Cover: Emily Free Wilson's family business Business: Mea Rhee’s hourly earnings project Spotlight: Building a kiln—building customers Glaze: The colorful world of majolica10 reasons t Tt US eee Thefts Se aU aati celyl st)DR Re mee Ero Cee ee eeu kay Cee ue cree ca work. I didn't have to think twice about Cue ran Re ees Dr eeu Laced ‘out of firing, it also allows me more time to concentrate on the thing | love most, creating more pots. | easily achieve even cone 10 ge ede ued vases, etc). Whether | am firing copper reds, ee eee eee knowing I can depend on beautiful results every time. The fuel efficiency of my Bai incredible. | couldn't believe how low the firing Coes ee ated Any question or concerns about service or firing are immediately answered with ee ea = —— a GID 7; Becomes Know the Difference. — een ROmuCy US and Canada. ig taQuality, Durability, & Proven Perfo Why Gone Anything Less? PETER UGGER Introducing the most State-of-the-art pugger-mixer on the market today. 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First St. * Cheney, WA 99004 24.99 1-509-295-9200 FAX: 1-509-235-9203 or 1-800-447-9299 www.northstarequipment.com ‘To Purchase Visit Your Local Dealer or Call: 1-800-231-7896 www.northstarequipment.comThe National Council on Education for the Ceramic Arts, West Virginia University & The Jingdezhen Ceramics Institute are pleased to announce, and invite you to attend SHARED JOURNEYS II Chinese/American Ceramic & Art Education West Virginia University, Morgantown, West Virginia Chinese Philosopher Lao-tzu wrote, “The journey of a thousand miles begins with a single step." Our collaborative journey started with the Shared Journeys Symposium held in October 2008, in Jingdezhen, China. NCECA, WVU and the JCI co-sponsored that event. We now extend an invitation for you to join in the joumey by attending 3-days of inter-cultural discovery on the campus of West Virginia University from October 14-16, 2011. Shared Joumeys il will explore achievements in Chinese ceramics and influences in the west, by examining the legacies, and tensions of craftsmanship, pedagogy, philosophy and social currents that have shaped traditions and transformed ceramic art into the present day. nceca West Virginia University Visit the NCECA website: www.nceca.net or Call toll free: 866.266.2322. or go to the following link: http://art.ccarts.wvu.edu/shared_journeys_iioo ACN designed for a potter ° here“Trimming can be just as much fun as throwing.” Brian Giffin - president giffingrip.com © Gilfin Tec ine. Gitn Earthworks ine junefuyaugust2011 wawcaramismontiyerg ale Allrights served. Made in the USA. ceramics ‘avortsing services Jan Molonoy stating Teepe: 614) 7945809 marketing manager Stove Hecker ‘Subseriptions/Cirealaton ntarer server W S398 Soamccoor Designation Eaitorlal Advicory Board emks Morty 5 00-0378 bl Solayot ne anu near Cem ponuge ps er Ono an cn rateg oe Speen te otc ado eeesee hoon lo aoe linc: Regie unre ‘bess crt aC ers FO ‘notes oy 10 ical cS om apron nscaeeraast ca iatty Rehman Geannary AlpeOur Catalog is Now Online at BennettPottery.com MYBENNETT POTTERY WE WELCOME SCHOOL PURCHASE ORDERS *SUPER PRICES* KILNS L&L, PARAGON, SKUTT, OLYMPIC, EXCEL POTTERS WHEELS BRENT, PACIFICA, SHIMPO GLAZES & UNDERGLAZES AMACO, LAGUNA QDurmerc kins KEMPER TOOLS 2327HE AND MUCH MORE.. ELECTRONIC CONTROL — 240 VOLTS/1 PHASE P ~~ 23 "WIDE x27" DEEP] I 21 CONE 10 - 3” BRICK $1365 cael “Gee (LID LIFTER- OPTIONAL) MODELB $880 MODEL C $945 MODEL CXC $1015 PRICES SUBJECT TO CHANGE CALL FOR FREE CATALOG * NORTH STAR * + NORTH STAR * 24” SLAB ROLLER STAINLESS STEEL PACKAGE EXTRUDER PACKAGE CALL FOR SUPER PRICE ‘CALL FOR SUPER PRICE BRENT CLASSIC POTTERS WHEELS A BENNETT POTTERY SUPPLY MASTERCARD OR VISA ACCEPTED EL GET TSE eae (800) 432- 0074 EERE FAX:(407) 877-3559 vemcrmerenyoy hyip | 7contents june/july/august 2011 volume s9, number 6 editorial 10 From the Ealtor sherman sa 12 Letters techno file 14 Glaze Unity Formula oy tira Setar Getting a glaze to behave properly canbe trick, but here's a way to level the playing field so you know what you'te looking at. tips and tools 16 Easy Shelf Gauge by ker tooes Stacking 3 kins difficult enough. Why not make your ite a ite easier? exposure 18 Images from Current and Upcoming Exhibitions glaze 56 The Colorful World of Majolica ty nds aructe Tis bright, lowsfre ware has been called many things throughout ts history but its never been called dul t can be a tick to get the hang of it but Arbuckle steps us through the process lice the expert she is. reviews 62 The 2011 NCECA Biennial {A the Tampa Museum of Artin Tampa, Florida, Reviewed by Lz Howe 64 Sarah Haven: Playing House ‘At Funch Galleryin Seat, Washington eves by Mathew Kangas fesources 77 Call for Entries Information on submitting work for exibitons, fairs, and festivals 78 Classifieds Looking to buy? Looking to sel? Look no further. 