; telephone 44 11 3247 8241; fax 44 11
3244 9689. Contemporary ceramics, including works by Sheila Boyce, Bryony
Burn, Jessie Higginson, John Maltby, Elisabeth Ryan, Joanna Sancha,
Hortense Suleyman and David White; 4 exhibitions per year.
The City Gallery, 90 Granby St., Leicester LE1 1DJ England; e-mail
city.gallery@leicester.gov.uk; website www.leicester.gov.uk/citygallery;
telephone 44 11 6254 0595; fax 44 11 6254 0593. Contemporary British
ceramics, representing works by Nicholas Arroyave-Portela, Claire Curneen,
Walter Keeler and Carol McNicholl; 3-4 exhibitions per year.
Vessel, 17 centimeters (7 inches) in height, earthenware, with burnished terra
sigillata, by Duncan Ross; at Bluecoat Display Centre, Liverpool, England.
80
Vessel, 114 Kensington Park Rd., London W11 2PW England; e-mail
info@vesselgallery.com; website www.vesselgallery.com; telephone 44 20
7727 8001; fax 44 20 7727 8661. Contemporary tableware, including
works by Jonathan Adler, Manfred Braun, Isabel Hamm and Rina Menardi;
Bluecoat Display Centre, Bluecoat Chambers, School Ln., Liverpool,
Merseyside L1 3BX England; e-mail crafts@bluecoatdisplaycentre.com;
website www.bluecoatdisplaycentre.com; telephone 44 15 1709 4014;
fax 44 15 1707 8106. Contemporary ceramics by over 90 artists;
Barrett Marsden Gallery, 17-18 Great Sutton St., London EC1V ODN England;
e-mail info@bmgallery.co.uk; telephone 44 20 7336 6396; fax 44 20 7336
6391. Contemporary ceramics, including works by Gordon Baldwin, Alison
Britton, Ken Eastman, Philip Eglin, Chun Liao, Sara Radstone, Nicholas Rena,
Richard Slee and Martin Smith; 5 exhibitions per year.
British Museum, Great Russell St., London WC1B 3DG England; e-mail
information@thebritishmuseum.ac.uk; website www.thebritishmuseum.ac.uk;
telephone 44 20 7323 8000; fax 44 20 7323 8616. Ceramics collection
spanning world cultures; 1-2 exhibitions per year.
Peter’s Barn Gallery (open April through October), South Ambersham,
Midhurst, West Sussex GU29 OBX England; e-mail peters.barn@ic24.net;
website www.petersbarngallery.co.uk; telephone 44 17 9886 1388; fax 44 17
9886 1581. Contemporary ceramics by established and emerging artists;
Fenny Lodge Gallery, 76 Simpson Rd., Bletchley, Milton Keynes,
Buckinghamshire MK1 1BA England; e-mail sophie@fennylodge.demon.co.uk;
website www.fennylodge.co.uk; telephone 44 19 0863 9494; fax 44 19 0864
8431. Contemporary ceramics by over 50 artists; 2 exhibitions per year.
Cecilia Colman Gallery, 67 St. Johns Wood High St., London NW8 7NL
England; e-mail cecilia.colman@btclick.com; website
www.ceciliacolmangallery.com; telephone/fax 44 20 7722 0686.
Contemporary ceramics, including works by over 12 artists;
Contemporary Applied Arts, 2 Percy St., London W1T 1DD England; e-mail
caa.org.uk@virgin.net; website www.caa.org.uk; telephone 44 20 7436 2344;
fax 44 20 7436 2446. Contemporary ceramics with artists featured monthly in
downstairs gallery; 2-4 exhibitions upstairs per year.
Contemporary Ceramics, The Craft Potters Shop and Gallery, 7 Marshall St.,
London W1V 1LP England; e-mail contemporary.ceramics@virgin.net; website
www.cpaceramics.com; telephone/fax 44 20 7437 7605. Contemporary British
ceramics, including works by Clive Bowen, Sandy Brown, Mike Dodd, Jane
Hamlyn, Walter Keeler, Aki Moriuchi, Jane Perryman, Phil Rogers, Duncan Ross
and Antonia Salmon; 6-8 exhibitions per year.
Crafts Council Gallery, 44A Pentonville Rd., Islington, London N1 9BY
England; website www.craftscouncil.org.uk/exhib.htm; telephone 44 20 7278
7700; fax 44 20 7837 6891.
Rufford Gallery & Ceramic Centre, Rufford Country Park nr. Ollerton. Newark,
Nottinghamshire NG22 9DF England; e-mail ruffordceramiccentre@nottscc.gov.uk;
websitewww.ruffordceramiccentre.org.uk; telephone 44 16 2382 2944;
fax 44 16 2382 4702. Collection including 20th-century British studio
pottery; 3-5 exhibitions per year.
The Ashmolean, Beaumont St., Oxford OX1 2PH England; e-mail
timothy.wilson@ashmus.ox.ac.uk; website www.ashmol.ox.ac.uk; telephone
44 18 6527 8000; fax 44 18 6527 8018. Permanent collection of ceramics
from China, Europe and Japan.
Mid-Cornwall Galleries, St. Blazey Gate, Par, Cornwall PL24 2EG England;
e-mail info@mid-cornwall-galleries3Oo.uk; website
www.mid-cornwall-galleries.co.uk; telephone 44 17 2681 2131; fax 44 17
2681 4943. Contemporary British ceramicse by over 40 artists; 1 exhibition
per year, plus 6 multimedia shows including ceramics.
Yew Tree Gallery, Keigwin, Morvah, Penzance, Cornwall TR19 7TS England;
e-mail g.wyatt-smith@virgin.net; website www.yewtreegallery.com; telephone
44 17 3678 6425. Contemporary ceramics, including works by Lorna Graves,
Nigel Lambert, John Maltby, Bob Rogers and Judith Rowe; 3-4 exhibitions
per year.
Crafts Council Shop at the V&A, Victoria & Albert Museum, S. Kensington,
London SW7 2RL England; e-mail trading@craftscouncil.org.uk; website
www.craftscouncil.org.uk; telephone 44 20 7589 5070; fax 44 20 7581 2128.
Contemporary ceramics by over 10 artists; 2-3 exhibitions per year.
Galerie Besson, 15 Royal Arcade, 28 Old Bond St., London W1S 4SP England;
e-mail enquiries@galeriebesson.co.uk; website www.galeriebesson.co.uk;
telephone 44 20 7491 1706; fax 44 20 7495 3203. Contemporary ceramics,
including works by Claudi Casanovas, Hans Coper, Ryojie Koie, Jennifer Lee,
Lucie Rie and Vladimir Tsivin; 10 exhibitions per year.
Harlequin Gallery, 68 Greenwich High Rd., London SE10 8LF England;
e-mail jr@studio-pots.com; website www.studio-pots.com; telephone 44 20
8692 7170. Contemporary ceramics with an emphasis on wood fire, including
works by Richard Batterham, Nic Collins, Mike Dodd, Chris Lewis, Ursula
Mommens, Phil Rogers and Alan Wallwork; 8 exhibitions per year.
Wellbeloved Gallery, 28 Easton St., Portland, Dorset DT5 1BT England,
e-mail info@wellbelovedgallery.co.uk; website www.wellbelovedgallery.co.uk;
telephone/fax 44 13 0582 4302. Contemporary ceramics, including works
by Michael Casson, Peter Hayes, Carenza Hayhoe, Tim Hum, Paul Jackson,
John Leach, Christine McCrary, Elaine Peto and Nick Rees; 8 exhibitions
per year.
Artizana, The Village, Prestbury, Cheshire SK10 4DG England; e-mail
info@artizana.co.uk; website www.artizana.co.uk; telephone/fax 44 16 2582
7582. Contemporary British ceramics; 2 exhibitions per year.
Hart Gallery, 113 Upper St., Islington, London N1 1QN England; e-mail
info@hartgallery.co.uk; website www.hartgallery.co.uk; telephone 44 20 7704
1131; fax 44 20 7288 2922. Contemporary ceramics, including works by
Charles Bound, Gisele Buthod-Gargon, Chris Carter, Elspeth Owen, Colin
Pearson, David Roberts, Antonia Salmon, Sutton Taylor and Tina Vlassopulos;
Joanna Bird Pottery, 19 Grove Terrace, Chiswick, London W4 3QE England;
e-mail joanna.bird@ukgateway.net; website www.joannabirdpottery.com;
telephone 44 20 8995 9960; fax 44 20 8742 7752. Contemporary ceramics
with emphasis on function and form, including works by Hans Coper, Shoji
Hamada, Bernard Leach and Lucie Rie; 4 exhibitions per year.
Paul Rice Gallery, 3 Tring Ave., London W5 3QA England; e-mail
pr@paulrice.co.uk; telephone 44 20 8992 4186. Twentieth-century British
studio ceramics, including works by Michael Cardew, Hans Coper and Lucie
Rie; 4 exhibitions per year.
Derek Topp Gallery, Chatsworth Rd., Rowsley, Matlock, Derbyshire
DE4 2EH England; e-mail info@derektoppgallery.com; website
www.derektoppgallery.com; telephone 44 16 2973 5580. Contemporary
British ceramics, including works by Joanna Howells, Jeremy James, Walter
Keeler, Nick Mackman, John Maltby, Elspeth Owen, Antonia Salmon and
Takeshi Yasuda; 2-4 exhibitions per year.
Betties Gallery, 80 Christchurch Rd., Ringwood, Hampshire BH24 1DR
England; telephone 44 14 2547 0410. Contemporary British studio ceramics;
St. Ives Ceramics, 1 Lower Fish St., St. Ives, Cornwall TR26 1LT England;
e-mail sales@st-ives-net.com; website www.st-ives-ceramic.co.uk; telephone
44 17 3679 4930; fax 44 17 3679 6324. Permanent collection, including
works by Hans Coper, Shoji Hamada, Bernard Leach, David Leach, John
Leach, Warren MacKenzie and Lucie Rie; 2 exhibitions per year.
Alpha House Gallery, South St., Sherborne, Dorset DT9 3LU England;
e-mail artatalpha@aol.com; website www.dorsetartweek.com/alphahouse;
telephone 44 19 3581 4944; fax 44 19 3586 3932. National and international
81
gallery guide 2003
Percival David Foundation of Chinese Art, 53 Gordon Sq., London WC1H
OPD England; e-mail ej4@soas.ac.uk; website www.pdfmuseum.org.uk;
telephone 44 20 7387 3909; fax 44 20 7383 5163. Permanent collection of
over 1700 items of Chinese ceramics, mainly from the 10th—18th centuries;
Musee Magnelli, Musee de la Ceramique, Place de Liberation, Vallauris
06220 France; e-mail musee.vallauris@free.fr; telephone 33 4 93 64 16 05;
fax 33 4 93 64 50 32. Permanent collection; 2-3 exhibitions per year.
gallery guide 2003
Germany
Keramikum, Untere Muhlstrasse 26, Darmstadt 64291 Germany; e-mail
keramikum@keramikum.de;
website
www.keramikum.de;
telephone/fax
49 61 513 7886. Contemporary ceramics, including works by Eric Astoul,
Nani Champy, Maria Geszler, Martin Mohwald, John Mullin, Renee
Reichenbach and Antje Scharfe; 4-5 exhibitions per year.
Hetjens-Museum Deutsches Keramikmuseum, Schulstrasse 4, Dusseldorf
D-40213 Germany; e-mail hetjensmuseum@stadt.duesseldorf.de; website
www.duesseldorf.de/hetjens; telephone 49 21 189 94210; fax 49 21 189
29166. Permanent display of over 8000 years of ceramics throughout the
world; 4-6 exhibitions per year.
Museum fur Kunst und Gewerbe Hamburg, Steintorplatz, Hamburg D-20099
Germany;
e-mail
service@mkg-hamburg.de;
website
www.mkg-hamburg.de;
telephone 49 40 428 542732; fax 49 40 428 542734. Permanent collection of
ceramics from the 17th—19th centuries, Middle East and East Asia.
Galerie Marianne Heller, Friedrich-Ebert-Anlage 2, Heidelberg D-69117
Germany; e-mail info@galerie-heller.de; website www.galerie-heller.de;
telephone 49 62 216 19090. Contemporary international ceramics;
Deutsches Porzellanmuseum, Freundschaft 3, Hohenberg 95100 Germany;
e-mail info@dt-porzellanmuseum.de; telephone 49 92 337 7220; fax 49 92
337 72230. German porcelain from the 18th century to present;
Keramikmuseum Westerwald, LindenstraBe, Hohr-Grenzhausen 56203
Germany; e-mail info@keramikmuseum.de; website www.keramikmuseum.de;
telephone 49 26 249 46010; fax 49 26 249 460120. Permanent display of
historical and contemporary international ceramics; 10 exhibitions per year.
Untitled, 17 inches (43 centimeters) in height, by Glenn Puckett;
at Goldesberry Gallery, Houston, Texas.
Hub Centre for Craft Design and Making, Navigation Wharf, Carre St., Sleaford,
Lincolnshire NG34 7TW England; e-mail hub@leisureconnection.co.uk; website
www.thehubcentre.co.uk; telephone 44 15 2930 8710; fax 44 15 2930 8711.
Contemporary ceramics, including works by Jane Hamlyn and Jonathan Keep;
Wessex Fine Art and Ceramics, 14B North St., Wareham, Dorset BH20 4AG
England; e-mail info@thedorsetgallery.co.uk; website
www.thedorsetgallery.co.uk; telephone 44 19 2955 5331. Contemporary
British studio ceramics; 6-8 exhibitions per year.
Eton Applied Arts, 81 High St., Eton, Windsor, Berkshire SL4 6AF England;
e-mail
info@etonappliedarts.co.uk;
website
www.etonappliedarts.co.uk;
ceramics, including works by James Campbell, Clare Conrad, Richard
Dewar, Jane Hamlyn, Kerry Jameson, Emily Myers, Laurance Simone,
Zoe Whitehead and Peter Wills; 5 exhibitions per year.
Laburnum Ceramics Gallery, Yanwath nr. Penrith, Cumbria CA10 2LF England;
e-mail laburnum@kencomp.net; website www.laburnumceramics.co.uk;
telephone/fax 44 17 6886 4842. Contemporary ceramics from Cumbria, Britain
and Europe; 6+ exhibitions per year.
France
Maison de la Terre, Parc de la Baume, Dieulefit 26220 France; e-mail
maison.terre@wanadoo.fr; telephone 33 4 75 90 61 80; fax 33 4 75 90 63 04.
Galerie Capazza, Grenier de Villatre, Nangay 18330 France; e-mail
capazzagalerie@aol.com; website www.capazza-galerie.com; telephone
33 2 48 51 80 22; fax 33 2 48 51 83 27. Contemporary European ceramics
by over 25 artists; 3 exhibitions per year.
Terra Viva Galerie, rue de la Fontaine, Saint Quentin la Poterie F-30700
France; e-mail serge.brigitte@galerie-terraviva.com; website
www.galerie-terraviva.com; telephone/fax 33 4 66 22 48 78. Contemporary
ceramics, including works by Claude Champy, Christine Fabre, JeanFrangois Fouilhoux and Dany Jung; 7-8 exhibitions per year.
Galerie Handwerk Koblenz, RizzastraBe 24-26, Koblenz 56068 Germany;
e-mail galerie@hwk-koblenz.de; website www.galerie-handwerk-koblenz.de;
telephone 49 26 139 8277; fax 49 26 139 8993.
Galerie B15 Neue Keramik, Baaderstrasse 15, Munich D-80469 Germany;
e-mail b15-wunderle@t-online.de; website www.b15-wunderle.com;
telephone 49 89 202 1010; fax 49 89 642 1445. International contemporary
Europaisches Industriemuseum fiir Porzellan, Banhofstr. 3, Selb-PloBberg
95100 Germany; e-mail info@eimpk.de; website www.eimpk.de; telephone
49 92 879 18000; fax 49 92 879 180030. German porcelain from the 18th
century to present; 6 exhibitions per year.
Hungary
Herend Porcelain Museum, Kossuth ut. 140, Herend 8440 Hungary; e-mail
muzeum@herend.com; website www.museum.herend.com; telephone 36 88
523 197; fax 36 88 523 247. Contemporary Hungarian ceramics, including
works by Karoly Csapvary, Jeno Fischer, Mor Fischer, Kata Gacser, Istvan
Lorincz, Elek Lux, Janos Horvay, Imre Schrammel, Zsigmond Kisfauldy Strobl
and Gyorgy Vastagh; 4 exhibitions per year.
MUSEION, Museum of the International Ceramics Studio Kecskemet,
Kapolna str. 13, Kecskemet H-6000 Hungary; e-mail icshu@axelero.hu;
website www.icshu.org; telephone 36 76 486 867; fax 36 76 482 223.
Contemporary ceramics, including works by Michael Flynn, Maria Geszler,
Yasuo Hayashi, Sergei Isupov, Sandor Kecskemeti, Janet Mansfield,
Gustavo Perez, Vladimir Tsivin and Ulla Viotti; 20 exhibitions per year.
Israel
Cadim Ceramics Gallery, 75 Yoel Salomon St., Nachalat Shiva, Jerusalem
94633 Israel; e-mail sben_yosef@hotmail.com.il; website
www.cadimceramicsgallery.com; telephone 972 2 623 4869; fax 972 2 624
5791. Contemporary Israeli ceramics; 10 exhibitions per year.
Musee de la Faience, 15 rue Poincare, Sarreguemines 57200 France;
e-mail curator@sarreguemines-museum.com; website
www.sarreguemines-museum.com; telephone 33 3 87 98 93 50. Faience
ceramics from the 19th and 20th centuries; 3 exhibitions per year.
82
Terra Keramiek Gallery, Nieuwstraat 7, Delft 2611 HK Netherlands; e-mail
info@terra-delft.nl; website www.terra-delft.nl; telephone/fax 31 15 214 70 72.
Contemporary national and international ceramics, including works by
Wouter Dam, Vincent de Ryk, Tjok Dessauvage, Ross Emerson, Mieke
Everaet, Cathy Fleckstein, Peter Lane, Hein Severijns, Susanne Silvertant
and Henk Wolvers; 12 exhibitions per year.
Italy
Museo Internazionale delle Ceramiche (Faenza), Via Campidori 2, Faenza
48018 Italy; e-mail micfaenza@provincia.ra.it; website www.micfaenza.com;
telephone 39 546 697311; fax 39 546 27141. Collection of historical and
contemporary ceramics.
Loes & Reinier International Ceramics, Korte Assenstraat 15, Deventer
7411 JN Netherlands; e-mail loesreinier@hotmail.com; website
www.loes-reinier.com; telephone 31 57 061 30 04. Contemporary ceramics;
Museo della Ceramica, Palazzo de Fabris, Nove 36055 (VI) Italy; e-mail
museonove@ceramics.it; website www.ceramics.it/museo.nove; telephone/
fax 39 424 829807. Permanent ceramics collection of approximately 500
pieces from the 16th—20th centuries.
Japan
Fukui Prefectural Museum of Ceramics, 120-61 Ozohara Miyazaki Village,
Nyuu-gun Fukui 916-0273 Japan; e-mail tougei@ain.pref.fukui.jp; website
www.pref.fukui.jp; telephone 81 77 832 2174; fax 81 77 832 2279. Collections
of Echizen ware; 1 exhibition per year.
Ibaraki Ceramic Art Museum, 2345 Kasama, Kasama-shi, Ibaraki
309-1611 Japan; e-mail tougei@at.wakwak.com; website
www.edu.pref.ibaraki.jp/tougei; telephone 81 29 670 0011; fax 81 29 670
0012. Contemporary Japanese ceramics, including works by Toyozo
Arakawa, Shoji Hamada, Hazan Itaya, Kosei Matsui and Kenkichi Tomimoto,
collection of Kasama ware and Ibaraki ceramic art; 4 exhibitions per year.
Princessehof Leeuwarden, National Museum of Ceramics, Grote Kerkstraat 1,
Leeuwarden 8911 DZ Netherlands; e-mail info@princessehof.nl; website
www.princessehof.nl; telephone/fax 31 58 294 89 58. Contemporary ceram
ics and permanent collections of Asian, pre-Columbian, Persian and European
ceramics, including Dutch and Middle Eastern tilework; 15 exhibitions per year.
St. Joseph Gallery, Frederik Ruyschstraat 10, Leeuwarden 8921 VT
Netherlands; e-mail info@sjgalerie.nl; website www.sjgalerie.nl; telephone
31 58 266 63 56; fax 31 58 266 82 35. Contemporary national and
international ceramics; 5-6 exhibitions per year.
New Zealand
Green Gallery, 20 Cory Rd., Palm Beach, Waiheke Island, Auckland New
Zealand;
e-mail
greengallery@xtra.co.nz;
website
www.greengallery.co.nz;
telephone/fax 64 9 372 2891. Contemporary ceramics by over 10 artists;
International Art Salon Kogen, 47-153 Takigawa-cho, Showa-ku, Nagoya
Aichi 466-0826 Japan; website www.kogenweb.com; telephone 81 52 839
1877; fax 81 52 839 1870. Contemporary ceramics, including works by Shoji
Kamoda, Handeishi Kawakita, Rosanjin Kitaoji, Ryoji Koie, Takahiro Kondo,
Mineo Okabe, Koichi Uchida and Kazuo Yagi; 24 exhibitions per year.
Norway
The Museum of Oriental Ceramics, Osaka, 1-1-26 Nakanoshima, Kita-ku,
Osaka 530-0005 Japan; e-mail toyotoji@moco.or.jp; website www.moco.or.jp;
telephone 81 66 223 0055; fax 81 66 223 0057. Chinese, Japanese and
Korean ceramics; 4-5 exhibitions per year.
RAM Galleri, Kongensgt. 3, 0153 Oslo Norway; e-mail ram@oslo.online.no;
telephone 47 22 33 5992; fax 47 22 42 8199. Contemporary ceramics;
Shigaraki Ceramic Cultural Park, The Museum of Contemporary Ceramic Art,
2188-7 Chokushi, Shigaraki-cho, Koka-gun, Shiga-ken 529-1804 Japan;
e-mail info@sccp.or.jp; website www.sccp.or.jp; telephone 81 74 883 0909;
fax 81 74 883 1193. National and international ceramics; 4 exhibitions per year.
Aoyama Green Gallery, 5-10-12 Minami-Aoyama, Minato-ku, Tokyo
107-0050 Japan; telephone/fax 81 33 407 0050. Contemporary ceramics
Gallery Mukyo, Annex Fukujin, Bldg. 5F, 1-6-17 Ginza, Chuo-ku, Tokyo
104-0061 Japan; e-mail info@mukyo.com; website www.mukyo.com;
telephone/fax 81 33 564 0256. Contemporary ceramics, including works by
Tadashi Itoh, Shoji Kamoda, Rosanjin Kitaoji, Taizo Kuroda and Mineo Okabe;
Gallery St. Ives, 3-5-13 Fukasawa, Setagaya-ku, Tokyo 158-0081 Japan;
e-mail mail@gallery-st-ives.co.jp; website www.gallery-st-ives.co.jp;
telephone/fax 81 33 705 3050. Contemporary British ceramics, including
works by Clive Bowen, Jack Doherty, Bridget Drakeford, Lisa Hammond,
Joanna Howells, Jill Fanshawe Kato, Walter Keeler, Phil Rogers, Josie Walter
and Philip Wood; 4-5 exhibitions per year.
Netherlands
Galerie Carla Koch, Prinsengracht 510 sous, Amsterdam 1017 KH
Netherlands; e-mail ckoch@xs4all.nl; website www.carlakoch.nl; telephone/
fax 31 20 639 01 98. National and international ceramics with emphasis on
functional work; 6 exhibitions per year.
Box, 5½ inches (14 centimeters) in height, wood-fired stoneware,
by Byron Temple; at W.D.O., Charlotte, North Carolina.
Galerie de Witte Voet, Kerkstraat 135, Amsterdam 1017 GE Netherlands;
website www.galeries.nl; telephone/fax 31 20 625 84 12. Solo exhibitions of
ceramics by artists from Belgium. France, Great Britain, Japan, Netherlands
and Spain; 8 exhibitions per year.
Rijksmuseum Amsterdam, Stadhouderskade 42, Amsterdam 1071 ZD
Netherlands; e-mail info@rijksmuseum.nl; website www.rijksmuseum.nl;
telephone 31 20 674 70 47; fax 31 20 674 70 01. Dutch porcelain and
delftware, Meissen porcelain, Italian majolica, and German stoneware.
83
gallery guide 2003
Galerie Keramaikos, Oranjestraat 121, Arnhem 6812 CN Netherlands; e-mail
rita.lemmens@galerie-keramaikos.nl; website www.galerie-keramaikos.nl;
telephone/fax 31 26 446 05 95. Contemporary Dutch ceramics, including works
by Jeroen Bechtold, Wil Broekema, Simone Couderc, Mieke Everaet, Jean
Fontaine, Anita Manshanden, Ivo Nijs, Soundie Sexe and Patrick van
Craenenbroeck; 5 exhibitions per year.
Wales
gallery guide 2003
^
Aberystwyth Arts Centre, Penglais, Aberystwyth, Ceredigion SY23 3DE
Wales; e-mail etr@aber.ac.uk; website www.aber.ac.uk/artscentre; telephone
44 1970 622 882; fax 44 1970 622 883. Contemporary and historical Welsh
Craft in the Bay, Makers Guild in Wales, The Flourish, Lloyd George Ave.,
Cardiff CF10 4ES Wales; e-mail mgw@craftinwales.com; website
www.makersguildinwales.org.uk; telephone 44 2920 484 611; fax 44 2920
491 136. Contemporary ceramics by over 21 Welsh artists; 2-3 exhibitions
per year.
Republic of China
Taipei County Yingge Ceramics Museum, 200 Wenhua Rd., Yingge Jen,
Taipei 239 Taiwan; e-mail service@ceramics.tpc.gov.tw; website
www.ceramics.tpc.gov.tw; telephone 886 2 8677 2727; fax 886 2 8677 4104.
Historical and contemporary ceramics; 4-5 exhibitions per year.
Scotland
The Strathearn Gallery, 32 W. High St., Crieff Perthshire PH7 4DL Scotland;
e-mail info@strathearn-gallery.com; website www.strathearn-gallery.com;
telephone 44 176 465 6100. Contemporary Scottish ceramics, including works
by Walter Awlson, Fiona Duckett, Tom Elliott, Lorna Fraser, Mark Haillay, Helen
Kemp, John Maguire, Will Levi Marshall, Philomena Pretsell and Andrew
Weatherhead; 8 multimedia exhibitions per year.
Open Eye Gallery, 34 Abercromby PI., Edinburgh EH3 6QE Scotland; e-mail
open.eye@virgin.net; website www.openeyegallery.co.uk; telephone/fax
44 131 557 1020. Contemporary ceramics, including works by Kate Allsop,
Ali Drew, Alison Gautrey, Jeremy James, John Maltby, Rachel Urbicki and
Andrea Walsh; 14-16 exhibitions per year.
National Museum & Gallery Cardiff, Cathays Park, Cardiff CF1 3NP Wales;
e-mail post@nmgw.ac.uk; website www.nmgw.ac.uk/nmgcl; telephone
44 2920 397 951; fax 44 2920 373 219. European ceramics from the 16th
through the 20th centuries, in particular, Welsh pottery and porcelain from
Swansea and Nantgarw; 1-2 exhibitions per year.
Porticus, No. 1 Middleton St., Llandrindod Wells, Powys LD1 5ET Wales;
e-mail info@porticus.co.uk; www.porticus.co.uk; telephone 44 1597 823 989.
Contemporary British ceramics, including works by Michael Casson, Bennett
Cooper, Michael Eden, David Frith, Robert Goldsmith, Lisa Hammond, Steve
Harrison, Walter Keeler, Colin Kellam and Phil Rogers; 5 exhibitions per year.
The Gallery, Ruthin Craft Centre, Park Rd., Ruthin, Denbighshire LL15 1BB
Wales; e-mail thegallery@rccentre.co.uk; telephone 44 1824 704 774; fax
44 1824 702 060. Contemporary British ceramics, including works by Daniel
Allen, Emmanuel Cooper, Claire Curneen and Catrin Howell.
Royal Museum of Scotland, Chamber St.. Edinburgh EH1 1JF Scotland;
e-mail info@nms.ac.uk; website www.nms.ac.uk/royal; telephone 44 131 247
4422; fax 44 131 220 4810. Permanent collection of British and Continental
pottery and porcelain, including Italian maiolica, tin-glazed earthenware,
German stoneware, Wemyss ware, and studio ceramics.
Scottish Gallery, 16 Dundas St., Edinburgh EH3 6HZ Scotland; e-mail
mail@scottish-gallery.co.uk;
website
www.scottish-gallery.co.uk;
telephone
works by Edmund de Waal, Ken Eastman, Will Levi Marshall, Craig Mitchell,
Frances Priest, David Roberts, Duncan Ross, Sarah Jane Selwood, Rupert
Spira and Janice Tchalenko; 12 exhibitions per year.
Crawford Arts Centre, 93 North St., St. Andrews, Fife KY16 9AD
Scotland; e-mail crawfordarts@crawfordarts.free-online.co.uk; website
www.crawfordarts.free-online.co.uk; telephone 44 133 447 4610;
fax 44 133 447 9880. Contemporary ceramics; 3-4 exhibitions per year.
Roger Billcliffe Gallery, 130 Blythswood St., Glasgow G2 4EL Scotland;
e-mail roger@rbfa.demon.co.uk; website www.billcliffegallery.com;
ceramics, including works by Chris Carter, Judith Gilmour and Gareth Mason;
Spain
Museu de Cantir D’Argentona, Plaga de I’esglesia 9, Argentona (Barcelona)
08310 Spain; e-mail correu@museucantir.org; website www.museucantir.org;
telephone 44 93 797 2152; fax 44 93 797 0800. Permanent collections from
the 19th and 20th centuries, the Bronze Age in Greece, Medieval times,
Baroque and Art Deco, also jugs from all over the world; 8 exhibitions per year.
Alfar y Galena Azul, San Cibrian de Ardon, Leon 24232 Spain; e-mail
alfargaleriaazul@telefonica.net; website www.alfargaleriaazul.com; telephone/
fax 34 98 730 4693. Contemporary ceramics, including works by Eduardo
Andaluz, Claudi Casanovas, Michael Casson, Sheila Casson, Angel Garazza,
David Leach, John Leach and Jose Antonio Sarmiento; 4 exhibitions per year.
Museu de Ceramica de Manises, carrer Sagrario 22, Manises 46940 Spain;
e-mail manises_museo@cv.gva.com; website www.manises-bienal.com;
telephone 34 96 152 1044; fax 34 96 153 4048. Permanent collection of over
3500 pieces from the 14th century to present day; 1-2 exhibitions per year.
Vase, soft-paste Sevres porcelain, 1766-1770;
at the Gardiner Museum of Ceramic Art,
Toronto, Ontario, Canada.
Switzerland
Musee Ariana, 10, Ave. de la Paix, Geneva 1202 Switzerland; e-mail
ariana@ville-ge.ch; website http://mah.ville-ge.ch/ariana/ariana.html;
telephone 41 22 418 54 50; fax 41 22 418 54 51. Ten centuries of ceramics
history in Europe, the Middle East and the Far East; 2-3 exhibitions per year.
84
85
86
87
call for entries
Application Deadlines for Exhibitions, Fairs,
Festivals and Sales
International Exhibitions
October 15 entry deadline
Warrensburg, Missouri "Greater Midwest Interna
tional XIX" (January 26-February 27,2004), open to
works in all media, except video and performance, by
artists 21 years and older, no student work. Juried
from up to 2 slides per entry. Juror: Douglass Freed,
director, the Daum Museum of Contemporary Art.
Fee: $25 for up to 3 entries. Awards: $1600, plus
exhibition opportunities. For prospectus, send business-size SASE to Gallery Director, Central Missouri
State University, Art Center Gallery, Warrensburg
64093; or telephone (660) 543-4498.
November 15 entry deadline
Indianapolis, Indiana "Clay Mechanics" (March 1720, 2004), open to ceramics artists using mechani
cal or industrial imagery. In conjunction with NCECA.
Juried from slides. Jurors: Charlie Cummings and
Gerard Justin Ferrari. Fee: $30 for up to 3 entries, up
to 2 views for each entry. Awards: $1000. For
prospectus, send SASE to Charlie Cummings Clay
Studio, 4130 S. Clinton St., Fort Wayne, IN 46806;
e-mail
charlie@claylink.com;
see
website
www.claylink.com; or telephone (260) 458-9160.
Baltimore, Maryland Call for NCECA 2005
Exhibition Proposals (March 2005). Baltimore
Clayworks is calling for proposals from artists and
curators for exhibitions to be on view during
NCECA. All proposals will undergo a curatorial
review, after which accepted exhibitions will be
sited at participating galleries and venues. For a
proposal form, contact Leigh Taylor Mickelson:
e-mail
leigh.mickelson@baltimoreclayworks.org;
see website www.baltimoreclayworks.org; or tele
phone (410) 578-1919 ext. 18.
December 3 entry deadline
Missoula, Montana "International Cup" (February
6-29, 2004), open to clay objects that incorporate
the cup as its theme. Juried from slides. Juror: Beth
Lo. Fee: $15 for up to 2 entries. Cash awards. For
prospectus, contact the Clay Studio, 910 Dickens,
Missoula
59802;
e-mail
jaylawfer@hotmail.com;
or telephone (406) 543-0509.
Chicago, Illinois "Spertus Judaica Prize 2004" (Fall
2004), open to works in all media creating a ner
tamid, an "eternal light" suspended in front of the
Torah Ark in synagogues; open to artists of all
nationalities and religions. Juried from slides, artist's
statement and biography. Award: $ 10,000 to win
ning piece. For prospectus, contact Spertus Prize
Competition, Spertus Museum, 618 S. Michigan,
Chicago 60605; e-mail museum@spertus.edu; see
website www.spertus.edu; or fax (312) 922-3934.
United States Exhibitions
Eugene, Oregon "Potter to Potter: The Club Mud
Juried Exhibit" (February 20-March 26, 2004),
open to functional and decorative ceramics. Juried
from slides (with SASE), resume and artist's state
ment. Entry fee: $10. Commission: 30%. Contact
Potter to Potter, Maude Kerns Art Center, 1910 E.
15th Ave., Eugene 94703; e-mail mkart@efn.org;
see
website
www.mkartcenter.org;
telephone
(541) 345-1571; or fax (541) 345-6248.
Wayne, Pennsylvania "Craft Forms 2003"
(December 5, 2003-January 23, 2004), open to
works in all media. Juror: Paul J. Smith, director
emeritus, American Craft Museum. Juried from
slides. Entry fee: $25. Awards: over $3000 in cash
prizes, plus solo or group exhibitions. For pro
spectus, send SASE to the Wayne Art Center, 413
Maplewood Ave., Wayne 19087; see website
www.wayneart.org.
Denton, Texas "Materials: Hard and Soft" (Janu
ary 31-March 21, 2004), open to crafts in all media.
Juried from slides. Juror: Davira S. Taragin, director of
exhibitions and programs, Racine Art Museum, WisCeramics Monthly October 2003
88
Ceramics Monthly Uctober 2003
89
call for entries
consin. Awards: $5000. For application, send legal
ize SASE to Greater Denton Arts Council, 207 S. Bell,
Denton 76201; see website www.dentonarts.com;
or telephone (940) 382-2787.