79 Index to Advertisers spotlight 80 Brick Buy Brick \When potter Joseph Sand ran tough his inital business loan before getting his kn bul, ne came up wit an inventive way to raise the funds and finish his 40-foo-long anagame, He aso bul a supportive community and customer base 8) enofuvaugus 211 wancxamismentiyorclay culture 26 Kills of Mashiko fy sari ukamaro As clean-up and rebuilding etfors continue allover Japan, potters around the world rally around the historical pottery town of Mashiko to ensure that their trations Continue and tive 28 Selling Mingel i ty cong How much input do you have into the Sale pic and commerce surounding your wok afer it eaves your sti? Hows much do you thik you sould have? Waren “MecKenci has spent his caer preserving et of panies tht most potters don't have the time, energy ot Indinaton to mana. studio visit 30 Adam Field and Heesoo Lee, Durango, Colorado “wo working artists in one family (and one studio) canbe a logistical challenge, but the mutual support and encouragement that come with this ifestye more than balance the scales features 34 Free Ceramics, Helena, Montana ‘A family of potters decides to pool efforts and talent behind a single body of work his model i not necessarily new, but i not trbly common these days 38 Ryan Greenheck, Philadelphia, Pennsylvania Now concentrating on sling at craft shows, Greenheck has tied a ite bit of everything. For him, i's about finding a balance between making and seling, 40 Woody Hughes, Bethel, Maine ‘This earthenware potter branches out beyond simply running a studio to running 2 bod and breakfast and stocking the restaurant and bar with his own work 42 Fritz Rossman, H_ht-Grenzhausen, Germany A potter’ career changes according to sociopolitical circumstances, as wl as personal choices based on creative instinct and development. 44 Michael Kline, Bakersville, North Carolina {sone of many bloggina potters, Kline has moved from a romantic view ofthe potters life toa more pragmatic outlook, all the while embracing what is new. 46 The Hourly Earnings Project: A Working Potter Spends «@ Year With a Stopwatch and a Calculator i tis ace I'snot as important to calculate what you should make per hour as what you actually ‘make per hour Having a starting place will help you make good dedsons-—and it may ven make you fel better about how you spend your time. ‘52 Kjell Rylander: The Anthropic Aura ty ciea 2 sewn [A Swedish aist explores the social vais surrounding utitaran objects cover: Place seting 10 10% in. 27 em) in dlameter, whee-shrown potclain with ailed and brushed glazes, by Free Ceramics (Emly Free Wileon, Matt Witon, and Bobby Free), Holona, Montara; soe pago 34 wwovceamesmantorg junefuaugest 2001from the editor respond to shall@ceramicsmonthly.org 1 may have said before in this column that relly ke my jab, I chink T also may have ‘mentioned thar I had considered being a potter fora living at one point (all che way ‘up until [actually tried it fora Few years) I ‘apidly proved to myself that running busi- ness all by myself did not realy jive with my temperament. Nov Fm not sure that would sell be true, but it matters very lcd since (as you'll ecall) I really like my current job, ‘When I was operating my own studio busi- ness once upon a time, I did atleast cover billsand break even on overhead, but Talways seemed to be grasping at an elusive business plan or staggering through marketing efforts Tike I was lost—which I now see that I was. But if, at the time, I would have been able to read Mea Rhee's "Hourly Earnings Proj- cet”—which you'll find on page 46, and in which she walks through the steps she took to calculate her carnings—it may have been just the right nudge to conduct the same analysis in my own studio, At the very leas, I chink it isa great example of whats posible, and how to filina few of the gaps many of us som to have in the area of business knowledge. | really tke repetitive making inorder to progress and grow in my work, but there are times junefuyaugust2011 wawcaramismontiyerg hd goa ona tangent and realy push apse sound Tvealso learned that tend ro work better ina eam chan Ido by myself, and it oes part ‘of the way toward explaining why the solitary lie of a potter started to lose it’ luster abit [think that also speaks to at least one ofthe reasons | enjoy working at CMS theresa great team of cay folks on safF who care about clay and the magazine as much as I do. However, if I had read the accounts from Emily Free ‘Wilson and the Free Ceramics team on how they organize their family pottery business, it possible that I may have come up with a ‘eam model myself that could have worked for me. All water under the bridge, to be sure, but we all question from rime ro time, dont we? I mean, asking “wha iP" is almost the one single thing required ofall creative endeavors, Its like thinking about winning the lottery-—except without the prospect of all that pesky money. We also do a lot of thinking about and. talking about the romantic side of being a potter—even those of us who are professional potters must reflec fom time 0 timeon how their days just dont seem to reflect that same rosy story that was the original motivation for working in clay. And I used to think thar things lke business plans and market analysis ‘were not as important to the profesion of making pots a they were t, say, the mi ‘of carpet squares, But there are several work- ing potters in this issue, in addition to Rhee and Free Wilton, who prove that assumption ‘wrong in just as many ways. You can do what ‘many (pethaps most) potters do, which is to simply dive in, start making work, and figure ‘out haw co sell it as you go. The other pot ters included in chisisue (Ryan Greenheck, ‘Woody Hughes, Michael Kline, and Fritz Rossman) have all found their own version ‘of what works for them, Ir can bea long way to succes, but asso many of us have learned time and again, theres rarely a short way that janBailey Wheels See Caeetny Cd Peers en Get the best quality and best buyer rte) err Caan’ Pay red Selection of Books & roma ers Prreary rere oe rs Creer ‘ Corns Free) Freight* et ts 2 ener Ty ” Carre perent eo and easy to use. Cee ero Psion cesemail ecitorial@ceramicsmonthly.org Whar a shock. I just picked up the March issue of Ceramics Monthly and found thar Paul Soldner passed away. The fist workshop [attended was with Soldner. Ie was back in 1980 when I yas a student and I coulda afford the fee. My teacher got me in 38a “go- for.” This man never once acted 2s though hhe were above or better than anyone there, including me. When we broke for lunch, everyone hopped in thir cars and headed forthe pizza restaurant, leaving me, a friend of mine, and Soldner in the parking lor. When we got to the resta 1, we had our own table. Even though Soldner visited with the rest of the group thar was scattered around, he stayed at the table the three of us had. He was one of the most unassuming people I have ever met. He showed genuine Still. interest in everyone and their work. He shared such an interesting history of his life and many other stories. He threw some Fabulous work as demos and made everyone feel welcome into his world of clay. He even. did some silk screening on T-shirts. I still have one. It has kind of faded over the years but so have Valerie Mctntye, Eurcka, California was very cited about the Aprilissue of CM with the incredible photograph of Yamada Kensuke’ sculpture of the kneeling girl on the cover. His sculpeure is so moving. The handling of watery glazes on her chest, and the heavier burgundy and blue glazes on her hhead inspires me to take more risks in the ging process. I looked up his website and contacted him by email task few questions, TO Colitis Om lea eatery Seen + Heavy duty V-grooved casters + Easy loading and unloading Oe a ae Set SRS er ener Ty SE aR CED Cee ae Deen + Optional controls: Microprocessor proportional control, in| Deere Reed cane ke Set) to which he kindly responded. Thank you for this stunning ise! Liisa Rableonen, Noets, Oregon loved reading the story of “Big Creek Pot- tery” (April2011 CM), the residential pottery school chat occupied such a unique place in the Northern California art scene from 1968 to 1984, Yee I think the author is incorrect to assert that no strong functional pottery program has emerged in Northern California since. Solano Community College in Furl, California, wher offers a full studio course that includes wood firing and a functional pottery vibrant ceramics community has grown up around the college, comprised of young sti- dents, and established sculpeors and potters ‘Fill Van Zanten, Davis, Caiforsiia Tam a mid-carer student, slum. A the Best Made Gas Kilns on the Market =" GEIL KILNS PRM EE Lar kr) inverse junefuyaugust2011 wawcaramismontiyerg Beeson a eRe diBU See aS nr) ory. ae clay SPR oem eer eur Cone re more era eee aia tea - arene eres OU cca coe toln caer Tenney Si uncer kt Uh eee nn cote ter programming and the ACS-DC. Featured Artist, Stefani Gruenberg, will Guero een nu eT eee ees SNC ae saddles or reins, Gruenberg’s horses exude the ete eRe ea aon rence RON eect) Professor Emeritus of California State University, Peete Seer era Sree eee es eae ‘open-mouth, and lidded vessels enhanced with Pour eare ees uns Raa cn i puisarel nel cree cular y pe ean eer ey ersten UCPC LRU a Cg Rene AMOCA ene) Eocene ee Dee ae eee onTECHNO FILE QIAZE UNITY FOMMNUIA care The proportion of sllca fo alumina in a glaze influences many things, from texture to crystalization to color to mett viscosity to opacity. A unily molecular formula testing grid Gan show us how shifs in our original laze can improve or change these characteristics Defining the Terms Unity Molecular Formula (UME)— Also known as a Seger Formula Glaze recipe format based on the number of molecules instead of on weights of raw materials, where the total molecules of flux in a glaze are caleulated to total 1.0 (which means they are in unity). The formula shows the ratio between fluxes, but pethaps more importantly, it shows the ratio of combined fluxes tothe slica and alumina, ‘Mole—The base unit of measure for the amount ofa substance, either atoms (for elements) or molecules, {for compounds) ‘Flax Unity—Unity Moleclat Formula ‘expressed as one mole of total flux in proportion tothe slica and alumina 'A.UME can be arranged to express nor-flux components as the unified part in proportion to other parts, but flux unity the standard format used ‘Flux System—The arrangement of fuses in a UMF recipe, showing the internal ato of flues ina given ‘laze; the common feature inal ‘samples ofa UMF grid as shown on the facing page. Batch to Unity— Translation fom a standard olaze recipe format (where the raw materials ofthe base glaze ate written 2s weight percentages) to the UMF format Unity to Batch—Trarsation from {3 UM recipe to a raw-material ‘oriented, batching-rendly recipe. Adjusting a Glaze Recipe There aremary approaches to moxkfying glaze recipe and dtferent approaches can meetferent needs. Somemodifications change the colorant level while others change the colorant type altogether. Some may direct replace one mate with another add afew veght unis more (or less) of cone ofthe base ingredients inthe recipe, or ad an amount of an entirely new ingredint. These strategies we use to alter glazes tend to parallel how we cook and modify recipes in the kitchen, but adjustments tothe base glaze using the kitchen method donot ava give us the results we want. if we were using a baking recip that called fora certain type of eadymade baking mix and we added more of because we wanted a thicker batter, and we had not changed anything ese, we ‘mayend up with too muchlesveing(contanednthe baking ian proportion tothe two eggs we had already added. In our glazes, this becomes more complicated because a wide array of our raw: ‘materials re sila to baking mbes; they contain more than one glaze component. Many materls that do not say carbonate, oxide, or sulfate at the end of the name (or example are complex mnaeratsntrtos comme ing eke cave v3 vAnATON init nae ingtomake bead fomacate | laneS-Doidonereicion) to aonb i pear a