Coburg, Oregon "LAPETITEXI" (November), smallformat competition open to 2- and 3-dimensional
artists. Juried from slides. Fee: $10 per entry; $25
for 3 entries. Awards: $2200. For prospectus, send
SASE to Alder Gallery, Box 8517, Coburg 97408; or
telephone (541) 342-6411.
Burbank, California "AMERICANA" (November 721), open to wall and pedestal works in all media.
Juried from up to 3 slides. Fee: $30. For prospec
tus, send SASE to AMERICANA, Decorative Arts
Guild, 2331 Holgate Sq„ Los Angeles, CA 90031;
or e-mail dag2001 la@aol.com.
Saratoga Springs, New York "Bottles and Bowls"
(December 1-January 15, 2004), open to func
tional and nonfunctional bottles and bowls. Juried
from slides. Juror: D. Leslie Ferst. Fee: $20 for
up to 3 slides. Commission: 40%. For entry form,
send SASE to the Saratoga Clay Company, PO
Box
2295,
Wilton,
NY
12831;
e-mail
stgaclay@yahoo.com; telephone (518) 587-8265.
Baton Rouge, Louisiana "8 Fluid Ounces" (Febru
ary 17-March 10, 2004), open to ceramic cups.
Juried from upto 5 slides. Juror: Michaelene Walsh.
Fee: $10. For further information, send SASE to
LSU School of Art Gallery, 123 Art Bldg., Baton
Rouge 70803; or e-mail artgallery@lsu.edu; tele
phone (225) 578-5402; or fax (225) 578-9221.
El Cajon, California "Viewpoint: Ceramics 2004"
(January 26-February 20,2004). Juried from slides.
Juror: Leslie Ferrin, owner, Ferrin Gallery. Fee: $25
for up to 3 entries. Awards: $1000, $750 and
$500. For application, contact Grossmont College
Hyde Art Gallery, 8800 Grossmont College Dr., El
Cajon 92020; e-mail teresa.markey@gcccd.net; or
telephone (619) 644-7299
La Crosse, Wisconsin Juried one-person ceramic
show and demonstration: Viterbo University (Janu
ary 14-February 11, 2004). Juried from 10-20
slides. Jurors: Gerard Justin Ferrari and Viterbo
University Faculty. Fee: $ 15. Responsibilities include
installation, attendance at opening, removal of
show, and 1- to 2-day workshop. Awards: $1000
honorarium. Contact Gerard Justin Ferrari: e-mail
gjferrari@viterbo.edu; or telephone (608) 796-3757.
Englewood, Colorado "Englewood Cultural Arts
Center Association and Museum of Outdoor Arts
National Juried Art Exhibition" (February 23March 31, 2004), open to 2- and 3-dimensional
works. Juried from slides. Fee: $25. Commission:
30%. For prospectus, send SASE to Juried Art
Show, Museum of Outdoor Arts, 1000 Englewood
Pkwy., Ste. 2-230, Englewood 80110; or down
load from websites www.englewoodarts.org or
www.moaonline.org.
Beaumont, Texas "42nd Annual Tri-State National
Juried Exhibition" (February 1-29, 2004), open
to all media. Juried from slides. Fee: $15 per
entry, limit 3. Cash awards. For prospectus, send
SASE to Beaumont Art League, Tri-State 2004,
2675
Gulf
St.,
Beaumont
77703;
e-mail
tristate@beaumontartleague.org;
telephone
(409) 833-4179; or fax (409) 832-1563.
Nelsonville, Ohio "Starbrick Clay National 2004"
(February 27-March 31, 2004), open to func
tional, decorative and sculptural ceramics. Juried
from slides. Juror: Brad Schwieger. Fee: $20 for
up to 3 entries. Awards. For prospectus, send
SASE to Starbrick Clay, 21 W. Columbus St.,
Nelsonville 45764; e-mail starbrick@frognet.net;
see website www.starbrick.com; or telephone
(740) 753-101 1.
90
January 9, 2004, entry deadline
Rockport, Texas "Vitrified Clay National: Form and
Content" (February 11-March 14, 2004). Juried
from slides (with SASE). Jurors: Juan Granados and
Von Venhuizen. Fee: $20 for 3 entries; $5 for each
additional entry. Contact Mary Beth Orrison,
Rockport Center for the Arts, 902 Navigation Cir.,
Rockport 78382; e-mail rockart@2fords.net; see
website
www.rockportartcenter.org;
telephone
(361) 729-5519; or fax (361) 729-3551.
Lancaster, Pennsylvania "The 12th Annual Strictly
Functional Pottery National" (April 24-May 31,
2004). Juried from slides. Juror: Susan Peterson.
For prospectus, send business-size SASE to Market
House Craft Center/SFPN, PO Box 204, E. Peters
burg, PA 17520; or download application from
www.art-craftpa.com/sfpnapp.html.
Cambridge, Massachusetts "Cambridge Art As
sociation National Prize Show" (May 3-June
24, 2004). Juried from slides. Juror: Bob
Fitzpatrick, director, Museum of Contemporary
Art-Chicago. Award: $2000 for Best of Show.
For prospectus, send SASE to Cambridge Art
Association, 25 Lowell St., Cambridge 02138;
e-mail
cambridgeart@cambridgeart.org;
see
website
www.cambridgeart.org;
telephone
(617) 876-0246.
February 1, 2004, entry deadline
Chicago, Illinois "15th Annual Teapot Show: On
the Road Again" (April 4-May 16, 2004), open to
functional, fun or funky teapots in all media. Juried
from up to 2 slides per work (with SASE); up to 2
works. Fee: $25. Contact Joan Houlehen, A.
Houberbocken, Inc., PO Box 196, Cudahy, Wl
53110; or telephone/fax (414) 481-4000.
February 14, 2004, entry deadline
Lincoln, California "Feats of Clay XVII" (April 24May 23, 2004). Juried from slides. Juror: Richard
Notkin. Fee: $15 for 1 entry; $25 for two; $30 for 3.
Awards: $16,000. For prospectus, send SASE to
Lincoln Arts, 540 F St., Lincoln 95648; see website
www.lincolnarts.org.
March 20, 2004, entry deadline
Waynesboro, Virginia "Primary Colors: A Survey of
Contemporary Craft in Red, Yellow and Blue"
(May 20—July 1, 2004), open to crafts using any or
all of the primary colors in construction or design.
Juried from slides. Fee: $20. Commission: 60%.
Cash awards. For prospectus, send SASE to Arti
sans Center of Virginia, 601 Shenandoah Village
Dr., Waynesboro 22980; download from website
www.artisanscenterofvirginia.org;
or
telephone
(540) 946-3294.
Regional Exhibitions
Kettering, Ohio "Earth in Balance 2003," a regional
clay competition (November 3-December 12), open
to ceramists residing in Indiana, Kentucky, Michi
gan and Ohio. Juried from slides. Juror: Marty
Shuter, ceramics artist/instructor. Fee: $ 15 for up to
3 entries. Commission: 30%. Awards: $1100. For
prospectus, contact Christine Klinger, Rosewood
Gallery, 2655 Olson Dr., Kettering 45420;
e-mail
chris.klinger@ketteringoh.org;
see
website
www.ketteringoh.org/gallery;
or
tele
phone (937) 296-0294.
Lexington, Massachusetts "The State of Clay, 4th
Biennial Exhibition" (May 2-30, 2004), open to
current and former residents of Massachusetts.
Juried from slides. Juror: Peter Beasecker. Cash
awards. For prospectus, send #10 SASE to Ceram
ics Guild of the Lexington Arts & Crafts Society,
130 Waltham St., Lexington 02421; or download
from website www.lexingtonma.org/LACS.
Fairs, Festivals and Sales
Boston, Massachusetts "CRAFTBOSTON 2004" (May
20-23, 2004). Juried from 5 slides. Fee: $30.
Contact Bonnie Gordon, CRAFTBOSTON Show
Director, 175 Newbury St., Boston 02116;
call for entries
e-mail
bgordon@craftboston.org;
see
www.craftboston.org; telephone (617) 232-7000.
website
Inverness, Florida "32nd Festival of the Arts" (No
vember 15-16). Juried from slides. Jury fee: $5. Entry
fee: $70. Awards: $20,000. Contact Marilyn Serianni,
Festival of the Arts, PO Box 1249, Homosassa, FL
34447; e-mail art03@tampabay.rr.com; ortelephone
(352) 527-8795.
Winder, Georgia "Harvest of Arts Festival (No
vember 15-16). Juried from up to 3 slides. Fee:
$30. Commission: 80%. To register, e-mail
GPAC105@cs.com; ortelephone (770) 788-9267.
San Antonio, Texas "2004 Fiesta Arts Fair"
(April 17-18, 2004). Juried from slides. Fee: $20.
For application, contact the Southwest School of
Art and Craft, 300 Augusta, San Antonio 78205;
e-mail
info@swschool.org;
see
website
www.swschool.org; ortelephone (210) 224-1848.
Carefree, Arizona "Carefree Fine Art and Wine
Festival" (March 5-7, 2004). Juried from slides or
slide show on CD. Fee: $15. For prospectus, send
SASE to Thunderbird Artists, Inc., 15648 N. Eagles
Nest Dr., Fountain Hills, AZ 85268; e-mail
info@thunderbirdartists.com;
or
see
website
www.thunderbirdartists.com.
Morristown,
New
Jersey "Spring
Crafts
at
Morristown"
(March
19-21,
2004)
"Holiday
Crafts at Morristown" (December 17-19, 2004).
Juried from 5 slides of work, plus 1 of booth.
One-time annual fee: $25. Contact Artrider, PO
Box 28, Woodstock, NY 12498; see website
www.artrider.com; or telephone (845) 331 -7900.
New York, New York "Spring Crafts Park
Avenue" (April 2-4, 2004). "Fall Crafts Park Ave
nue" (October 1-3, 2004). "Holiday Crafts Park
Avenue" (December 3-5, 2004). "Holiday Crafts
New York I" (December 10-12, 2004). "Holiday
Crafts New York II" (December 17-19, 2004).
Juried from 5 slides. One-time annual fee: $25.
Contact Artrider, PO Box 28, Woodstock, NY
12498; see website www.artrider.com; or tele
phone (845) 331-7900.
Tarrytown, New York "Spring Crafts at
Lyndhurst" (May 14-16, 2004). "Fall Crafts at
Lyndhurst" (September 17-19,2004). Juried from
5 slides. One-time annual fee: $25. Contact Artrider,
PO Box 28, Woodstock, NY 12498; see website
www.artrider.com; telephone (845) 331-7900.
March 1, 2004, entry deadline
Saiina, Kansas "Smoky Hill River Festival, Four
Rivers Craft Market Show" (June 11-13, 2004).
Juried from 6 slides. Entry fee: $15. Booth fee:
$150 for a 10x10-foot space, plus 10% on sales
over $ 1000. Awards: $ 1800. Contact Karla Prickett,
Visual Arts Coordinator, PO Box 2181, Saiina
67402-2181; e-mail sahc@salina.org; see website
www.riverfestival.org; telephone (785) 309-5770;
or fax (785) 826-7444.
Saiina, Kansas "Smoky Hill River Festival,
Fine Art/Fine Craft Show" (June 12-13, 2004).
Juried from 6 slides. Entry fee: $15. Booth fee:
$250 for a 10x10-foot space. No commission.
Awards: $7400. Contact Karla Prickett, Visual
Arts Coordinator, PO Box 2181, Saiina 674022181;
e-mail
sahc@salina.org;
see
website
www.riverfestival.org; telephone (785) 309-5770;
or fax (785) 826-7444.
For a free listing, please submit information on juried
exhibitions, fairs, festivals and sales at least four
months before the event’s entry deadline (add one
month for listings in July and two months for those in
August). Regional exhibitions must be open to more
than one state. Mail to Call for Entries, Ceramics
Monthly, 735 Ceramic PI., Westerville, OH 43081;
e-mail to editorial@ceramicsmonthly.org; or fax to
(614) 891-8960.
92
suggestions
From Readers
pitcher, the glaze level rose, giving a nice even
coat. When the glaze reached the rim of the
pitcher, the excess gently rolled over the lip of the
pitcher and back into the bucket, not wasting a
drop.—Micah Cain, Rome, GA
A Pinch of Ingenuity
Instead of using a sponge-on-a-stick, pinch a
throwing sponge in a set of double-ended cali
Banding Wheel
You can make a banding wheel out of old car
parts. A flex plate, which is found between a
motor and transmission, can be used for the top
part. Use a gear out of the same transmission for
the base. If you go to any auto wrecker or
mechanic shop in your area, you can usually find
these things for a couple of dollars each. Bolt a
bat
pers used for measuring lids and lips of pots. This to the flex plate, using the holes already in the
allows you to use a larger sponge area to get the plate. This makes a very sturdy, very inexpensive
water out of the bottom of a tall narrow vessel.— banding wheel. Different gears can be used for
different heights.—NataliePrevost-Mero, Elmira,
Corey Carver, Atlanta, GA
ON, Canada
Stable Stance
Construct handbuilt forms that have legs
on pieces of broken bisque shelves. This pro
vides two advantages over constructing the
forms on a table or on a throwing bat. Since the
shelf can be put into the kiln, it prevents the
chance of one of the legs snapping off as the
work is loaded. In addition, with the work on
a piece of shelf, it can be easily moved in the
kiln. All you need to do is slide the broken kiln
shelf to move your work over a few inches. This
way, you won’t risk wearing down one of the
legs by sliding it around and causing your piece
to lean.—Tony Merino, Lewisville, TX
The Pen Is Mighty
When many potters make their own tools,
they use dowels or bamboo for handles. I didn’t
want to take the time to saw and drill, so I came
up with some cheap alternatives.
Take the guts out of old pens and markers
and use the barrels for handles. Make a loop out
of piano wire, or fashion whatever tool you need,
and set it in the end of the pen with a wad of
Bead Beach
I have found that pushing an aluminum
mesh “gutter guard” into a 1-quart paint can,
filled halfway with sand, makes an excellent
bead-drying support. Placing the glazed beads
on bamboo skewers, then pushing the skewers
through the holes in the mesh and into the sand,
allows the beads to dry undisturbed. The cans
can be moved easily and are reasonably com
pact.—Andi Fasimpaur, Dayton, OH
Bead Hole Consistency
epoxy. You can also get semirigid polyethylene
tubing at the hardware store for about 12 cents
per foot. You can cut it with scissors and attach
tool ends the same way as with the pen barrels.
You can also add cushioned pen/pencil grips to
these tools for added comfort and ease of use.
—Kim Hohlmayer, Mechanicsburg, OH
A foolproof method for making a hole in a Green Thumb, Round Lip
Gardening and pottery are my two pas
bead that will be clean and consistent in diameter
is to use raw pasta noodles to pierce the newly sions. To achieve a very round, smooth lip on
formed bead. The pasta will burn out and leave thrown forms, use 1 -inch gardener’s tie tape. It
is usually green, comes on a roll, and is sold in
only a bit of ash.—Robert Brown, Miami, FL
most garden centers. The weight and elasticity
Pitcher This
are perfect for a quick finished edge.—Denise
Recently, I found myself with one last piece Severini, Nipomo, CA
to glaze out of a batch of bisqueware. To my
Share your ideas with others. Previously un
dismay, there was not enough glaze left in the
published suggestions are welcome individu
five-gallon bucket in which to dip the piece. Not ally
or in quantity. Ceramics Monthly will pay
wanting to brush on the two coats I needed, I
$10 for each one published. Include a drawing
or photograph to illustrate your idea and we
found a plastic pitcher that I had purchased at
will add $10 to the payment. Mail to Ceramics
the dollar store that was slightly larger than the
Monthly, 735 Ceramic PI., Westerville, OH 43081,
piece to be glazed. I filled the pitcher up approxi e-mail to editorial@ceramicsmonthly.org or fax
to (614) 891-8960.
mately halfway. As I dipped the piece into the
94
calendar
Events to Attend—Conferences,
Exhibitions, Workshops, Fairs
Conferences
Indiana,
Indianapolis
March
17-20,
2004
"INvestigations, INspirations: The Alchemy of Art and
Science," NCECA's 38th annual conference. See web
site www.nceca.net; or telephone (866) 266-2322 or
(303) 828-2811.
New Mexico, Santa Fe October 10-12 "Market
ing BootCamp for Artists and Craftspeople" will in
clude presentations on understanding the industry,
pricing, packaging, creating publicity, selling on the
Internet, etc. Fee: $450. Contact the Message Com
pany, 4 Camino Azul, Santa Fe 87508; see website
www.bizspirit.com;
telephone
(505)474-0998
or4747604; or fax (505) 471-2584.
Virginia, Front Royal October 2-5 "The MidAtlantic Clay Conference," sponsored by the Clay
Connection, will include slide presentations, demon
strations and workshops in raku, brushmaking, Yixingstyle teapots and tile decorations. Presenters include
Judith Duff, Julia Galloway and Mark Shapiro. For
application/further
information,
contact
Mike
Swauger: e-mail swauger@shentel.net; see website
www.geocities.comltheclayconnection;
or
telephone
(540) 636-6016.
Hungary, Kecskemet April 5-26, 2004 "Sound of
the Clay, Ceramic Musical Instrument Symposium."
96
Contact Steve Mattison, International Ceramics Stu
dio, Kapolna Str. 13, Kecskemet H-6000; see website
www.icshu.org; or telephone 36 76 486 867.
Solo Exhibitions
Alabama, Fairhope October 3-27 Steven Hill,
"Sensuous Slip/Single Firing"; at Eastern Shore Art
Center, 401 Oak St.
Arizona, Scottsdale November 4-30 "Virginia
Scotchie's Childhood Memories"; at Gallery Materia,
4222 N. Marshall Way.
Arizona, Tempe October 3-February 7, 2004 Luo
Xiaoping, "Time Square Series"; at Nelson Fine Arts
Center, Arizona State University Art Museum.
California, Sacramento October 9-November 1
Gary Dinnen; at Solomon Dubnick Gallery, 2131
Northrop Ave.
California, San Francisco October 18-November
28 Christa Assad, "Form Feeds Function"; at Verdigris
Clay Studio and Gallery, the Cannery, 2801
Leavenworth St.
California, Santa Monica through October 11
Betty Woodman; at Frank Lloyd Gallery, 2525 Michi
gan Ave., B5b.
Florida, Miami through November 9 Rebecca
Hutchinson, "Connected"; at the Lowe Art Museum,
University of Miami, 1301 Stanford Dr.
Georgia, Atlanta through October25 Mark Hewitt,
"Iced Tea and Big Pots"; at the Signature Shop &
Gallery, 3267 Roswell Rd., NW.
October2-27MarkIssenberg,
"Lookout
Mountain
Ash Glazes"; at MudFire Pottery, 1441 Dresden Dr.,
Ste. 250.
Illinois, Chicago October 17-November 15 Jeff
Mongrain. November 22-December 27 Jack Earl; at
Perimeter Gallery, 210 W. Superior St.
Illinois, Geneva October 1-31 Merrilee Batten,
"Dancing Bottles"; at Down to Earth Pottery, 217½ S.
Third St.
Kentucky, Louisville through October25 "Master
Makers: Byron Temple"; at the Kentucky Museum of
Arts + Design, 715 W. Main St.
Louisiana, Covington through October 8 Patricia
Watkins, "Connected Layers"; at Fort Isabel Gallery,
401 N. Columbia St.
Louisiana, New Orleans October 1-31 Jean
Cappadonna-Nichols, "Art for Art Sake"; at Carol
Robinson Gallery, 840 Napolean Ave.
Massachusetts, Boston through October 14
Brother Thomas, "Creator of Luminaries"; at Pucker
Gallery, 171 Newbury St.
Massachusetts, Concord November 15-December 3 Ron Hand; at Lacoste Gallery, 25 Main St.
Massachusetts, Lenox through October26 Jason
Walker; at Ferrin Gallery, 56 Housatonic St.
Michigan, Detroit through November 1 Jun Kaneko.
Marty Shuter; at Pewabic Pottery, 10125 E. Jefferson.
Michigan, Ferndale October 25-November 29
Robert Turner; at Revolution Gallery, 23257 Wood
ward Ave.
Minnesota, Minneapolis through October26 Josh
Blanc, "Cosmic Clouds"; Clay Squared to Infinity,
2913 Central Ave., NE
through November2 Wendy Olson; at the Northern
Clay Center, 2424 Franklin Ave., E.
Mississippi, Biloxi through October 31 Toshiko
Takaezu;
at
the
Ohr-O'Keefe
Museum,
136
G. E. Ohr St.
New Jersey, Surf City through October 6 Matt
Burton, "Fagade and Fortification: A Framework,"
stoneware sculpture. October 11-December 1 Marv
Levitt retrospective; at m. t. burton gallery, 1819 Long
Beach Blvd.
New Mexico, Santa Fe through October 15
Hiroyuki Wakimoto, "Myth and Legacy"; at Touching
Stone, 539 Old Santa Fe Trail.
through October25 Shoichi Ida; at Bellas Artes, 653
Canyon Rd.
New York, Alfred through December 19 Irvin
Tepper, "When Cups Speak/Life With the Cup: A 25-
Year Survey"; at the Schein-Joseph International Mu
seum of Ceramic Art, New York State College of
Ceramics at Alfred University.
New York, Garrison through October 5 Edith A.
Ehrlich, "Lives: order, disorder"; at Garrison Art Cen
ter, 23 Garrison's Landing.
New York, Long Island City through October 11
Michael Geertsen, "Immortal Clay"; at Garth Clark
Gallery Long Island City, 45-46 21st St.
New York, New York through November 8
Shinman Yamada. November 8-December 13 Nobuhiro
Mizuma; at Capeluto Arts, 147 Reade St.
October 7-November 7 Roe Kyung-Joe; atTong-in
Gallery New York, 16W. 32nd St., Ste. 503.
New York, Port Chester October 3-26 Tracy Shell,
"Inquiring Beauty." November 2-22 Judith Leire,
"Musings"; at the Clay Art Center, 40 Beech St.
North Carolina, Chapel Hill through October 24
Mark Chatterley, recent work; at Somerhill Gallery, 3
Eastgate, E. Franklin St.
through November 22 Molly Pasca, "Out of the
Ordinary." November 24-February 24, 2004 Doug
Dacey, "Colorful Elegance"; at Green Tara Gallery,
1800 E. Franklin St., # 18b Eastgate.
North Carolina, Charlotte through October 7 7
Karen Karnes; at W.D.O., Hearst Plaza, Ste. 1, 214 N.
Tryon St.
Ohio, Kent October28-November22 Eva Kwong,
"Love Between the Atoms"; at Gallery 138, 138 E.
Main St.
Pennsylvania, Philadelphia through October 5
Sam Chung, recent work. Julie York, "objectsymbolanguage"; at the Clay Studio, 139 N. Second St.
through October 5 Marilyn Simon, "Inside • Outside
• Upside Down—Works in Majolica • Figures and Tiles";
at the Artforms Gallery Manayunk, 106 Levering St.
through December 31 Yoon Kwang-cho, "Moun
tain Dreams: Contemporary Ceramics"; at the Phila
delphia Museum of Art, Benjamin Franklin Pkwy. at
26th St.
November 1-29 Fong Choo, teapots; at the Works
Gallery, 303 Cherry St.
Pennsylvania, Pittsburgh through October 8
Betty Hedman; at the Clay Place, 5416 Walnut St.
Texas, Austin October 4-24 Diana Seidel, "Feast
of Pots"; at Clayways Pottery Studio & Gallery; 5442
Burnet Rd.
Texas, Dallas October 24-November 29 Marla
Ziegler, new works; at Craighead-Green Gallery, 2404
Cedar Springs, Ste. 700.
Texas, Houston October 31-December 11 Nick
Joerling; at North Harris College, 2700 W.W. Thorne Dr.
Wisconsin, Racine through November 2 Marek
Cecula, "The Last Supper"; Racine Art Museum, 441
Main St.
Group Ceramics Exhibitions
Arizona, Scottsdale October 1-November30 "Ex
hibition of Ceramics"; at Udinotti Gallery, 4215 N.
Marshall Way.
Arizona, Tempe October3-February 1, 2004 "Be
yond Boundaries: The Yixing Influence on Contempo
rary American Ceramics"; at the Ceramics Research
Center, Arizona State University Art Museum, corner of
Mill Ave. and 10th St.
Arkansas, Little Rock October 3-November 23
"Shaped with a Passion: The Carl A. Weyerhaeuser
Collection of Japanese Ceramics from the 1970s"; at
the Arkansas Arts Center, Ninth and Commerce.
California, Los Angeles through December 28
"Ceramic Trees of Life: Popular Art from Mexico"; at the
UCLA Fowler Museum of Cultural History, North Campus.
through January25,2004 "California Pottery: From
Missions to Modernism"; at the Autry Museum, 4700
Western Heritage Way.
through February 1, 2004 "Transmitting Culture:
Korean Ceramics from Korean-American Collections
in Southern California"; at Los Angeles County Mu
seum of Art, 5905 Wilshire Blvd.
California, Sacramento through October 19 "From
the Kilns of Denmark: Contemporary Danish Ceram
ics"; at the Crocker Art Museum, 216 O St.
California, San Diego through December31 "Pot
tery of Mata Ortiz"; at Wells Fargo Bank, 401 B St.
through January 25, 2004 "Mingei of Japan—The
Legacy of Its Founders: Soetsu Yanagi, Shoji Hamada
and Kanjiro Kawai"; at the Mingei International Mu
seum, Balboa Park, Plaza de Panama.
California, Santa Ana October 9-November 8
"Community College Clay"; at SAC Arts Gallery,
Santora Bldg., Artists Village, 207 N. Broadway.
November 1-December 14 "Chinese Ceramics To
day"; at Orange County Center for Contemporary Art,
117 N. Sycamore.
California, Santa Barbara October3-31 "Clearly
Black and White"; at Tierra Solida: a clay art gallery,
1221 State St., #8.
California, Tarzana October 4-29 "Visions Over
the Top," works by Ellen Rundle and Linda Smith; at
Orlando Gallery, 18376 Ventura Blvd.
Colorado, Lakewood through October 12 "From
Inside the Clay Studio"; at the Lakewood Cultural
Center, 470 S. Allison Pkwy.
Florida, Miami through November 9 "A Ceramic
Continuum: Fifty Years of the Archie Bray Influence";
at the Lowe Art Museum, University of Miami, 1301
Stanford Dr.
Florida, St. Petersburg November 14-December
20 "St. Petersburg Clay National 2003"; at St. Peters
burg Clay Company, 420 22nd St., S.
Illinois, Chicago October 11-November 3 New
work by David Crane and Jason Walker. "Anderson
Group Show," featuring the work of 17 former and
current Anderson Ranch artists-in-residence. Novem
ber 15-December 15 Charlie Jahn and Mie Kongo; at
Lillstreet Art Center, 4401 N. Ravenswood Ave.
October 18-January 4, 2004 "The Artful Teapot:
20th-Century Expressions from the Kamm Collection";
at the Chicago Cultural Center, 78 E. Washington.
Illinois, Galena through October27 "HandBuilt";
at Spring Street Gallery, 601 S. Prospect St.
Illinois, Westmont through October31 "The Mud
Show"; atTLD Design Center & Gallery, 26 E. Quincy St.
Indiana, Ft. Wayne November22-January 9,2004
"Cup: The Intimate Object II"; at Charlie Cummings
Clay Studio, 4130 S. Clinton St.
Indiana, Goshen through November4 "A Ceramic
Legacy"; at Goshen College, Hershberger Art Gallery,
Music Bldg.
Indiana, Notre Dame through October 12 "Notre
Dame Anagama Kiln," Don Reitz, Paul Soldner, Peter
Voulkos, and Bill Kremer and his graduate students; at
the Snite Museum of Art, Milly and Fritz Kaeser
Mestrovic Studio Gallery, University of Notre Dame.
Iowa, Iowa City October4-23 Jeff Shapiro and Tim
Rowan, wood-fired ceramics. November 1-20 "Sur
faces," works by Kathryn Finnerty, Suze Lindsay, Eliza
beth Lurie, Lisa Naples and Sandi Pierantozzi; at AKAR,
4 S. Linn St.
Maryland, Baltimore through October 11 "Cel
ebrate Clay: A Member Artists Exhibition." October
18-November
15
"Clayand..."
November22-December 24 "Winterfest 2003"; at Baltimore Clayworks,
5707 Smith Ave.
through November30 "Taste and Table: A Century
of Ceramics in Early Maryland"; at Homewood House
Museum, 3400 N. Charles St.
Massachusetts, Concord October 18-November
5 "Salon Exhibition 2003," works by Randy Johnston,
Mark Pharis, Mark Shapiro, Diana Thomas and Jack
Troy; at Lacoste Gallery, 25 Main St.
Massachusetts, Lenox November 28-December
28 "Studio Pottery Invitational 2003"; at Ferrin Gal
lery, 69 Church St.
Michigan, Detroit October 11 "Pewabic Pottery
from the Charles Lang Collection." November 15December 31 "Holiday Invitational"; at Pewabic Pot
tery, 10125 E. Jefferson.
Michigan, East Lansing October 5-November30
"Tiles from Two Cities," Parran Colleryand Deb FleckStabley; at Mackerel Sky, 217 Ann St. Continued
97
calendar
Michigan, Grand Rapids through January 4, 2004
"Quiet Beauty: Fifty Centuries of Japanese Folk Ce
ramics from the Montgomery Collection"; at the
Frederik Meijer Gardens, 1000 E. Beltline Ave., NE.
Minnesota, Minneapolis through November 2 "In
Other Words...," works by Takako Araki, Barbara
Hashimoto, Nancy Selvin and Forrest Snyder; at the
Northern Clay Center, 2424 Franklin Ave., E.
Mississippi, Biloxi through January 30, 2004 "Born
of Biloxi: George Ohr, Joseph Meyer, Manuel Jalanivich";
at the Ohr-O'Keefe Museum of Art, 136 G.E. Ohr St.
Missouri, Kansas City October 31-November 29
"Northern Utility"; at Red Star Studios Ceramic Cen
ter, 821 W. 17th St.
Missouri, St. Louis through October 19 "North
Carolina Folk Art Pottery and Burgess Dulaney"; at
Craft Alliance Gallery, 6640 Delmar.
Montana, Bozeman October 6-23 "Envision This
Place," with works by over 55 ceramists; at MSU
School of Art, Helen E. Copeland Gallery, Haynes Hall.
New Mexico, Roswell through October 12 "CLAY:
Making Connections," juried exhibition; atthe Roswell
Museum and Art Center, 100 W. 11th St.
New Mexico, Santa Fe through October24 "Archie
Bray Foundation 2003 Summer Residents." October
31-November
22
"Three-Person
Exhibition—Gina
Bobrowski, Ted Saupe, Bonnie Seeman"; at Santa Fe
Clay, 1615 Paseo de Peralta.
New York, Garrison November 1-December 7
"Passionate Fire 2003: Wood-Fired Ceramics," works by
Roger Baumann, Joy Brown, Chrissy Callas, Peter Callas,
Paul Chaleff, Tony Moore, Tim Rowan and Jeff Shapiro;
at Germaine Keller Gallery, 17A Garrison's Landing.
New York, New York October 7-25 "Oribe Exhi
bition"; at Dai Ichi Gallery, 249 E. 48th St.
North Carolina, Asheville October 20-December 12 "Salt and Pepper"; at Odyssey Gallery, 242
Clingman Ave.
through October31" Sculptural Ceramic Invitational,"
works by Kenneth Baskin, John Glumpler, Bill Griffith,
Peter Lenzo, Donald Penny, Rob Pulleyn, John Ransmeier
and Gary Schlappal. November 6-January 3, 2004
"Functional
Ceramics
Invitational,"
with
Hank
Goodman, Silvie Granatelli, Nick Joerling, Leah Leitson,
Suze Lindsay, Linda McFarling, Donald Penny, Mark
Peters, Sara Roland and Tom Spleth; at Blue Spiral 1,38
Biltmore Ave.
North Carolina, Charlotte through October 19
"Burlon Craig and His Legacy," works by Craig, plus
Steven Abee, Don Craig, Kim Ellington and Charlie
Lisk; at the Mint Museum of Art, 2730 Randolph Rd.
Ohio, Columbus October 11-December 7 "21st
Century Ceramics in the United States and Canada";
at the Columbus College of Art & Design, Canzani
Center Gallery, corner of Cleveland Ave. and Gay St.
Ohio, Kettering November2-December 12 "Earth
in Balance," a regional clay competition; at Rosewood
Gallery, 2655 Olson Dr.
Oklahoma, Shawnee through November 16" PreColumbian and Contemporary Whistling Pots"; atthe
Mabee-Gerrer Museum of Art, St. Gregory's Univer
sity, 1900 W. MacArthur St.
Oregon, Eugene through October 18 "Major
Works in Clay: 12 Artists"; at Karin Clarke Gallery, 760
Willamette St.
Oregon, Portland October 2-November 1 Threeperson exhibition, with works by Rhue Bruggeman,
Kirk Mangus and Stephen Mickey; at Fifth Element
Gallery, 404 N.W. Tenth Ave.
Pennsylvania, Erie through February8, 2004 "Art
Nouveau Tiles"; at the Erie Art Museum, 411 State St.
Pennsylvania, Philadelphia through October 5
"Tea For Two/Table For Two," works by over 50 func
tional potters. October 31-November 16 "Mastery in
Clay"; atthe Clay Studio, 139 N. Second St.
October 1-31 Functional objects by Jeff Oestreich
and Marlene Jack; at the Works Gallery, 303 Cherry St.
98
November 15-February 8, 2004 "Elegant Innova
tions: American Rookwood Pottery, 1880-1960"; at
the Philadelphia Museum of Art, Benjamin Franklin
Pkwy. at 26th St.
Pennsylvania, Pittsburgh November 12-March
20, 2004 "Elizabeth R. Raphael Founder's Prize"; at
the Society for Contemporary Craft, 2100 Smallman St.
Texas, Denton October 26-November 22 "Ce
ramics USA 2003"; at University of North Texas Art
Gallery, Art Bldg., Mulberry at Welch.
Texas, Houston through October 18 Shirli
Marcantel and Glenn Puckett; at Goldesberry Gallery,
2625 Colquitt.
October4-31 "All Things Clay"; at Foelber Gallery,
706 Richmond Ave.
October 4-31 "You Can Never Have Too Many
Vases," works by Marie Burger and Marcia L. Landers;
at the Houston Potter's Guild Shop & Gallery, 2433
Rice Blvd.
Utah, Logan through December 6 "Clay West:
2003
Intermountain Invitational"; at Nora Eccles
Harrison Museum of Art, Utah State University, 650
N. 1100 East.
Virginia, Vienna October 3-24 "Origins and In
fluences," works by Michael Kline, Mark Shapiro,
Michael Simon and Sam Taylor; at Earth and Fire, 144
Church St., NW.
Washington, Bellevue through January 4, 2004
"Clay Body," works by Claudia Fitch, Patti Warashina
and Akio Takamori; at the Bellevue Art Museum, 510
Bellevue Way, NE.
Washington, Seattle October 3-26 and Novem
ber 7-29 "New Expressions in Ceramics," works from
the Pacific Rim; at Bryan Ohno Gallery, 155 S. Main St.
Wisconsin, Racine through January 4, 2004 "The
Donna Moog Teapot Collection." November 9-January 4, 2004 "From the Kilns of Denmark: Contempo
rary Danish Ceramics"; atthe Racine Art Museum, 441
Main St.