bec ‘mix, |, frankly, would not know where to start. Dolomite ....... z ++ 13.0% The difference is that, in ceramics, we have Wa Cab eee a access to the exact ingredients in each of our raw eee . . Pa meal rine mies Taste eqameniot | 02 imihgtovmciioneonng ste sh | SaSeaeaam mamas Stoaungrnee Onewetnonthecnponents | KK a ole ow mac ard here ese mats ‘eogurindn wml oscar nese looking at a more standardized, universal recipe. | Ad¢: Copper Carbonate. . eam Ths uel ee fom 5 cle he Uy | Ay ovecynan oR mola emul The gens oo ine a eeaped ot we cn ete | OD: 18 ‘accumulated amounts of silica (from our kaolin, | Rigo one 120) fer, woot, ae, cc strins | ROE (romow tain anispa fins tomo oO, felipar ting, ote tk, nd many of | Ao ae the ae ht pone rd har ropes eshte The unity (one) molecular (molecules) formula (recipe) looks at the chemical raw materials in the glaze rather than the mineral aw materials used to make that glaze, This version ofthe recipe reduces the fractions of these chemicals to show us a simple proportional relationship present in the glaze. By unifying the flues to equal one, and showing the relationship (atio) ofthe slice and ‘lumina to that single amount of flux, we can compare or manipulate glazes very directly. This, allows us to make modifications that are quantitate, ie. modifications that remove the ambiguity {nd guesswork You can certainly lean to make these calculations by hand, but there ace several software [programs that can do the recipe transitions for you. | use HyperGiaze as well as a programmed Excel spreadsheet. There are other commercial programs available, such as Insight, GlazeMaster, ‘Matri2000, GlazeChem, and even a free version online at wwnw.glazecale com. junefuyaugust2011 wawcaramismontiyergCreating a Unity Molecular Formula Testing Grid 1 Select a glaze recipe to investigate. ‘Determine the UMF (with flux unity ofthat glaze withthe batch ‘o-unity feature of your software. ‘= Using the fuxsystem identified there as a constant, and using the Uunity-to-batch feature of your software, determine four comer recipes. Point A: low sca (2.0), high alumina (0.6). Point B: high silica (6.0), high alumina (0.6), Point C:lowsilica(2.0) low alumina (02). Point D: high slica (6.0), low alumina (0.2). These levels ‘ould be expanded to a wider range, but it can become dificult ‘0 combine materials to meet those extremes, ‘= Batch each of these comer recipes as 00g hatches in quart ‘containers, making them exact the samme volumein eachcontaine. Label each container carefully as you batch, ‘= Volume blend A with C and 8 with D to create the side column samples (as volume percents 7:25, 50:50, 25:75 in smaller containers) Note that this doesnot produce fully even or accurate increments forthe UMF ard, due tothe volume blending, but this, ‘approach is wildly faster than batching each individual sample. ‘+ Volume blend each side sample with its corresponding opposite side to make the horizontal samples (as volume percents 75:25, 50:50, 25:75 in even smaller containers) ‘+ Apply each glaze sample to a well-coded test tie. ‘+ Fire and arrange the grid of glazes, the expanded family of your original glaze ‘Notice glazes near the UNFat your original laze the orginal glaze is near the lower left of the grid below, with levels of 2.17 silica ‘and 0.23 alumina) and note which may look similar but with one ‘changed characteristic. Which samples are crazed? Where does this glaze family change from gloss to satin? From satin to matte? Has one solved a problem for you? Are there substantial color or Agate V3 Variation Batch comers ist (5009 each), then volume bien side columns (200m sac, then volume blend cntor rows (8D! Sach) surface shifts throughout the grid? Which are interesting? Which ‘are undesirable to you? Note also where two adjacent samples are extremely different from each other. These may be areas to investigate further (such 2 line blend of 1-3 samples in between those two) to discover ‘what surprise glaze mightbe hing in between them. These areas also may be ones to avoid if what you want isa very consistent, ‘exacting sameness in your glaze results; these may be the ones that could be somewhat variable depending on mixing/stiring times and glaze settling rates Flux System: KNa0 0.13 : 1i,0 0.13 : CaO 0.56 : MgO 0.18 Alumina Levels (moles) Silica Levels (moles) UMF Diagram Coding ‘2c: Quickly cnanging color response area between (00d for turer testing: what olor willbe between block And beige? Batween dark ose and vory ight green? Potent! high-vareby ‘88: Good satin surfaces; appear smooth and consistent In thie smal region. (G5: Good gloss surtaces; ranging fom fl gloss to semigossin tis fal large region; good potential for onaitency inthis area CC: Visbi ental formed varied frequencies and sizes (geod area a explore for adatonal erstalizing es (95: Quickly changing suvtaces (gles to mate) Bolen high-variaiiy, B:Blter-puckering in creviees; est toward neighboring samples remedy (CR: Crazed sample; can move recipe toward nelghbdng aries to rmody. (09: Possibly crazed sample: surface and color Interfering wih assessment ‘This gre mathod is related to both the Stull Grid (8 T Sul Tansacone af The Amerean Geramie Society, ZW, 1912) tbo Cuno Grd (an Curio, Reveating Giazes, 2000), an grid work done wit Bil Carty ot al atthe former Whvtewares Retearen Center. vwwevceramismontiyorg juneubfaugst 2011TIPS AND TOOLS easy Shelf GAUGE venom Kiln Loading can take a long time, especially when you'e loading someone else's pots. There is aways. the fear of cracking a pot oF chipping a tim when placing heavy shelves over delicate work. Make these handy measuring fools for your community kin room