Ceramics in Multimedia
Exhibitions
Arizona, Mesa through October 11 "Steeped in
Tradition: The Contemporary Art of Tea II"; at Mesa
Contemporary Arts, 155 N. Center St.
Arizona, Tempe through January 4, 2004 "Mexi
can Folk Art in Context"; at Arizona State University
Art Museum, Nelson Fine Arts Center.
Arizona, Tucson through November 1 Fall exhibi
tion, including ceramic vessels by Randy O'Brien; at
Obsidian Gallery, St. Phillip's Plaza, 4320 N. Campbell,
Ste. 130.
California, Burbank November 7-28 "AMERI
CANA"; at Burbank Municipal Gallery/Creative Arts
Center, 1100 W. Clark St.
California, Claremont through October 19" Drag
ons, Beasts, Butterflies; Asian Art from the Scripps
Collection"; at Ruth Chandler Williamson Gallery,
Scripps College, 11th and Columbia sts.
California, La Quinta November 7-December 31
"The Figurative"; atthe Figurative, Gallery of Contem
porary Art, 78225 Calle Fortuna.
California, Lincoln October21 -November21 "Lost
in America," two-person exhibition including ceramic
sculpture by Miriam Morris; at Lincoln Arts, 540 F St.
California, Los Angeles October5-January4,2004
"The Circle of Bliss: Buddhist Meditational Art"; at the
Los Angeles County Museum of Art, 5905 Wilshire Blvd.
California, Sacramento October 4-31 "Global
ArtLook"; at MatrixArts, 1518 Del Paso Blvd.
November 8-January 19, 2004 "Icons or Portraits?
Images of Jesus and Mary from the Collection of
Michael Hall"; at the Crocker Art Museum, 216 0 St.
California, San Diego through October 19 "Heir
looms of the Future: Art of Contemporary American
Designer Craftsmen." through December 31 "PreColumbian Art—Marine Animal Forms"; atthe Mingei
International Museum, Balboa Park, Plaza de Panama.
Colorado, Denver through October 5 "Art, Iden
tity and Community." through December 7 "Chinese
Art of the Tang Dynasty from the Sze Hong Collec
tion." October 16-January23,2005 "Tiwanaku: Riches
and Rituals of the Ancient Andes"; at the Denver Art
Museum, 100 W. 14th Ave. Pkwy.
Connecticut, New Haven through October 17
"CAW Faculty Show"; at Creative Arts Workshop, 80
Audubon St.
D.C., Washington through January 4, 2004 "Tea
Utensils Under Wraps," tea-ceremony wares and their
decorative storage containers. "Tales and Legends in
Japanese Art"; at the Freer Gallery of Art, Smithsonian
Institution, 12th St. and Independence Ave., SW.
Florida, St. Petersburg November 7-December
31 "A Season of Giving"; at the Florida Craftsmen
Gallery, 501 Central Ave.
Florida, Tampa through October 19 "Voces y
Visiones: Highlights from El Museo del Barrio's Perma
nent Collection," ceramics, paintings, wood carvings,
prints, metals, textiles, etc.; at the Tampa Museum of
Art, 600 N. Ashley Dr.
Florida, Tarpon Springs through November 2
"Florida Craftsmen's 50th Anniversary Exhibition"; at
the Leepa-Rattner Museum of Art, 600 Klosterman Rd.
Georgia, Athens through November 2 "Masters
of Their Craft: Highlights from the Smithsonian Ameri
can Art Museum"; at Georgia Museum of Art, the
University of Georgia, 90 Carlton St.
Hawai'i, Honolulu through November 9 "Cross
ings 2003: KorealHawai'i"; at the Honolulu Academy
of Arts, 900 S. Beretania St.
Illinois, Chicago through November 15 "A Tribute
to Craft"; at Sawbridge Studios, 153 W. Ohio St.
October 10-November 4 "Vessels, Boxes and Bas
kets 2003," including works by Patrick Dragon, Tho
mas Hoadley, Stephen Merritt, Garry Price and James
Spiroff. October 10-December 27 "2 A Tea," includ
ing works by Fong Choo, Stephen Fabrico, Stephen
Hansen, Jared Jaffe, Joe Klingler and Bonnie Seeman.
November 14-December 27 "Presence Presents"; at
Function + Art, 1046 W. Fulton Market.
Kansas, Wichita through October 26 "Wichita
National 2003 Art Exhibit"; at Wichita Center for the
Arts, 9112 East Central.
Louisiana, New Orleans through January 11,
2004 "Treasures for NOMA: Recent Acquisitions
in the Decorative Arts"; at the New Orleans Museum
of Art, 1 Collins Diboll Cir.
Maine, Gorham through October 18 "Objects of
Influence: USM Art Faculty"; at University of Southern
Maine, Gorham Gallery, 37 College Ave.
Maryland, Baltimore through January 4, 2004
"Eternal Egypt: Masterworks of Ancient Art from the
British Museum"; at the Walters Art Gallery, 5 W. Mt.
Vernon PI.
Maryland, Cockeysville October 3-26 "Mother
Paints, Daughter Pots III," two-person exhibition in
cluding ceramics by Mary Ellen McLewee; at Clay
Orbit, 10918 York Rd.
Massachusetts, Boston through October 26
"Words • Text • Stories," crafts with text; at the
Society of Arts and Crafts, 175 Newbury St.
Massachusetts, Brockton through January4,2004
"Craft Transformed, Boston University's Program in
Artisanry 1975-1985"; at the Fuller Museum of Art,
455 Oak St.
Massachusetts, Worcester through November
22 "Visiting Artists 2003-2004: No Limits to Discov
ery"; at the Worcester Center for Crafts, Krikorian
Gallery, 25 Sagamore Rd.
October 9-30 "Tri-City Art Show," with work by Jill
J. Burns; at ARTSWorcester, 660 Main St. at the Aurora.
Michigan, Royal Oak November 8-December 8
"Steeped in Tradition," 17th annual teapot exhibition;
at Ariana Gallery, 119 S. Main St.
Mississippi, Biloxi November 7-December 31
"George E. Ohr National Arts Challenge"; at the OhrO'Keefe Museum, 136 G. E. Ohr St.
Missouri, Louisiana through October 12 "Home
and Garden Show." October 23-November 9 "TriState Creations." November27-December 14 "Holiday
Magic"; at the Old School, Dixon Gallery, 515 Jackson.
Missouri,
St.
November 7-December 24
Exhibition"; at Craft Alliance
Louis
"39th Annual Holiday
Gallery, 6640 Delmar.
Montana, Helena through October26 "ANA 32,
National Juried Exhibition"; at the Holter Museum of
Art, 12 E. Lawrence.
New Hampshire, Concord October 3-December
12 "Lighten Up"; at Gallery 205, 205 N. Main St.
New Hampshire, Hanover through December 14
"Coming of Age in Ancient Greece: Images of Child
hood from the Classical Past"; at the Hood Museum of
Art, Dartmouth College, Wheelock St.
New Jersey, Millville October 25-December 24
"The Handcrafted Gift"; at the Gallery of Fine Craft,
Wheaton Village, 1501 Glasstown Rd.
New Jersey, Princeton October 11-January 18,
2004 "The Centaur's Smile: The Human Animal in
Early Greek Art"; at Princeton University Art Museum,
McCormick Hall.
New Mexico, Silver City October 10-December
15 "Dominant Sense," two-person exhibition includ
ing ceramics by Todd Shelby; at the Blue Dome Gallery,
307 N. Texas St.
New York, Endicott November 1-28 "Second
Annual National Small Works Competition"; at Av
enue Art Gallery, 114 Washington Ave.
New York, New York October 16-January 18
"Hunt for Paradise: Court Arts of Iran, 1501-1576"; at
the Asia Society, 725 Park Ave.
October 18-July 6,2004" Petra: Lost C ity of Stone";
at the American Museum of Natural History, Central
Park, W, at 79th St.
October 28-November 15 Exhibition of works by
members of Artist-Craftsmen of New York; at New
Century Artists Gallery, 530 W. 25th St., Ste. 406.
North Carolina, Asheville November 6-January
3, 2004 "Still Life Invitational," including ceramics by
Steven Forbes deSoule and Virginia Scotchie; at Blue
Spiral 1, 38 Biltmore Ave.
Ohio, Athens October 7-November 9 "The Best of
2003," juried exhibition of works by Ohio Designer
Craftsmen members; at the Dairy Barn Cultural Arts
Center, 8000 Dairy Lane
Ohio, Columbus October 6-December 7 "Com
mon Ground World Project," includes works created
from the 188 United Nations' member countries; at
the Columbus College of Art & Design, Canzani Center
Gallery, corner of Cleveland Ave. and Gay St.
Pennsylvania, Philadelphia November 1-8 "2003
Juried Art Show"; at the William Penn Charter School,
3000 W. School House Ln.
Pennsylvania, Pittsburgh through November 1
"Homelland: Artists, Immigration and Identity"; at the
Society for Contemporary Craft, 2100 Smallman St.
October 24-November 14 "School of Art Faculty
Exhibition"; Carnegie Mellon University, Regina Gouger
Miller Gallery.
Rhode Island, Providence through October 17
Two-person exhibition including ceramic sculptures by
Jeff Margolin; at BERT Gallery, 540 S. Water St.
South Carolina, Charleston through December
12 "JAWS: Just Art With Sharks"; at the South Caro
lina Aquarium, 100 Aquarium Wharf.
Texas, Houston through October 12 "CraftHouston 2003: National Juried Exhibition"; at Houston
Center for Contemporary Craft, 4848 Main St.
Virginia, Leesburg through November 2 "Ele
ments: Earth, Fire and Water," including ceramics by
David Camden; at Rendezvous Gallery, 5 Loudoun St., SE.
Wisconsin, Racine through November 30 "Plant
ing, Potting and Pruning: Artists and the Cultivated
Landscape"; at the Wustum Museum, 2519 North
western Ave.
Wisconsin, Sheboygan through October 19 "Dog
Show," including ceramics by Tre Arenz and Jack Earl;
at John Michael Kohler Arts Center, 608 New York Ave.
Fairs, Festivals and Sales
Carefree October31-November2 "Care
free Fine Art and Wine Festival"; downtown, Easy and
Ho Hum sts.
Continued
Arizona,
99
calendar
Arizona, Prescott November 22-23 and 28-29
"Arizona Designer Craftsmen: Open Studio Tour." For
further information, contact Rowena Tank: e-mail
rowena@rowenaart.net; telephone (928) 776-9839.
California, Berkeley November 29-30 "Berkeley
Artisans Holiday Open Studios." For information and
locations, send SASE to Berkeley Artisans Map, 2547
Eighth St., #24A, Berkeley 94710; see website
www.berkeleyartisans.com; telephone (510) 845-2612.
California, Sacramento November 22-23 "Holi
day Arts and Crafts Gift Show"; at the Crocker Art
Museum, 216 0 St.
California, San Diego November 8-9 Biannual
sale of works by 40 members of the San Diego Potters'
Guild; at Balboa Park's Spanish Village, 1770 Village PI.
California, San Francisco November 15-16 "San
Francisco Clay and Glass Festival"; at Ft. Mason Center's
Festival Pavilion, Buchanan St. and Marina Blvd.
California, Santa Monica October31-November 2
"Contemporary Crafts Market"; at the Santa Monica
Civic Auditorium, 1855 Main St. (corner of Pico Blvd.)
Connecticut, Brookfield November 8-December
31 "28th Annual Holiday Exhibition and Sale"; at
Brookfield Craft Center, Rte. 25.
Connecticut,
Middletown
November29-December 13 "The Wesleyan Potters 48th Annual Exhibition
and Sale"; at Wesleyan Potters, Inc., 350 S. Main St.
D.C., Washington November21-23 "Washington
Craft Show"; at the Washington Convention Center,
801 Mt. Vernon PI.
Florida, Gainesville November 15-16 "22nd An
nual Downtown Festival and Art Show"; on S.E. First
St., downtown.
Georgia, Jasper October4-5 "23rd Annual Geor
gia Marble Festival Fine Arts Exhibit and Competition";
on the Festival grounds.
Illinois, Chicago October 17-19 "SOFA Chi
cago, the tenth Annual International Exposition of
Sculpture Objects and Functional Art"; at Navy Pier.
For further information, e-mail info@sofaexpo.com;
see website www.sofaexpo.com; or telephone (312)
654-0870.
Illinois, Evanston November 74-76 "The Midwest
Clay Guild's 31st Annual Holiday Exhibition and Sale";
at Midwest Clay Guild, 1236 Sherman Ave.
Illinois, Winnetka November 8-9 "The Modern
ism Show: An Exposition and Sale of 20th Century
Design"; at the Winnetka Community House, 620
Lincoln Ave.
Indiana, Ft. Wayne November 6-8 "Holiday Art
Fair"; at the Ft. Wayne Museum of Art, 311 E. Main St.
Kentucky, Ashland October 16-19 "Cardinal Val
ley 32nd Annual Juried Competition Expo and Show";
at Ashland Area Art Gallery, 1516 Winchester Ave. and
Cedar Knoll Galleria Mall, Rte. 60.
Louisiana, New Orleans October 18-19 "Fourth
Annual New Orleans Fresh Art Festival"; in the 700
block of St. Joseph St.
Maine, Blue Hill Peninsula and Deer Isle Octo
ber 10-13 "Peninsula Potters Studio/Gallery Tour."
Telephone the Blue Heron Gallery (207) 348-6051 or
the Greene-Ziner Gallery (207) 348-2601.
Massachusetts, Marlborough November 21-23
"Paradise City Arts Festival"; at the Royal Plaza Trade
Center, Rte 20 W.
Massachusetts,
Northampton
October 11-13
"Paradise City Arts Festival"; at the 3-County Fair
grounds on Rte. 9.
Massachusetts,
Worcester
November
28-30
"21st Annual Festival of Crafts"; at Worcester Center
for Crafts, 25 Sagamore Rd.
Michigan,
East
Lansing
November
13-15
"Greater Lansing Potter's Guild Fall 2003 Show and
Sale"; at All Saints Episcopal Church, 800 Abbott Rd.
Michigan, Farmington H\\\sNovember 1-2 "Holi
day Art Fair"; at Oakland Community College, 27055
Orchard Lake Rd.
Michigan, Novi October 24-26 "Sugarloaf Art
Fair"; at the Novi Expo Center, 43700 Expo Center Dr.
Minnesota, Minneapolis November 16-December30 "2003 Holiday Exhibition and Sale"; at North
ern Clay Center, 2424 Franklin Ave., E.
Minnesota, Red Wing October 11-12 "Fall Festi
val of the Arts"; downtown. For further information,
e-mail fallfest@redwingarts.com.
Mississippi, Biloxi October4-5" 11 th Annual George
E. Ohr Fall Festival of the Arts"; on the Town Green.
Missouri, Clarksville, Louisiana and Hannibal
November 1-2 "50 Miles of Art," fourth biennial show
of open studios and galleries. Contact the Old School,
Dixon Gallery, 515 Jackson, Louisiana 63353; tele
phone (573) 754-5540.
Missouri, Hannibal October 18-19 "26th Annual
Autumn Historic Folklife Festival"; along Main St.,
Historic District.
Missouri, St. Louis October 4-5 "11th Annual
Historic Shaw Art Fair"; along the 4100 and 4200
blocks of Flora PI. in the Shaw neighborhood.
November29-30 "Annual Fall Student/Faculty Craft
Sale"; at the Craft Alliance, 6640 Delmar Blvd.
Montana, Gallatin October 25 "Montana State
University School of Art's 2nd Annual Mountain West
Contemporary Art Auction"; at Gallatin Gateway Inn,
76405 Gallatin Rd. (Highway 191). Telephone (406)
994-4501.
New Jersey, Millville October 4-5 "Festival of
Fine Crafts Show and Sale"; at Wheaton Village, 1501
Glasstown Rd.
New Jersey, Somerset October 31-November 2
"Sugarloaf Crafts Festival"; at the Garden State Exhi
bition Center, 50 Atrium Dr.
New York, Jeffersonville October 11 "First An
nual Pottery Festival," presented by the Potters of
Sullivan County; along Main St.
100
New York, White Plains October 17-19 "The
Westchester Craft Show"; at Westchester County
Center, 198 Central Ave. (Route 119 at Central Ave.)
North Carolina, Asheville October 16-19 "The
Craft Fair of the Southern Highlands"; at the Asheville
Civic Center, 87 Haywood St.
North Carolina, Wake Forest October 4-5
"2003 Wake Forest Area Artists' Tour"; Wake Forest
area and surrounding communities. For a brochure
with map, telephone the Sunflower Studio, (919) 5700765 or the Wake Forest Chamber of Commerce,
(919) 556-1519.
North Carolina, Winston-Salem November 1416 "40th Annual Piedmont Crafts Fair"; at the M. C.
Convention Center, Fifth and Cherry sts.
Ohio, Columbus November 16-December 23
"Gifts of the Craftsmen Holiday Exhibition and Sale";
at the Ohio Craft Museum, 1665 W. Fifth Ave.
Ohio, Toledo October 24-26 "Artworks Toledo
2003"; at the Seagate Convention Center, 401
Jefferson Ave., downtown.
Oregon, Eugene October 11-12 "Clayfest"; at
the Lane County Fairgrounds, 796 W. 13th Ave.
Oregon, Portland October 11-12and 18-19" Port
land Open Studios 2003," nearly 100 studios in met
ropolitan
Portland.
Tickets:
$12.
See
website
www.portlandstudios.com.
Pennsylvania, Ft. Washington October 17-19
"Sugarloaf Crafts Festival"; at the Ft. Washington
Expo Center, 1100 Virginia Dr.
Pennsylvania, Lancaster November29-30 "Holi
day State Craft Fair"; at Franklin and Marshall College.