and save time and pots. [At my community clay center, we label our bisque and glaze work shelvingby ize (2in.,3in., in. etc: and place the pieces in similar size groupings to make it easier toload our kilns But ‘we would invariatly find pots improperly measured and stored fon the wrong shelf. One of our community studio members made these pot gauges to help everyone easily measure their pot size correctly. You just place the gauge over the highest point ofthe pot. f the pot touches the foam weather stripping (on the inside of the 4 in, gauge, you need to move your pot Lp tothe 5 in. shelf. Otherwise itis likely to be damaged by the kiln shelf when loading Remember to take into account the width of your weather stripping and wood when making your gauges. If your wood ‘and weather striping are each % of an inch thick, you will need to add 1=/ inches tothe length of your gauge, as shown in the diagram. t's simple to glue the two pieces af wood together and apply the sef-adhesive weather stripping to the inside. Label each gauge with permanent markerand designate a storage area for them when they are notin use, as they are easly lost in and among the pots to be fired ‘Send your tip and too! ideas, along with plenty of images, 10 editoriat@ceramicsmonthiy.org, If we use your idea, you'l receive a complimentary one-year subscription to CMI 6 inch Pot Gauge dunsiaupeam, 1pur9 il 6 +%ss 4/4 = T'/2inches 16) jung 2011 wow ceamicmenshyergFree Freight in the contiguous US DO a ee versatile table top mixer/pugmill ever to be produced. Whether you need to recycle dry scrap, mix a batch, or just pug boxed CO ae a ae ue ee an ee shapes, Pugmill Outo: ay FREE Freight One Pine et ee ne er ee Essar ner earl Foe ena rr mm Oar eS DOr Lg ind ep roel all orexposure for complete calendar stings see waw.ceramicsmonihiy.o1g 1 Shawn Spangior's covered jr, 138i. (38 cm) neigh, porcelan, ladon laze, redial, 2010. 2 Polar Saongor's Design I! Set. 10in. (250m) in height, porcelain, white glaze “Ceremes: Post-Digal Design al The “American Musou of Ceramic ‘rt (ren ceramiamuseum of) in Pomona, Caforia, through June 25,8 Adam ial’ ov, 32 in. (@em) in height, soda-ived carved poreolain,coladon glaze ‘Photo: adem Fila “Yunomi ‘ANational ured Exhibtion” ‘at Greenuich House Pottery {vee greenmchhouce or) im Now York. New York. July 1¢-August 1 4 Maria Smih’s Onograpnie Sat, eta from 24 poco nation, 1. Photo: Ph Sayer § Marin, ‘Smith's Seven Part Rotation, dei tom 7 pices instalation, 2011 ‘Phot: Phil Sayer "Pots-Patos— Chairs” at Marsden Woo Gallery (ovwamarsdenwoo con), in Londo, England, through Juno 181 Ken Mateuzai's Yonen Water Pe, 10n. 25 em) in height, Shino glaze, natural aah laze, 2010. Cup, in. (10em) in height, Yohen Shino glaze, 2010 Japanese Coramis,” at Golsmark Gallery art com) in Uppingham. England, June ¢~Jly 2.2 Georges Braque’s plate, produced by doanei Gordy Artigas, 22 (65 on) in ameter glazed stoneware, 1949, 3 Carmo Balada’ bow! 4 in. (36 on) ameter, engraved and glazed stoneware, 2010. “Tees Biaves: Homage o Tidad Sénchez-Pechoco,” at Museu {be Coramica de Barcaona ertsic se, In Baresana, Spain, hrough October 16.4 Derek u's ‘utan Paneware, porcelain, esladon glaze, reduction fed 'e 2900°F (1310°C), 2008. ‘Derek Au," al The Clay Stusio 21a) in Philadelphia, Pennsylvania, ly Goer 2o-August 21 e aS . ‘eS wits ee) =exposure 1 Molly Hates Stop Askn 4 Pormision, Side Bin. (23 em) in height, slab-ormed porcelain, mishima slip-inlay fired to cone 6, 2011.2 KleinFeds (James Klin and David Rei) Sesh Giant with Flowers, 2A, (61 cm) in bel, hand-appiqued poresain, glaze. “The Pure of Porcelain’ al Fasrin Gallery (vows foringliory-com), 9 Piteel, Maseachusots, through sly 17.3 Heather Nareth Bron Ordor ‘2d Ineouty I, 34 In (86 em), ed and Wi rare, porcelain, stain, glaze, found object ‘ssembiage. 2011.4 Ryan Matthew Michel's untied head 60 in. (1.8m) in height, stoneware, porealain, concrete, rebar, 2010. § Linda Chistianeon's basket, 12 in. (30 em) im height, wood-fired Stoneware, 2011. Five MeKnight Arist” at Norhern Clay Center (vir narernciaycentar ca) 18 Minnespols, Minnesota, through July 3. 6 Bryan Cabesz's Protorpe (istlatio view). 2011 “Prototype at The Clay Studio (rw sheclaystdo or), n Philadelphia, Pennsyivana, tough June + junefuyaugust2011 wawcaramismontiyergCowans + Clark + DelVecchio NC eu Rec ce Aecr tae Ue ald 20th & 2Ist Century Ceramic Masterworks Be uc 20th Century Studio Pottery and Ceramic Design ‘Over 200 lots from the Dorothy Miner Collection. Most with no reserves and hundreds of books on ceramics Teeny cer Rela] ee ee eel eee EA Cowan's Auctions | 6270 Este Avenue | Cincinnat, OH 45232 eeu Torga, July 22-Auguat 26.2 Puan Hontmann’s Pear Tre, 12 in (20 om) in ameter. paporcay. preslain sip, decals. “Ruan Hofman. at Anthopslogie Gallery ts slog com) New Yor, New York, June ‘July 31.3 Avital Shetfer's ‘Mather Tongue 22. (7 om) in height, “orclain Potton” at Margo's Potory and Fine rats, (wer margospotc0m) 8 Buffalo, Wyoming, through August 6 '5 Tera Dawiey's dinner set, 121m. (50. height, 2011. "Dacorum. at Santa Fe Clay (Goin santafeciay-com), In Santa Fe, New ‘Mexicadune 10-Juy 22 2) emacs memesDo you really believe that paying an outrageous price for something makes it better? Neither do we. Get the quality you demand in a downdraft kiln Iie ee Rurl elk: (aCe if =a) Tremendous Savings clare Efficient Firings LTT Se TUE Roy TET (Ty tele <2) Ce nu tory 9-40 cubic feet setting space DownDraft 17 with Vent Hood 29” x 28” x 37” Setting Space, 17.3 cu. ft. , Pee eae CM eae ae ee Fires to cone 10/ 2350 F, Brick or Fiber, Propane or Natural Gas ® Oa PS Call your Olympic Kilns distributor or Olympic for a distributor near you. Pe Ue Ee a a Le1 Wal inlay ofan, 47 in. (1.2m) in with, Faience, Kea pai, 1700-1550 BCE. Phote: Museum of Fine Ars, Boston. 