Pennsylvania,
Philadelphia
November 13-16
"27th Annual Craft Show"; at the Philadelphia Mu
seum of Art, Benjamin Franklin Pkwy. at 26th St.
November 14-16 "Mastery in Clay Auction," ben
efit weekend and auction of works by over 200 artists.
Contact the Clay Studio, 139 N. Second St., Philadel
phia 19106; see website www.theclaystudio.org; or
telephone (215) 925-3453.
Pennsylvania, Richboro October 17-19" Fall State
Craft Festival"; at Tyler State Park.
Texas, Gruene (New Braunfels) October 25-26
"11th Annual Texas Clay Festival"; on the grounds of
Buck Pottery, Gruene Historical District.
Texas, Houston October 11-12 "Bayou City Art
Festival"; downtown. For further information, see
website www.bayoucityartfestival.com; or call (713)
521-0133.
Virginia, Richmond November 7-9 "Craft and
Design Show"; at Hand Workshop Art Center, 1812
W. Main St.
Washington, Spokane November 7-9 "Inland
Crafts"; at the Spokane Convention Center, 334 W.
Spokane Falls Blvd.
inches or shorter; participants should bring Cone 10
bisqueware and Cone 10 glaze. Contact Judi Munn
and John Perry, 9400 Green Mountain Rd., Mountain
View 72560; e-mail perry/munnstudio@mvtel.net; tele
phone (870) 585-2308.
California, Menifee October 25 Demonstration
and slide lecture with Kevin A. Myers, throwing, alter
ing, manipulating and handbuilding. Fee: $45; mem
bers of Mt. San Jacinto College, $40. Contact the Fine
Art Gallery, (909) 487-6752, ext. 1531
Colorado, Boulder February 21-22, 2004 Work
shop with Matt Long. Fee: $100. All skill levels.
Contact the Boulder Potters Guild, PO Box 19676,
Boulder 80308; e-mail probinso@ball.com; telephone
(303) 447-0310 or (303) 444-0802.
Connecticut, Brookfield October 11-13 "Throw
ing on the Wheel" with Chris Alexiades. October 1719 "Myths and Legends in Clay" with Anna Siok; or
Wisconsin, Baraboo, Mineral Point and Spring
Green October 17-19 "Tenth Annual Fall Art Tour,"
demonstrations and tours of artists' studios. See website
www.fallarttour.com; or telephone Cornerstone Gal
lery (608) 356-7805, Story Gallery (608) 987-2903, or
Jura Silverman Studio and Gallery (608) 588-7049.
Workshops
Arizona, Tempe November 15-16 "Ceramic Art:
Developing a Personal Aesthetic" with Richard Notkin.
Fee: $100; students, $90. November 16 Lecture with
Richard Notkin. Free. For further information, see
website
http://asuartmuseum.asu.edu;
or
telephone
(480) 965-2787.
Arkansas, Fayetteville October 25-26 "Printing
Processes on Clay" with Kelley Wilks. Fee: $145; after
October 4, $165. November 8-9 "Paper Clay" with
Rosette Gault. Fee: $195; after October 18, $205.
Contact Flat Rock Studio Clay Supplies, PO Box 1642,
Fayetteville 72702; see website www.flatrockclay.com;
or telephone (479) 521-3181.
Arkansas,
Mountain
View
October
17-20
"Wood-Fired Groundhog Kiln Workshop at the Ozark
Folk Center" with Judi Munn and John Perry. Fee:
$ 100, includes two 2x1 -foot shelves in kiln for work 9
101
"PMC Certification" with Cece Wire. November 15
"Japanese Tableware" with Takao Okazaki. Contact
Brookfield Craft Center, 286 Whisconier Rd., PO Box
122,
Brookfield
06804-0122;
see
website
www.brookfieldcraftcenter.org;
telephone
(203)
7754526, ext. 102; or fax (203) 740-7815.
Connecticut, Canton October 18-19 "Handbuilt
Vessels and Inlaid Glazes" with Bruce Winn. Fee: $220.
October 25-26, unload October 27 "Fire and Smoke"
with Tim Scull. Fee: $275. November 15-16 "Animal
Sculptures" with Patricia Simons. Fee: $220. Novem
ber 2 and 23 "Crystalline Glazes" with Tim Scull. Fee:
$195. Contact Canton Clay Works Ik: website
www.cantonclayworks.com; telephone (860) 693-1000.
Connecticut, Stamford October 17-19 "Func
tional Stoneware/Single Firing" with Steven Hill. Fee:
$285. Limit of 15 participants. Contact Morty Bachar,
Lakeside Pottery, 543 Newfield Ave., Stamford 06905;
calendar
e-mail morty@lakesidepottery.com; or see website
www.lakesidepottery.com; telephone (203) 323-2222.
Florida, Sanford October 18 "Firing Your Electric
Kiln." Fee: $35. For further information, contact Florida
Clay Art Company, 1645 Hangar Rd., Sanford 32773;
see website www.flclay.com; e-mail orders@flclay.com;
or telephone (407) 330-1116.
Illinois, Chicago October 18 Workshop with Jason
Walker. Fee: $60, includes lunch. October 26 and
November 2 " Mosaic Workshop," bring an object (no
larger than 14x14 inches) to be transformed by tile
shards. Fee: $75. Contact Lillstreet Art Center, 4401
N.
Ravenswood,
Chicago
60640;
see
website
www.lillstreet.com; or telephone (773) 769-4226.
Illinois, Crystal Lake October 10-11 Demonstra
tion and slide lecture with Kathy Triplett, sculptural
tiles, wall sconces, slumped glass, etc. Fee: $80;
Claywork Guild of Illinois members, $70; 1 day, $55;
guild members, $45; includes lunch. Contact Molly
Walsh, McHenry County College, (815) 455-8697.
Illinois, Lake Forest October 11 "Pit Fire" with
Chris Plummer. Fee: $55; nonresidents, $65. November
8 Lecture and demonstration with Xiaosheng Bi. Fee:
$65; nonresidents, $75. Contact Chris Plummer, Ce
ramic Studio Coordinator: e-mail stirlinghall@attbi.com;
or telephone (847) 615-7840.
Illinois, Oak Park January 10-11 Workshop with
Linda Christianson. Fee: $125. ContactTerra Incognito
Studios, 246 Chicago Ave., Oak Park 60302; website
www.terraincognitostudios.com;
or
telephone
(708)
383-6228.
Illinois, Sugar Grove October 15-16 Demonstra
tion and slide lecture with Charity Davis-Woodard.
Contact Doug Jeppesen, Waubonsee Community Col
lege;
see
website
www.waubonsee.edu;
e-mail
djeppesen@waubonsee.edu; telephone(630)466-2505.
Indiana,
Indianapolis
October24-25 "Miniature
Teapot Workshop" with Fong Choo. Fee: $75. Con
tact Brickyard Ceramics and Crafts, 4721 W. 16th St.,
Indianapolis 46222; telephone (800) 677-3289 or (317)
244-5230.
Kansas, Lawrence October 25-26 "Tiles: Making,
Decorating and Marketing" with Paul Lewing. Fee: $125.
Contact Bracker's Good Earth Clays, 1831 E. 1450 Rd.,
Lawrence
66044;
e-mail
workshops@brackers.com;
see website www.brackers.comlworkshops.cfm; or tele
phone (888) 822-1982.
Kansas, Leavenworth October4-5 Workshop with
ConnorBurnsatSt. MaryCollege. Contact Susan Nelson:
nelsons@hub.smcks.edu; telephone (913) 758-6151.
Kansas, Wichita January 8, 2004 "Wood Firing"
with Chris Arensdorf and Peg Malloy. Participants
should bring 10-20 small to medium bisqued pieces.
January 10-11, 2004 Workshop and lecture with Peg
Malloy. Wood firing and workshop fee: $125; mem
bers, $115. Workshop only fee: $75; members, $65.
Lecture is free. Contact the Wichita Center for the Arts,
9112 E. Central, Wichita 67206; telephone (316) 6342787; or fax (316) 634-0539.
Maine, Portland October4 "Creating with Cone 6
Porcelain" with Klara Borbas. October 11 "Sculptural
Concerns" with Tacha Vosburgh. October 18 "Design
ing Extruder Dies" with Jennifer Everett. November 1
"Soft Slabs and Molds" with Cally Dow. November 9
"Glaze Chemistry and Experimentation" with Maureen
Mills. November 15 "Constructing Large Stoneware
Vessels" with Genevieve Grosbeck. Fee: $45. Contact
Portland Pottery, 118 Washington Ave., Portland 04101;
e-mail supply@portlandpottery.com; or telephone (800)
539-4301 or (207) 772-4334.
Maryland, Baltimore October 18-19 "Clay in
Combination" with Lynn Duryea, large-scale slab
construction. Fee: $160; members, $140. November
1-2 "Sensual Materials," hands-on porcelain work
shop with Geoffrey Wheeler. Fee: $180; members,
$160. January 12-16, 2004 "Working Wet" handson workshop with Gay Smith. Fee: $300; members,
$280. Contact Leigh Taylor Mickelson, Baltimore
102
103
calendar
Clayworks, 5707 Smith Ave., Baltimore 21209; e-mail
see
website
www.baltimoreclayworks.org;
telephone
(410)
5781919, ext. 18; or fax (410) 578-0058.
Maryland, St. Michaels October 13-17 "55mph,
No Wheels" with Julia Galloway. Fee: $1000, includes
lodging. Contact Leigh Taylor Mickelson, Baltimore
Clayworks, 5707 Smith Ave., Baltimore, MD 21209;
see
e-mail
website www.baltimoreclayworks.org; telephone (410)
578-1919, ext. 18; or fax (410) 578-0058.
Massachusetts, Somerville October 2 Visiting
artist workshop with Michael Kline. Fee: $150; mem
bers, $75. October 77 Slide presentation with Monica
Ripley. Free. November 1-2 Visiting artist workshop
with Malcolm Wright. Fee: $250; members, $125. For
further information, contact Mudflat, 149 Broadway,
Somerville 02145; e-mail info@mudflat.org; see website
www.mudflat.org; or telephone (617) 628-0589; or
fax (617) 628-2082.
Massachusetts,
Stockbridge
October
11-12
"Working with Extruders in the Search for Form" with
Malcolm Wright. Fee: $190, includes materials. No
vembers "Identifying and Correcting Clay and Glaze
Defects" with Jeff Zamek. Fee: $100. Contact IS 183,
Art School of the Berkshires, PO Box 1400, Stockbridge
01262;
e-mail
info@IS183.org;
see
website
www.IS183.org; telephone (413) 298-5252; or fax
(413) 298-5257.
Massachusetts,
Williamsburg
October 11-13
"Ceramics Glazing: Techniques and Chemistry" with
Sharon Pollock Deluzio. October 13-19 "Ceramic
Tile Making: From Trivets to Floors" with Amy
Schusser. October 19-25 "Painting with Fire: Primi
tive and Saggar-Fired Pottery" with Bob Green.
Contact Snow Farm, 5 Clary Rd., Williamsburg 01096;
e-mail
info@snowfarm-art.org;
see
website
www.snowfarm.org;
telephone (413)
268-3101; or
fax (413) 268-3163.
Massachusetts, Worcester November8-9 "Poly
chrome Cast Tile" with Frank Bosco. Fee: $225; mem
bers, $200; includes materials. Contact the Worcester
Center for Crafts, 25 Sagamore Rd., Worcester 01605;
see website www.worcestercraftcenter.org; telephone
(508) 753-8183; or (508) 797-5626.
Michigan, Detroit October 11 "Freer and Pewabic:
The Connection," lecture by Dr. Thomas W. Brunk.
Free. November 1 Workshop with Marie Woo. Fee:
$50; Pewabic & MCAA members, $40; students, $20.
Contact Pewabic Pottery, 10125 E. Jefferson, Detroit
48214; see website www.pewabic.com; telephone
(313) 822-0954; or fax (313) 822-6266.
Minnesota, Minneapolis October 15 Slide lecture
with Kirk Mangus. Free. October25-26 "Clay and Spirit,"
hands-on workshop with Tom Kerrigan. Fee: $160; mem
bers, $150. November 7-10 "Wood-Fire Workshop: An
English Influence" with Svend Bayer. Intermediate to
advanced skill levels. Fee: $340; members, $320. Contact
Northern Clay Center, 2424 Franklin Ave., E, Minneapolis
55406;
e-mail
nccinfo@northernclaycenter.net;
see
website www.northernclaycenter.org; telephone (612)
339-8007; fax (612) 339-0592.
Minnesota, New London October 25-26 "Raku
Rendezvous," raku firing with 6 different kilns and
styles. Fee: $175; Minnnesota Craft Council and NLAC
members, $125; students, $75; glazes included. Con
tact New London Art Center, PO Box C, New London
56273;
e-mail
emilydeuth@tds.net;
see
website
www.newlondonartcenter.org;
or
telephone
(320)
354-1710.
Missouri, Kansas City November 1-2 Workshop
with Robert Briscoe. February 7-8, 2004 Workshop
with Randy Johnston and Jan McKeachie Johnston.
Fee: $120; members, $108. Contact Allison Zimmer,
Red Star Studios: e-mail redstarstudio@aol.com; or
telephone (816) 474-7316
Missouri, St. Louis October 11 "Content: What it
Means to Be Present in Your Work" with Jeri Au. Fee:
104
105
calendar
$60; members, $45. November 8 and 15 "Making
Molds for Clay" with Susan Bostwick. Fee: $95; mem
bers, $80; includes materials. November 22 "Clay
Whistles" with Michelle Katz-Reichlin. Fee: $45; mem
bers, $35. December 13 "Ceramic Beads" with Mary
Henderson. Fee: $64; members, $49; includes materi
als. Contact Craft Alliance, 6640 Delmar Blvd., St. Louis
63130; e-mail registrar@craftalliance.org; see website
www.craftalliance.org; telephone (314) 725-1177.
New Jersey, Demarest October 24 Slide lecture
with Mark Shapiro. Fee: $15; members, $10. October
25-26 "Cups and Teapots: Taking it to the Next Level"
with Mark Shapiro. Fee: $200. Contact Old Church
Cultural Center, 561 Piermont Rd., Demarest 07627;
see website www.occartschool.org; or telephone (201)
767-7160.
New Mexico, Santa Fe October 4-5 "Functional
Pottery: Exploring the Domestic Landscape" with
Alleghany Meadows. Fee: $160, includes lab fee.
Contact Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe
87501; see website www.santafeclay.com; or tele
phone (505) 984-1122
New York, New York October 4-5 "Form and
Texture" with Sandi Pierantozzi, handbuilding tech
niques for earthenware. Fee: $125. Contact Artworks,
West Side YMCA, W. 63rd St., New York 10023; e-mail
kmissett@ymcanyc.org; telephone (212) 875-4129.
October 4-5 "Handbuilding: Tricks of the Trade"
with Vince Pitelka. Contact the Mudpit: see website
www.mudpitnyc.com; or telephone (718) 218-9424.
October 17-19, November 14-16 or December 57 "PMC Connection Artisan Certificate." Fee: $450,
includes materials, tools and firing. October 18-19,
November 15-16 or December 6-7 "Techniques in
Precious Metal Clay." Beginning and intermediate skill
levels. November 1-2 "Dichroic Glass and Precious
Metal Clay." Fee (unless noted above): $250, includes
materials and firing. Contact Vera Lightstone, 347 W.
39th St., New York 10018; e-mail vlightstone@aol.com;
website www.silverclay.com;telephone (212) 947-6879.
November 1-2 "Chinese Brush Making with Callig
raphy and Decoration" with Jiansheng Li. Fee: $255;
members, $230; materials included. November 7
"Jingdezhen: 1000-Year Celebration of Porcelain,"
lecture with Jiansheng Li. Fee: $8; members, $5. November8-9 "Yixing Teapot" with HeJian and Jiansheng
Li. Fee: 255; members, $210. Contact Craft Students
League, YWCAof the City of New York, 610 Lexington
Ave., New York 10022; see website www.ywcanyc.org;
or telephone (212) 735-9804.
New York, Port Chester October 18-19 "History,
Context and Contemporary Practice" with Walter
Ostrom. Fee: $150. November 8-9 "What's Love Got
To Do With It?" with Takeshi Yasuda. Fee: $150.
December 10 "Dry Throwing" with Ayumi Horie. Fee:
$75. December 11 "Zoomorphic Forms: Porcelain and
Beyond" with Bernadette Curran. Fee: $75. Contact
the Clay Art Center, 40 Beech St., Port Chester 10573;
or telephone (914) 937-2047.
New York, E. Setauket October 18-19 "Pouring
Vessels," hands-on workshop with Susan Beecher. See
website
www.handsonclay.com;
telephone
(631)7510011; or fax (631) 751-9133.
New York, White Plains November 12 "Narrative
Clay Sculpture," hands-on workshop with Marlene
Ferrell Parillo. "Traditional Wheel Throwing Tech
niques" with Steven Rodriguez. Fee: $55; WCC stu
dents, $35. Contact the Westchester Art Workshop,
Westchester County Center, 196 Central Ave., White
Plains 10604; telephone (914) 684-0094.
New York, Woodstock October 25-26 and No
vember 1 Loading, firing and unloading a 24-hour
anagama with Jolyon Hofsted. Fee: $200, includes
firing and lunch. Contact Jan Hofsted, Maverick Art
Center, 163 Maverick Rd., Woodstock 12498; or tele
phone (845) 679-9601.
North Carolina, Bailey November 1-2 "Clay: An
106
Artists' Canvas" with Rudy Autio and Ron Meyers. Fee:
$175, includes meals. Contact Dan Finch: e-mail
danfinch@bbnp.com;
seewebsitewww.danfinch.com;
or telephone (252) 235-4664.