2 Pitcher inthe frm ot ahppopotamus, ‘Bin. (20 om) inet, Kenta pevtod, 1700-1580 BCE. Pato Museum of ne Ars, Boston “Nubia: Anco Kingdoms ot Alea nate athe Sty of he Ancient Wels, Now York Univers (nj oo), n New Yor, New Yr, trugh June 1238 Brooke Noble's Tandem Talos of Wom, Wonder 8 Wry (oth box. 7: (19m) nhalght, porelan, 201.4 Lisa leque's racured Memoves. 9. (23 ¢m) Regt porcelan, we, 2011. Containment I: Te inside Story at Caan Laut! Galley (ns soniaucuatorcor) wn Bake, Noth Carina, tough une 2. 5 Nuala O Donovais Pnecone Her, in. (35 Sakiyaa Takayul’'s Ghd Liston oto Waves, 18, (6c) in wih, stonaware with sand, 200, Joan B Minis, Lit ‘Prete: lena Goodbody. 5-6 on wow at ‘Sofa West Santa Fe 201” rat Santa Fe Convetion Geran Santa Fe, New Mec, August 47. 201 wivwceamiamanthWe're changing things up _¢€ “ ee 2 days of wholesale « of retail Call for Applications more {Atlanta [St. Paul [San Francisco 0 ‘2012 | Nr'eni,2012 | Kye 2022,2012| hp 1012, 2012 2012 : Deadline Aug. 12011 late deadiine: Aug $100 late fee will apply To see what's NEW and Apply craftcouncil.org/apply ~ ioe ‘ae. Visit us at ceramic arts daily.org | ceramics | PotteryMaking ‘Shoezting he wrk eating ami ris Yar men fr cick | ceramicartsdatly.org Singing tal gebfrhe cecmi cormnty Join today to receive your FREE newsleter featuring weekly videos, post your work, submit listings and much more. Ceramic Publicis Company | 600 N. Cleveland Ave | Suite 210 | Wester, OH 42082 | 866.721.2322 vewm.ceramismentijorg jnefulyaugus 201CLAY CULTURE by Naomi Tsukamoto For many pottess, the road to recovery after the devastating March 11 earthquake in Japan begins with kins. ‘The massive magnitude-9.0 earthquake stuck northeastem Japan at 2:46pm on March 11, 2011. Ie caused a devastating tsunami, which swepe away the homes and the lives of thousands of people. Soon night fal, bu over the following days, we found out the amount of| damage chat this tragedy caused. With the panic over the ongoing nuclear power plant emergency and the aftershocks that continue 10 ‘occur every day, the Japanese media fixed onthe areas suffering mos, the Tohoku region asa whole and Fulshima Prefecture, located in “Tohoku, where the damaged nuclear plan is located, ‘Just tothe south of Fukushima, and located inland, isthe Tochigi Prefecture where the pottery town of Mashiko, home to Shoji Hama daiskilo, among many others, is located. leis pethaps the most known “apanese postery production center among foreigners dict the M «gc connections overseas, “On the surface the town seems calm, and it does not ook like anything happened,” Aldhiro Niksido, a leader of ‘young Mashiko potters group, Toism (hrp://toulsm.pl.bindsitejp), ssid ina phone convertion. “Ie is mainly the potters who suffered.” The stories of Mashiko porters gradually unfolded, bur it was not und thrce weeks after the earthquake that Japanese media first reported ‘on Mashiko damage, which was estimated 10 be $9 milion. Nearly all limbing kilns inthe town fell down, and 40 percent ofthe Shoji Hamada collection was destroyed, Soon after the earthquale hit, Ken Matsuzaki, whose climbing kiln was also destroyed, called out to the mayor of Mashiko village and. ‘established the Mashiko Pottery Fund (MPF) in order to rise money for rebuilding the kilns. “Is my personal connection to Pucker Gal lery and Mudfat such a foundation,” he explained. Similar movement quickly happened. bberween the Leach pottery in the UK and St. Ives Gallery in Tokyo, which launched the Mashiko Earthquake Appeal “The Leach Pottery has raised $32,000 so far, andthe Fund will be ‘exclusively donated to MPF Mashiko and the Mingei Association had supported theie rebuilding of the Leach Pottery in 2008, and they ‘wished to offer support in light of this friendship. Koichiro Laka, the cisecro of St. les Gallery also organized a special hibition with the same tide that opened April 16, 2011, and features Mashiko potters who suffered losses in the carthquale. By April 1, the Mashiko Support Center was established under ‘the same public domain with the MPF and has now begun recruiting volunteers every day to dean up the broken rubble of whar remained dio in Boston thae made me realize the need for+ Anagaa (ave Kn) of Shikamaru Tako. 2 Nobrigama Kin (odin id) of washta Solo (washima Ceres Company, a sal manvZacue), Phot: Masakatsu Kuty3 Sto of Aho Nal. The art was preparing © move o new ho, and was appareiy wowing apt wen fe earquaks aceach kiln ste Te wil take years ro rebuild Mashiko. There are only a few professional kiln builders in town today, and rebuilding one kiln could cost US$25,000-$35,000, Matsuzaki sid. “Las preparing for an exhibit, and all ofthe greenware [had which ‘would have filled five kiln loads, broke,” Nikaido sai, Others suffered ‘more, he sid, Some were in the middle of firing. Roof fll andl even clectic and gas kilns shifted, which cut off wiring. Some already have been forced out of their familiar home and studios, ike Euan Craig (oupelfeuancraig blogspot.com) and his family. Nikaido explained that the foundations for homes in Mashiko are made of Olyaish, stone bricks from theaea, which obviously is not eathquake-resistant climb construction. "My wife and our baby had to move temporarily because not far from the Fukushima nuclear plat,” he continued, "Mashiko is nor so united asa pottery village, as many people move hare from elsewhere, just like Tdi” fe says he is wortied about older porters because they may not be able to gather up thie spirit to build Jans again, “Young potters