North Carolina, Summerf ield October 17-19" Kiln
Building/Kiln Conversion," hands-on workshop with
Mel Jacobson. Fee: $165, includes lunch. See website
www.living-tree.netlschedule.htm;
or
telephone
(336)
644-1032
North Carolina, Wentworth November 8-9
"Thrown and Altered Porcelain Pots" with Susan
Filley. Fee: $100. Contact Carolina Clay Guild:
contact@carolinaclayguild.com;
or
telephone
(336)
275-1202.
Oklahoma, Oklahoma City October 18-19 Por
celain workshop and slide lecture with Tom Coleman.
Contact Classen Street Potters, 809 N. Classen Blvd.,
Oklahoma City 73106; e-mail rakuguy@aol.com; see
website
www.classenstreetpotters.com;
or
telephone
(405) 235-3322.
Pennsylvania, Richboro October4 "Cone 6 Elec
tric Glazes" with John Hesselberth. Fee: $60. Contact
the Pennsylvania Guild of Craftsmen, 10 Stable Mill
Trail, Richboro 18954; e-mail nmm@comCAT.com; see
websitewww.pacrafts.com; telephone (215) 579-5997.
Rhode Island, Kingston October 25 Workshop
with Aysha Peltz. Fee: $50. For further information,
contact South County Art Association, 2587 Kingstown
Rd., Kingston 02881; e-mail scaa@riconnect.com; or
telephone (401)783-2195.
Rhode Island, Providence October 10-12 "Raku
Rhody-o: A Fire Arts Festival" with Warren Andrade,
Ramon Camarillo, Thomas Ladd, Allison Newsome
and Patricia Uchill Simons. Demonstrations will include
handbuilding, throwing, glazing, kilnbuilding, various
raku techniques and experimental Cone 10 firings. Fee:
$150. See website www.rakurhodyo.org; or contact
Kate Champa: e-mail kchampa@earthlink.net; telephone
(401) 351-1683. Or contact Kris Pedersen: e-mail
kris@dewclawstudios.com; telephone (401) 461-2069.
Tennessee, Gatlinburg October 5-11 "Colorful
Pots: Form and Surface" with Wynne Wilbur,
handbuilding with red earthenware. All skill levels.
October 12-18 "Pottery Sets and Series" with Mark
Peters. All skill levels. October24-26 "Mosaic and Tile:
A Crash Course" with Debby Hagar. All skill levels. Fee:
$175. Fee (unless noted above): $340. See website
www.arrowmont.org; or telephone (865) 436-5860.
Texas, Austin October 18-19 "Bodacious Raku"
with Randy Brodnax. Fee: $150, includes Saturday
lunch and dinner. Contact Clayways Pottery Studio &
info@clayways.com;
see
website
Gallery:
e-mail
www.clayways.com; or telephone (12) 459-6445.
Texas, Houston November 1-2 "A Session with
Nick Joerling." Fee: $50. Contact Roy Hanscom, Art
Dept., North Harris College, 2700 W. W. Thorne Dr.,
Houston 77073; or telephone (281) 618-5609.
Texas, Mesquite October 3-4 "Paragon In-Plant
Kiln Maintenance Seminar." Fee: $90, includes a
3-ring service manual. For further information, tele
phone (800) 876-4328 or (972) 288-7557; e-mail
paragonind@att.net.
Texas, San Antonio November 8 "Low-Fire Ce
ramics" slide lecture with Liz Quackenbush. Free.
Contact the Southwest School of Art and Craft, 300
Augusta,
San
Antonio
78205;
see
website
www.swschool.org;
telephone
(210)
224-1848;
or
fax (210) 224-9337.
Utah, Bluff October 11-18 Workshops plus firing
with Alice Cling. Contact Horizons to Go, PO Box 634,
Leverett,
MA
01054;
e-mail
horizons@horizonsart.com; see website www.horizons-art.com; telephone
(413) 367-9200; or fax (413) 367-9522.
Virginia, Appomattox October 25-26 Workshop
with Brad Schwieger. Fee: $125, includes lunch. For
information
and
brochure,
e-mailjessiman@ceva.net;
or call (434) 248-5074.
Virginia, Arlington October 16-18 "Pots with Per
sonality" with Suze Lindsay. Fee: $165. October 25-26
Workshop with Stephen Fabrico. Fee: $145. Contact
Darlene Tsukamoto, Lee Arts Center, 5722 Lee Hwy.,
107
calendar
Arlington 22207; e-mail leearts@co.arlington.va.us; see
website www.erols.comlleearts; telephone (703) 2280558 or 228-0560.
Washington, Bellevue November24-26 "Sculpt
ing: The Clay Figurine" with Timea Tihanyi. Fee: $150;
members, $135. January 15-16, 2004 "Memory and
the Clay Figure," lecture and demonstration with
Akio Takamori. Fee: $125; members, $112. Contact
Bellevue Art Museum, 510 Bellevue Way, NE, Bellevue
98004; e-mail school@bellevueart.org; see website
www.bellevueart.org; or telephone (425) 519-0745;
or fax (425) 637-1799.
Washington, Seattle October 17-19 Throwing
demonstration with Chris Staley. Fee: $125. All skill
levels. For further information, contact Peter Olsen,
Seward Park Art Studio, 5900 Lake Washington Blvd.,
S, Seattle 98118; e-mail info@sewardparkart.org; see
website www.sewardparkart.org; telephone (206) 7226342; or fax (206) 723-2185.
October 31 -November 1 Hands-on workshop with
Gail and Robert Piepenburg. Fee: $165, includes lunch
and raku firing. Contact Seattle Pottery Supply at (800)
522-1975.
Washington,
Suquamish
October
18-19
"Thrown and Altered Vessels" with Ellen Shankin.
Fee: $150. For further information, contact ClaySpace
on Puget Sound, Brenda Beeley, PO Box 1339,
Suquamish 98392-1339; e-mail mtimes@telebyte.net;
see
website
www.clayspaceonpugetsound.com;
or
telephone (360) 598-3688.
Wisconsin, Fish Creek October 30-November 1
"Story Platters and Bowls" with Renee Schwaller. Fee:
$ 120, includes supplies. Contact Peninsula Art School,
PO Box 304, 3906 County Hwy. F, Fish Creek 54212;
e-mail
sam@peninsulaartschool.com;
see
website
www.peninsulaartschool.com;
telephone
(920)
8683455; or fax (920) 868-9965.
International Events
British West Indies December 8-13
"Possibilities in Tile," workshop with Susan Reynolds.
Fee: $700, includes lodging, breakfast, lunch. Contact
Art Workshops, PO Box 593, The Valley, Anguilla,
BWI; e-mail Marge@masonc.com; or see website
www.Anguillaguide.comlworkshops.
Belgium, Bellegem-Kortrijk October 12-December2 Herman Muys and Monique Muylaert; at Gallery
Harmagedon, Sasboslaan 7.
Belgium, Brasschaat (near Antwerp) November
15-16 "Ceramic Decoration Techniques" with Nettie
Janssens. Fee: US$110, materials included. For further
information, contact Patty Wouters, Atelier Cirkel,
Miksebaan 272, B-2930 Brasschaat (near Antwerp);
e-mail
atelier.cirkel@pandora.be;
see
website
http:!!users.pandora.belatelier.cirkel;
telephonelfax
(32) 36 33 05 89.
Canada, Alberta, Hythe October9-23 "Firing the
Bishogama" with Les Manning. Fee: Can$1350 (ap
proximately US$905), includes slips and glazes, 6 cubic
feet of firing space, lodging and meals. Participants
should bring bisqueware. Contact Bibi Clement, Direc
tor, BICWA Society: e-mail bibipot@telusplanet.net;
telephone (780) 356-2424; or fax (780) 356-2225.
Canada, British Columbia, Burnaby October 2425
"Handmade Tableware," with Katrina Chaytor.
Contact Shadbolt Centre for the Arts, 6450 Deer Lake
Ave., Burnaby V5G 2J3; telephone (604) 291-6864.
Canada, Ontario, Burlington through October
26 "Fireworks 2001," the biennial exhibition of FU
SION: The Ontario Clay & Glass Association, through
December21 " Recent Acquisitions," a selection of new
work highlighting the donations to the permanent
collection in 2002. October5-November2 "Burlington
Potters Guild Annual Juried Exhibition"; atthe Burlington
Art Centre, 1333 Lakeshore Rd.
Canada, Ontario, Elora-Fergus October 4-5" 17th
Annual Elora-Fergus Studio Tour," 37 studios in the
Anguilla,
108
109
calendar
Elora-Fergus area. Contact the Centre Wellington
Chamber of Commerce at (877) 242-6353; or see
website www.artscouncil.elora.on.ca.
Canada, Ontario, Peterborough through October
5" Exploring Surface," works by John Chalke, Angelo di
Petta, Harlan House, John Ikeda, Ann Mortimer, Mathias
Ostermann, Laurie Rolland and Bill Rowland; at the Art
Gallery of Peterborough, 2 Crescent St.
Canada, Ontario, Toronto through January 4,
2004 "Art Deco 1910-1939"; at the Royal Ontario
Museum, 100 Queen's Park.
through January 18, 2004 "Passion and Porcelain:
Pre-Revolutionary
French
Ceramics
from
the
Wadsworth Atheneum Museum of Art"; at the
Gardiner Museum of Ceramic Art, 111 Queen's Park.
October 15-18 "The 7th Annual Pottery and Glass
Sale"; at the Barbara Frum Atrium, CBC Broadcasting
Centre, 250 Front St., W.
November 4-30 "New Work by Groundwork,"
works by Eriko Kakiuchi, Michelene Lewis, Wendy
Mitchell-Burke, Cathleen Nicholson, Joanne Noordhuis
and Sarah Raymond; at Distill Gallery, the Distillery
District, 55 Mill St., Bldg., #56.
Canada, Quebec, Montreal through October 25
Audrey Killoran; at the Canadian Guild of Crafts, 1460
rue Sherbrooke Quest.
Czech Republic, Cesky' Krumlov through Octo
ber 31 "Tenth Annual International Exhibition of Con
temporary Ceramic Art"; at the Agency of Czech
Ceramic Design, Prikra 246.
Denmark, S kae I skor October 25 "Sculpture, Installa
tion, Design" with MarekCecula. Fee: DKr 350 (approxi
mately US$52); students, DKr 100 (approximately US$ 15);
includes lunch. Registration deadline: October 10. Con
tact Museum of International Ceramic Art-Denmark,
Guldegaard, Heilmannsvej 31 A, 4230 Skaelskor; e-mail
ceramic@ceramic.dk;
see
website
www.ceramic.dk;
telephone (45) 5819 0016; or fax (45) 5819 0037.
England, Alresford (near Winchester) October 625 "Drinking Vessels"; at Candover Gallery, 22 West St.
England, Bath through October 11 Emily Myers,
new high-fired terra cotta. October 20-November 15
Takeshi Yasuda, porcelain and creamware. November
24-December23 John Maltby, new ceramic figures; at
Beaux Arts-Bath, 12/13 York St.
England, Bovey Tracey through November5"Size
Matters." October 30 Lecture with Blandine Ander
son. November 15-December 31 "Surface Tension."
November22 "Tile Decorating Workshop" with Penny
Simpson. December 6 and 13 "Christmas Fair"; at the
Devon Guild of Craftsmen, Riverside Mill.
England, Edwinstowe through October 18 Phil
Rogers; at the Oakwood Gallery, 4 Church St.
England, Exeter through October 12 "Contempo
rary Ceramics Exhibition"; at Woodbury Studio/Gal
lery, Greenway, Woodbury.
England, Leeds November 1-January 17, 2004
Jennie Hale, raku animal forms; at the Craft Centre &
Design Gallery, City Art Gallery, The Headrow.
England,
Liverpool
October 1-30 Hortense
Suleyman, window display. October 18-November 8
New work by Duncan Ross; at Bluecoat Display Centre,
Bluecoat Chambers, School Ln.
England, London through November 1 Edmund
de Waal. Elspeth Owen. November 7-December 24
"Home for Christmas." Anthony Theakston; at Con
temporary Applied Arts, 2 Percy St.
October 1-31 "The Wonderful Marcel Wanders";
at Vessel, 114 Kensington Park Rd.
October2-January 10, 2004 "The Human Figure";
at Cecilia Colman Gallery, 67 St. Johns Wood High St.
October 7 6-25 Susan Disley. November 5-15 Sandy
Brown; at Contemporary Ceramics, 7 Marshall St.
November 5-28 Jennifer Lee; at Galerie Besson, 15
Royal Arcade, 28 Old Bond St.
November 6-29 "Song: Chinese Ceramics, 10th to
13th Century"; at Eskenzani Limited, 10 Clifford St.
110
England, Sherborne through October 11 Earthen
ware by Paul Jackson; at Alpha House Gallery, South St.
England, S. Ambersham near Midhurst through
October 31 Exhibition including ceramics; at Peter's
Barn Gallery, Beck House.
England, Stoke-on-Trent through October 79 "Small
but Perfectly Formed," selections from the Spode Museum
Archive of Chelsea and Derby porcelain figure parts,
models, molds, etc.; at the Spode Museum, Church St.
England, Yanwath (near Penrith) through October
25 "Naked," torsos, life forms and raku figures, through
January 10, 2004 "Cats," functional and sculptural cats,
lions and tigers; at Laburnum Ceramics Gallery.
France, Nanqay October 2-December 19 Threeperson exhibition including ceramics by Gordon
Baldwin. October 4-December 74 Three-person exhi
bition including ceramic sculpture by Axel Cassel; at
Galerie Capazza, Grenier de Villatre.
France, Saint Quentin la Poterie through No
vember 16 "Figures," including ceramics by Teresa
Girones; at Terra Viva Galerie, rue de la Fontaine.
France, Thionville November 28-December 17
"Terre Contemporaine Belgium and France," includ
ing ceramic sculpture by Monique Muylaert and
Herman Muys; at Centre Culturel Jacques Brel, 7,
Place de la Gare, Square Jean Moulin.
Guatemala,
Antigua
February 17-26, 2004
"Ceramics/Porcelain with a Mayan Touch" with
Melinda Collins. Fee: $1850, includes airfare, tuition,
lodging, breakfasts, ground transportation and field
trips. Contact Melinda: melron@conexion.com.gt or
info@artguat.org; see website www.artguat.org; tele
phone (612) 825-0747; or fax (612) 825-6637.
Hungary, Kecskemet October 2-13 Edit Nacsa
and Szabolcs Zeke; at the Museum of the International
Ceramics Studio, Kapolna Str. 13.
India, Jaipur and New Delhi February 6-19, 2004
"Arts and Culture in North India," hands-on workshop
with traditional potters. Fee: $3950. Contact Jim Danisch
or Oma Judith Chase: e-mail jimandoma@jandjtrips.com;
see website www.jandjtrips.com; or telephone (707)
629-3335.
Italy, Albisola through November 9 "Attese:
Biennale of Ceramics in Contemporary Art (2nd Edi
tion)"; at Ceramics Museum Manlio Trucco.
Italy, Certaldo October 13-24 "Majolica Work
shop" with Ron Meyers. May30-June 12, 2004 "Pots
and People—Making Connections" with Chris Staley.
Contact
Lynne
Burke:
lmb@potteryweb.com;
see
website www.potteryabroad.com.
Italy, Faenza through October 26 "The Golden
Age of Maiolica: Italian Ceramics from the XV to the
XVI Century from the Collections of the Hermitage
Museum." through December31 "53rd International
Competition of Contemporary Ceramics"; at Interna
tional Museum of Ceramics, Viale Baccarini.
Italy, Savona through November 9 "Attese:
tion)"; at Palazzo Gavotti and Circolo degli artisti.
Italy, Tuscany May 14-31,2004 One-week handson workshop with Denys James; one-week hands-on
terra-sigillata workshop with Giovanni Cimatti. See
website www.denysjames.com/excursions/italy.
Italy, Vado Ligure through November 9 "Attese:
tion)"; at Villa Groppallo.
Korea,
Cheongju
City
October 2-19 "3rd
Cheongju International Craft Bienniale 2003"; at
Cheongju Arts Center.
Korea, Icheon through October30 "The 2nd World
Ceramic Biennale 2003 Korea"; at Icheon World Ce
ramic Center, Gwango-dong, San 69-1.
Mexico, Oaxaca February 22-29, 2004 "Oaxacan
ClayWorkshop" with Eric Mindling. Fee: $1050-$1300.
Contact Oaxacan Clay: e-mail rayeric@rnet.com.nnx; or
see website www.manos-de-oaxaca.com.
Netherlands, Amsterdam through October 15Yasuhisa
Kohyama; at Galerie De Witte Voet, Kerkstraat 135.
Netherlands, Arnhem through October 12 Raku
by Patrick Jadot and Frangois Marechal; at Galerie
Keramaikos, Oranjestraat 121.
Continued
111
calendar
Netherlands, Delft through October 5 Ceramics
by Canonne and Trevalinet. October 5 "Ceramics in
Delft 2003," one-day demonstration, through Octo
ber 25 Daphne Corregan. October 11 -November 22
Peter Lane. November 1-December 13 Michael Cleff;
at Terra Keramiek, Nieuwstraat 7.
Netherlands, Deventer through October 4 An
drew Walford. October 12-November 8 Nicholas
Homoky, Gustavo Perez and Johan van Loon. Novem
ber 16-December 27 Nathalie Montarou, Brigitte
Penicaud and Claude Varlan; at Loes and Reinier,
Korte Assenstraat 15.
Netherlands, Laren November 2-December 15
Barbara Nanning, "Evolution"; atthe Singer Museum,
Oude Drift 1.
Netherlands, Leeuwarden October 25-December28 "White Porcelain"; at St. Joseph Gallery, Frederik
Ruyschstraat 10.