ate okay because we can build kilns again ‘0 our own, but we must work together to rebuild Kil in town.” “Climbing kilns are the souls of Mashiko potters,” Matsuzaki sid “Saving the fre of the kilns is preserving our tradition of Mashiko asthe sacred place of Mingei. We must keep the smoke coming out of chimneys in Mashiko, Right now, what is most important is chat the pocters have the hearts to wane to rebuild kilns” he explained, ‘Mashiko did not cancel cis yea’ pring pottery festival which was hheld April 29-May 5, 2011. By titling ie “Persevere and Revive Mashi- ko,” they have already taken the first stepson the road to their recovery The photos included here were shared by various Mashiko potters and swere collected by Masahateu Kariya aoa potter in Mashiko, You cae view al the photos on Facebook at wn fcehoolcom Rebuild Mashika, Relief Organization Contact Information ‘Mashiko Support Center Fula Sakuma, Representaie Moshiko Support Center for Pottery {clo NPO Mostito e Machi Net) 4231 Caza Mashiko, Mashiko- mach, Haga-gun.Tochigl-ken, Japan +81 (0)285-72-2019 ‘Mashiko Pottery Fund Email: mashiko_shian@yahoo.co jp Blog: httpi//mashikopt.exb!og ipf Youcan donate through Muctat studio, which so 501(0}3 non-profit organization and is the fiscal sponsor for the ‘Mashiko Pottery Fund (MPF) hitp/potters blogspot. com/piraliat hin ‘Mashiko Earthquake Appeat Ema: jula@leachpottey. com Web: wi Jeachootiey comNihat + OniNews Feed aspx Phone (UK): 01736 799703 newamicmentiyory junefuveupist2011 | 27CLAY CULTURE selling mingei ‘This page: at Trax Gallory: Both pieces were “A pot ie personal communication berween the person who ‘made it and the person who will uze it in their daily life. To me there ia subtle difference between the communication thar takes place with a painter or seulptor, and the personal contact that ‘is involved in the understanding of a pot that is handled and sed many times over the years, and only slowly reveals itself This is my ideal, but it must be achieved without too much self ‘conscious effort."—Warren MacKenzie ‘Asa potter, does it matter to you how your pots are used or if they simply end up on a display shel What about how the gallery dis- plays, markets or prices your work? What if your pots are bought conly because you made them and they bear than because the pot is well made, is beautiful, and someone simply likes i How much contol or responsibilty does a potter have once pors leave the studio? ‘Warren MacKenzie and the galeries thar epresent him have been considering this very station for some time. He has spent a lifetime ‘making pots for people to use and hus ben sling them atthe same affordable prices for more than 50 years—all hased on the Ming phi- losophy he learned early in his caret. His policy isto single-handedly produce a large volume of igh quality potery, and to supply i at a reasonable price ‘MacKenzie knows chat collectors often buy his pots because he ‘made them, rather than because they want to use cher and he knows those pot sicon shelves untouched, no fulllng their intended pur- pose. Although that is nor why he makes pors (and is not going to our signature rather junefuyaugust2011 wawcaramismontiyerg Waren MacKenzie oni ing Pater form duting ‘vessels rom nis nin Stb he Sa of he Earth ‘exibton a Trax Galery. Opposite page: 4 The ‘onco-a-day sale of Mackenzie's pots at The Norinem Clay Center. Phote courtesy of The Northern Cay Genter § A drawing eld al the _ ‘opening ofa Warren Mackenzie exhibition at ‘ax Galley. Photos courtesy of Trax Cally by Holly Goring Minnesota. stop him), some time ago he stopped stamping his work, expressing his desir to remain a porter, and nota name. He has since returned, ‘to stamping che pots about two yeas ago, ‘MacKenzie sill maintains his Sdllwater, Minnesota, studio and uundl December 2006, sold his work from there through a simple honor system—pots were priced wich a limit of two per person and visitors would pay for them by placing money ina basket, Overtime he discovered tha, “an onganized group was buying the pots up in large ‘quantities and selling them for outrageous prices through secondary markets online.” Soom after, he closed his showroom, opting instead to sll his pots through several well-known galleries. Although he has stated he is “unhappy thatthe galleries are dealing with collectors, I cdo understand that they have no choice and so I have no choice. I simply want everyone to have their ir share,” he notes. For MacKenzie, his wor is pare ofan ideology ands separate from ‘current marker realities. He has a certain degre of separation from pricing strategies due in pare to the fac cha he is able to sel all is pieces from all his firings (Last year he made and sold about 5000 pots). So how docs porter following the Mingei tradition stick ro his philosophy, ight che secondary market, and make a living? Tes wily show he and the galleries tha represent him ae doing it. Northern Clay Center ‘Minneapolis, Minnesota The Northern Clay Center (NCC) is a non-profit ceramic arts ‘center, that includes education programs, artist services, and, ceshibition and sales galleries. The sales gallery has been carryingMacKenzie’ work since March of 2005 (his work has also been featured in exhibitions at NCC.) After discovering his pots bei resold for inflated prices he couldnt get behind, he contacted N and asked them to carry his pots in che sas gallery, bur imi the sales as he had done and continue to price them according to his wishes. Currendy, heres how NCC handles the sales of his work: 4 few selections from available inventory are put on display at a random, unannounced time most days. A buyer may purchase ‘one pot