Netherlands, 's-Hertogenbosch October 18-19
"Glaze Workshop" with Ian Currie; at the European
Ceramic Work Centre, Zuid-Willemsvaart 215. Con
tact NVK, Rob Muylaert, Bontebrug 6, NL 7064LK
Silvolde; e-mail info@nvk-keramiek.nl; telephone 31
315 631913; or fax 31 315 640518.
Netherlands, Utrecht through October 15 "10
years Galerie Utrecht," including ceramics by Herman
Muys; at Galerie Utrecht, Oudegracht 340.
Norway, Oslo October 3-18 Two-person exhibi
tion including ceramics by Birgitte Wyller Berntsen; at
det Norske Teatret, Kristian IV gt. 8.
Republic of China, Taiwan through January 5,
2004 "The Third Taipei Ceramics Award Exhibition";
at Taipei County Yingge Ceramics Museum, 200
Wenhua Rd., Yingge Jen.
November 15-December 74 Three-person ceramics
exhibition—Ching-Yuan Chang, Keith Ekstam, Howard
Koerth; at Ghu-Yun Art Gallery, Yingge Village, Taipei.
Scotland, Edinburgh October 6-29 "The New
Wave," 12 makers from Scotland and Wales, including
ceramics by Lowri Davies, Sophie Lowe and Will Levi
Marshall. November 3-26 Jane Hamlyn. November
29-December 24 Craig Mitchell; at the Scottish Gal
lery, 16 Dundas St.
Scotland, Fife through October 19 "Applied Art
with a Japanese Aesthetic," including works by Peter
Jones and Maggie Zerafa; at Crawford Arts Centre, 93
North St., St. Andrews.
South Africa, Cape Town, Foreshore October 518 "Altech Ceramics Triennial," juried international
exhibition; at Artscape, the Opera Foyer, D F Malan St.
Spain, Estella (Navarra) October 17-November
23 Angel Garazza; at Gustavo Maeztu Museum.
Spain, Manises November 14-January 18, 2004
"Sixth International Biennial of Ceramics, Manises"; at
Museu de Ceramica de Manises, Calle Sagrario, 22.
Spain, Tolosa through October 11 Angel Garazza;
at Aramburu Palace, Plaza Santa Mari 1.
Switzerland, Carouge through November23 " Prix
de la Ville Carouge: La Cuillere Ceramique"; at the
Musee de Carouge, Place de Sardaigne 2.
Switzerland, Kirchberg November 1-December
14 "augenblicken," sculpture exhibition including ce
ramics by Herman Muys; at Kunstforum Kirchberg,
Eystrasse 66.
Wales, Ruthin through November 2 Christine
Jones, new ceramics; at the Gallery, Ruthin Craft
Centre, Park Rd.
For a free listing, submit announcements of confer
ences, exhibitions, workshops and juried fairs at
least two months before the month of opening. Add
one month for listings in July; two months for those
in August. Mail to Calendar, Ceramics Monthly,
735 Ceramic PI., Westerville, OH 43081; e-mail
to editorial@ceramicsmonthly.org; or fax to (614)
891-8960.
112
questions
Answered by the CM Technical Staff
Q
I have been making large sculptural pieces,
using sculpture clay with grog and Kyanite added
for strength. I bisque fire the pieces to Cone 04,
then apply various washes, as well as a thin coat
of glaze in certain small areas. I then refire to
Cone 04 again. The pieces are then sawdust fired
outdoors in a metal container that has small
holes made in the wall for air circulation. The
pieces are removed from the container when
cool.
Unfortunately,
I
have
production of large forms. Grog is frequently
added for texture, increased working strength and
Uniformity of drying and the relief of internal decreased dry shrinkage. Most grogs will not
stresses are the primary benefits of mixing particusignificantly lower thermal expansion, because they
late tempers into clay bodies. These materials mayare simply a fired clay. Grogs do aid slightly in
be added in percentages of up to about 40% of thepreventing cracks, because internal stresses in the
total batch. Your personal forms, the other clay fired clay can be relieved around the space between
materials in your clay body and your construction the clay matrix and the grog particle.
From your description of your work, I am
style will dictate the amount you choose to use.
Grog, which is crushed and fired clay, and assuming that the individual pieces are larger than
Kyanite, which is a sillimanite 2, both decrease dry1 foot in every direction and have a wall thickness
and fired shrinkage in clay bodies. Kyanite also hasof more than ½ inch. If this is correct, and you are
low thermal expansion. This makes it an ideal subjecting this ware to the stresses of smoke firing,
additive for raku clay bodies and for pit firing or where the surface temperature may reach 1500°F
smoke firing. Kyanite may also be added to a clay (800°C) in a very narrow band around the work,
body to give texture and some tooth for easier you must realize that the thermal expansion be
tween the heated and unheated areas of the pieces
is significant. You must also understand that the
internal portions of the piece will not be subject to
the same temperatures as the exterior, which is
closest to the relatively small heating area of a
smoke firing. With both of these situations of
thermal expansion taken into consideration, the
forces you are placing on your clay are tremendous.
Replacing all of your grog with Kyanite will relieve
some of the thermal stress problems you are facing.
A second remedy to the differential expansion
and contraction of your sculpture is to devise a
method of heating and cooling the entire piece
evenly. If your work is small enough to fit into a
lidded steel drum or container, you can get even
smoking more easily. You can also construct a large
stainless-steel container for your large pieces. Place
the object in the container with a small amount of
combustible material (about an inch on the bot
tom of the container), such as sawdust, wood chips
or grain, and place the container in a kiln. Then
raise the temperature of the kiln, over a period of a
few hours, to low red heat—between 1000-1200°F
(570-650°C). This technique will thoroughly
smoke the object without adding undue thermal
stress, because you heat the object relatively evenly.
Due to the heavy smoke emitted from the con
tainer, it is advisable to do this in an outdoor kiln.
Another technique that many potters use is to
place the warmed sculpture in a wire basket, sur
round it with lightly packed newspaper and light
the paper. It will burn rapidly, and carbon from the
burning paper will leave a beautifully figured pat
tern on the surface. Because the work is not overly
heated, cracking can be kept to a minimum. You
can also add nonflammable resists, such as alumi
num foil or damp paper, to the outside of the work
to prevent the smoke from reaching specific areas.
In a nutshell, the key to smoke firing objects
larger than 8 inches in any direction is very even
heating, or preheating the ware evenly to a tem
perature above 500°F (275 °C).
cracking of the pieces occur during the sawdust
firing. What can I do to reduce cracking?—R.W.
had
considerable
W. Lowell Baker
The University of Alabama
Tuscaloosa, Alabama
Have a problem? Subscribers' questions are
welcome, and those of interest to the ceramics
community in general will be answered in this
column. Due to volume, letters may not be an
swered personally. Mail to Ceramics Monthly,
735 Ceramic PL, Westerville, OH 43081,
e-mail to editorial@ceramicsmonthly.org or fax
to (614) 891-8960.
114
115
116
117
Comment I
that would be just ridiculous, don't you think?
The other day, two people came into my
studio. It turned out to be a mother and son.
The mother was in her late 70s or early 80s.
The son was well into his 50s.
Both were rather poorly dressed. The
mother wore a Goodwill skirt and blouse.
The son was wearing very thick, old glasses,
which were scratched and smudged. His
t-shirt did not cover about 4 inches of his
pendulous midriff.
I greeted both of them, as I always do,
remembering that everyone can appreciate
pottery, even if they may not be able to pur
chase it. We exchanged some pleasant con
versation, and I learned that it was their first
time in the studio. While I did not expect
them to be customers, I spent four or five
minutes giving them the “lay of the land”:
showing them our line of production work
in the showroom and describing some of the
one-of-a-kind works in the gallery. They
thanked me and made a beeline straight for
the gallery.
After only a few moments, the mother
came back to where I was working, holding
one of my finer wood-fired pieces, a flattened
bottle that sits on three feet. It was priced at
$295. “This is remarkable,” she said. “I must
have this. This is a special process, isn’t it?
Do you have anything to describe this pro
cess? Something written?” (She obviously had
a well-developed sense of visual literacy.) I
told her that I did have something written,
and that I would get it for her.
As I walked into my office, I “clunked”
myself on the head, reminding myself again
how important it is to avoid making quick
judgments based on appearance, how unnec
essary and hurtful it can be to wear an elitist
attitude on one’s sleeve, and what a remark
able experience it is to have one’s stereotypes
rearranged. And I would have to admit, if I
were to be forthcoming, that for a moment I
think I offered myself a smug and unde
served pat on the back for not having en
tirely overlooked these customers.
As I returned to the sales counter and was
beginning to package the pot, the mother
said, “You know, this is for one of my daugh
118
Dick Lehman
ters. I have a second daughter who might
like one of those vases that hang on the wall.
Let me go look at those again.” She walked
back into the gallery and, with hardly a
moment’s hesitation, went straight to what I
considered to be the finest wood-fired wall
vase in my collection. “This is perfect. I’ll
take it!”
Back at the check-out counter, I was busy
taking price tags off and gathering the fabric
draw-string bags, in which I put my best
work, before packaging. At this point, the
mother asked a thoughtful and sensitive ques
tion. “You know, I can pay you with traveler’s
checks or a credit card. Which do you pre
fer?” I told her that I paid less commission
on the traveler’s checks and thanked her for
the kind offer. She pulled out the checks and
began to fill in the date.
It was at this point that I noticed she only
had two $50 traveler’s checks on the counter
(and she had $600 worth of pots sitting next
to them). Knowing that once a traveler’s check
is filled out it must be used, I interrupted her
in a rather abrupt way. “You know, this is
going to be rather awkward for me, but I
must bring this to your attention. I am no
ticing that you have only two $50 traveler’s
checks there.”
“Yes?” she wondered.
“Well,” I said, “you have two pots here
that are both two-ninety-five.”
“Two-ninety-five,” she repeated, “and?”
“Two hundred and ninety-five dollars—
each,” I said.
There was a huge pause as she drew in a
great breath of air. “Two hundred and ninetyfive dollars, each!?’ she asked incredulously.
“Why—why that would be just—just ridicu
lous! Just ridiculous!! Don’t you think? Don’t
you think?”
At this point, I made what was perhaps a
well-tempered retailer’s knee-jerk response
(not taking offense at the implication of her
question, not losing control, but perhaps,
also, not directly addressing her question). I
tried to sidestep the issue by automatically
responding with a compliment. “Well, you
know, I was so delighted that you selected
119
comment
two of my finest pieces. You obviously have a
well-developed visual literacy and you appre
ciate. . S h e was having nothing of the com
pliment. Before I could finish my sentence,
she leaned over the counter, getting a little
closer to my face, and with eyes squinted and
intensity in her quiet voice, asked again: “It
would be ridiculous, don’t you think? Why, if
I paid $300 each for these two pots, my dead
husband would come back from his grave
and pay me a visit!”
If there is anything that I pride myself on,
it is in maintaining some semblance of pro
priety in difficult situations, not getting too
ruffled, and maintaining a sense of humor.
But, at that moment, a kind of magical and
uncontrollable transformation occurred in
me. It was as if I could see myself leaving my
own body, drifting away to a safe distance.
Then, I was absolutely shocked (and a little
horrified) as I heard myself say, “Well gee, if
you could get your dead husband back for
only $600, that would be a hell of a deal,
don’t you think!?”
I cannot describe the deafening silence
that next occurred, nor the absolute unread
ability of her face. I wanted desperately to
disappear, or to conjure myself back in time
to negate this horrible faux pas. There was a
gasp and, for a moment, I didn’t know if she
was going to have a heart attack or if she was
going to slap me. Then she cocked her head,
some of the intensity draining from her face,
and she sighed out a laugh, saying, “Well,
that would all depend on what kind of a
mood he was in!”
I did my best to recover my senses and to
regain a little dignity. I said, “Well, I suppose
you and I will both have good stories on each
other. I’ll just put the price tags back on
these pots and return them to the gallery.” I
did so, fully expecting to see that these two
had already made tracks out of my studio.
But instead, I overheard the mother saying
to the son, “I still think we can find some
thing, don’t you?”
Then, spying the brie bakers in the production-pottery portion of our showroom,
the mother looked at me and pointed to the
bakers. “That pot’s kinda small. What does
that price tag say?”
It was at this point that I realized neither
mother nor son could see well enough to
read anything, let alone the small printing
on my price tags! “The brie bakers are eigh
teen-ninety-five,” I said. The mother squinted
her eyes again and walked over to me, gently
touched my elbow and, grinning, said in a
low tone, “Now honey, are you saying eighteen-hundred and ninety-five dollars, or eigh
teen ninety-five?”
I laughed. We all laughed. I assured her
that they were each priced at less than twenty
dollars and that she could buy one for each
of her daughters for less than the amount of
one of her traveler’s checks—and she did!
I remain grateful, each day, for the lessons
offered by regular contact and relationships
with the retail public.
The author Dick Lehman operates a production
and retail studio and gallery in Goshen, Indiana.
index to advertisers
A.R.T. Studio.......................................... 35
Aardvark Clay & Supplies..................... 113
ACerS Books................................... 89, 93
Aftosa.......................................................... 2
Amaco/Brent/Genesis..................... 36, 37
Amherst Potters Supply........................ 104
Anderson Ranch................................... 103
Annie’s Mud Pie Shop.......................... 112
ASU Art Museum.................................. 105
Axner Pottery...................................... 8,9
Bailey Pottery................ 1,13,19, 28, 29
BatGrabber.................................. 108,117
Bennett’s Pottery............................................. 7
Big Pots Made Easy............................. 117
BigCeramicStore.com........................... 32
Bluebird Manufacturing........................ 112
Bracker’s Good Earth Clays.................. 88
Brickyard............................................... 104
Brown Tool Co...................................... 108
Carol Robinson Gallery......................... 85
Carolina Clay Connection.................... 112
Ceramic Services................................. 119
Ceramic Supply of New England .... 88
Ceramic Supply Chicago...................... 106
Ceramica Imports................................. 109
Ceramics Monthly......................... 91, 113
Charlie Cummings Clay Studio............. 86
Chinese Clay Art................................... 119
Clark Art Glass & Refractories............. 117
Classifieds............................................. 116
Clay Art Center...................................... 32
Clay Coyote........................................... 86
Clay in Motion....................................... 106
Clay Times............................................ 103
Clayworks Supplies.............................. 102
Continental Clay.................................... 96
Cornell Studio Supply............................ 88
Cotronics................................................118
Creative Industries............................... 114
Cress...................................................... 11
Davens................................................... 97
Del Val.................................................. 102
Dew Claw Studios................................. 88
Dolan Tools........................................... 92
Duralite................................................. 102
Earth and Fire Pottery........................... 85
Euclid’s.................................................. 90
Falcon Company................................... 92
Flat Rock Studio Clay Supplies............ 88
Gallery 138............................................ 85
Gare....................................................... 95
Geil Kilns................................................ 17
Giffin Tec............................................... 21
GlazeMaster.......................................... 117
Great Lakes Clay.................................. 100
Greyrock Clay Center........................... 102
Handmade Lampshades...................... 112
Herring Designs/SlabMat..................... 112
Highwater Clays.................................... 98
Hormaca................................................ 92
Hydro-Bat............................................. 108
Jepson Pottery....................................... 33
Kansas City Art Institute...................... 105
Kazegama............................................ 118
Kentucky Mudworks............................. 109
Kickwheel Pottery...................................... 4
L&L......................................... 30, Cover 3
L&R Specialties.................................... 108
Laguna Clay........................... 12,25,107
Lincoln Arts Cultural Foundation .... 102
Lockerbie.............................................. 115
Manassas Clay..................................... 117
ManitouArts.......................................... 118
Market House Craft Center..................... 86
Master Kiln Builders.............................. 88
Mastering Cone 6 Glazes..................... 105
Mile Hi Ceramics................................... 92
Minnesota Clay..................................... 108
New Mexico Clay................................. 118
North Star Equipment........................... 23
Northwinds Ceramics............................ 12
Oaxacan Clay........................................... 95
Olsen Kilns........................................... 104
Olympic Kilns......................................... 95
Paper Clay.............................................118
Paragon Industries............................... 109
Pebble Press......................................... 99
Peter Pugger........................................ 104
PMC Connection.................................. 111
Portland Pottery Supply....................... 113
Potters Council..................................... 119
Potters Shop......................................... 112
120
Pottery Making Illustrated.................... 115
PotteryVideos.com................................ 31
Pure & Simple...................................... 102
Red Star Studios................................... 85
Rosewood Arts Centre.......................... 107
Seward Park Art Studio......................... 98
Sheffield Pottery................................... 115
Shimpo............................................. Cover 2
Silver Shell Studio................................ 108
Skutt Ceramic Products...................Cover 4
Smith-Sharpe Fire Brick Supply........... 101
SOFA Chicago..........................................87
Soldner Clay Mixers.............................. 92
Spectra Chrome................................... 112
Spectrum Glazes................................... 10
Standard Ceramic Supply..................... 34
Studio Potter......................................... 110
Studio Sales Pottery............................. 110
Thomas Stuart....................................... 15
Tong-in Gallery.......................................... 3
Tools4Clay............................................. 99
Trinity Ceramic Supply......................... 111
U.S. Pigment........................................ 103
Venco - Westwind - Solarflow............... 27
Vent-A-Kiln............................................ 104
Ward Burner Systems........................... 94
West Coast Kiln.................................... 102
Westerwald........................................... 104
www.Clay-King.com............................. 111
YWCA-NYC.......................................... 107

here - Ceramic Arts Daily

Transcription

Similar documents

Study the evolution of British ceramics, from rudimentary Stone Age

Our Studios - Manchester Craftsmen`s Guild

A Really Progressive Clay Affair - ASU Herberger Institute for Design

View - Alexandre Gertsman Contemporary Art

kombajn KTW200.cdr

A Terrain of Legends reviewed in

KWNE Electronic Media Kit

Already Inundated With It

Ceramics - Kannenbäckerland

Kallima - Press Release - Exhibit-e