a month per individual address. The pot is documented and the individual's ID is ecorded by the gallery. The gallery then tracks each piece online: should ic end up on any secondary marker site within a year, the original buyer will nor be allowed to buy MacKenzie’ work from NCC for one year: To maintain the prices MacKenzie was putting on pots at his home studio, he and NCC have developed the practice that NCC can double the pot under $40, and for any pot priced over $40, NC accordance to other similar pieces being currently sold in the Nt gallery alchough the price must sill be “accesible” tothe consumer. This practice has worked thus far. The gallery staff notes that the public understands for the most part, but the inquiries and demand for his work are constant and ongoing. Lacoste Gallery Concord, Massachusetts Lucy Lacoste also represents MacKenzie in her gallery. In handling his work, she has found thar several approaches are needed in order tohhonor the at, the artist, and best serve the client. She isthe first to say, “Warren is very good to us, saying in the beginning that we need to put the markup on to cover costs and stay pricing reflects the value ofthe piece and the special things we do for Warren that we do not do for other artists inchiding covering shipping and photography cost.” Lacoste receives both the ‘everyday pots, such as the sets thar MacKenzie likes to keep together and sll for reasonable prices, which Lacoste does, and also the very special piccss which are sold both in her gallery and at SOFA for higher prices. “When we have exhibitions [of MacKenzie's work] a lottery system makes things fir. Very seldom have we ever had issues. Tike to say chat the right poe goes to the right person.” boasiness. The Trax Gallery| Berkeley, Califor Sandy Simon, owner of Tiax Gallery, discovered several years ago that some of her clients were buying MacKenzie’ pots and offering them for resale on eBay at highly inflated prices. Out of respect for MacKenzie’ ideals, ut in an attempt to stay competitive in the mar- ketplace, Simon has implemented 2 formula to handle the sale and pricing of his work. She purchases the pos outright from him, for her ‘gallery and chen she deecrmines the fair market price. When there is an exhibition that includes MacKenzie’s pots, Trax holds a lorery to determine who enters the gallery frst to make thei pick of one pot. By selling his work outright to galleries, MacKenzie feels his right +0 dictate prices is relinquished. Initially, he was very unhappy with the Trax pricing, “MacKenzie has always expressed his opinion,” Simon notes, "but he is very benevolent and understands that because of the pricing structure, the sale of his work has enabled "TRAX to show a number af ocher porters work that doeset sell as, well. The money generared by MacKenzie’ sales cartes the gallery, so ro speak.” ‘Every time I get a new shipment of MacKenzie’ pors, I think to myself, ths sit, surely we have saturated the market this time around,” says Simon. “But no, the enthusiasm continues. Often, ‘pots ate sold to the sime people. I done restrict thesis unles itis an exhibition.” One of MacKenzie’ best-known principles i chat buyers are only allowed one purchase at his exi +00, monitors the resale of MacKenzie’s pots online and has had to restrie sales to those individuals who are sling his work online. “L dont think there isa way of controlling this. After about rwo years, the rabid buyers fade away and new rabid buyers eke their place.” vewm.ceramismentijorg jnefulyaugus 201STUDIO VISIT porcelain (Heeso0), porcelain for Carved work and stoneware for Ong (ond woocsrec work (Acom] wheel throwing and colfpaddte (Onggi method Undergioze brushwork (Hees00), can ing (darn) ‘cone 6 cridation [Heeso0), cone 1] soda and anagama (Adam) ancmade bamboo kre (Hees) ‘odustable height caving table (Adar) junefuyaugust2011 wawcaramismontiyerg Durango, Colorado ‘After more than a decade on the move, Heesoo and I decided it was finally time to sere down. and chose my old college town as our new home. Our studio is a 200-square-foot outbuilding atthe back of our rented home in Durango, Colorado, an old mining town tured college own and outdoor playground in the southwest comer ofthe sae. Three electric wheels and Korean Onggékickwheel take up much of our small space, so a well-organized studio i cru ial for keeping a smooth workflow. Having worked our of eleven pottery studios in 2s many yeas, we pur a lor of energy into making this one comfortable, efficient, and inspiring. Small adjustments, like facing wheels toward the wal 10 save space, make a difference. Lighting is also a big concern as my work involvesa lot of finely detailed carving, and Heesoo’s painting is also very deal oriented. We installed ten adjustable lights that we reposition on a regular basis depending on the tsk at hand. Much of what [learned about workflow and equipment loca- tion came from my Korean apprenticeship, rom knowledge developed over thousands of years, In addition to out main studio, we have a small shed for storing ghize materials, bisque- ware, and glazeware. A kiln shed, bile off of the back of the house, keeps our electric and small gas kilns out of the elements. The electric kila location was chosen for its proximicy to the existing breaker panel, keeping the outlet close to the panel saved us a considerable amount of money. The cor of wiring was our of pocket, che property owner has little use for the outlet, and we intend to disconnect and keep any equipment should we decide to move, ‘The best thing about our studi is its location; with our two young children, if’ nice to hhave the studio right here a home.